is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of

this choir. Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.

commissioned by the Cultural Center of the Philippines for the Andrea O. Veneracion International Choral Festival, Manila 2017

isinulat para sa mga nasalanta ng bagyong Yolanda

ily matthew maniano

daluyong
for SATB Mixed Choir
text by Joey Vargas

Ily Matthew Maniano Choral Work © 2017

Photocopy with Permission
All rights reserved

www.ilymatthewmaniano.com
www.matttheworldnomad.com
2
durata ca. 4'30-36''

daluyong
Text by Joey Vargas

DALUYONG SURGE
Dugo ang kulay ng langit Blood is the color of the heavens
habang payapa ang paghinga ng mga laot as the open sea tranquilly breathes,
Sa bawat pagsilay ng sinaunang apoy na hindi nauupos every time the inconsumable ancient fire glimpses.

Dambuhala – hilakbot – delubyo – ang sumaklot, Monstrous – terror – deluge – grabs,

Dumadagundong – nang humagunot – umaalimpuyo Roars – when it bellows – howls ,
Ang – nananalantang ragasa – dagsa ng daluyong. The – devastating rush – surge of the waves.

Dugo ang kulay ng langit Blood is the color of the heavens

habang payapa nang namamahinga ang mga laot, as the open sea already tranquilly rests,
Sa muling pagsilang ng sinaunang apoy na nagpapatuloy. the next time the incessant ancient fire rises.

Daluyong is a tribute to Yolanda victims and survivors. It may be taken as a lamentation, a dirge for those who perished;
yet also a celebration of the Filipino spirit: unshakable, stronger than the strongest storm.

Daluyong has three parts: the calm before the storm, the storm, and the aftermath. The text uses blood and water
as important imageries for both life and death. The skies will have touches of red, the color of blood,
every time the sun rises or sets. Common folk could tell sometimes whether a storm is coming just by looking
at how bloody the skies are. The text also presents the cyclic movement of life as the sun rises every day.
The sun is always a symbol of new life, new beginning.

The second verse is a combination of two interwoven verses:

a. Dambuhala, delubyo! b. Hilakbot ang sumaklot
Dumadagundong, umaalimpuyo nang humagunot
ang dagsa ng daluyong. (ang) nananalantang ragasa.

This is an attempt to capture how varied people’s thoughts were during the typhoon; but the thoughts may also be taken
collectively as that of fear, terror. Adding to this attempt at capturing the experiences of those who had been gripped
by this tragic moment, there is an inclusion of a part when singers would, with empathy, mention losing people much loved.

________________________________________________________________________________________________________________________________________________________________________________________________

The singers are highly encouraged to read these snippets of stories from survivors to convey the severity
of Yolanda's scourge, a simple attempt to let them at least imagine a piece of what had transpired.

November 8, 2013, Typhoon Yolanda (Haiyan), the strongest storm recorded at landfall causing catastrophic destruction
in the Visayas region of the Philippines. Millions of people have been affected; many have perished; many have been
left homeless; and two months after, bodies were still being found. It is the deadliest Philippine typhoon on record,
killing at least 6,300 people. Some even say that whenever the wind rises and hear the indescribable wail of the wild sea,
they still hear the howl of Yolanda.
 3
Story 1
Col. Fermin Carangan was on duty at the Tacloban airport when Yolanda made landfall. As the airport was by the ocean,
the military office was washed away including some personnel that vanished into the dark sea. The Col. managed to grab
a plank and as he was swimming, he saw a boy floating, hugging a coconut tree. He swam towards him and felt a sudden
responsibility towards the little guy. They swam and floated for 6 hours, swept to the next island and at one point,
the boy, cold and exhausted, asked permission if he could "sleep". Col. Carangan screamed at him to keep pushing,
as they were close to the shore. The two survived.

Story 2
Joy and Michael had 3 daughters. Mikaela Joy, 9, Michelle Ivory, 4, and Miley Faith, 2. They were with her in a bridge,
standing where they always stood whenever there's a storm. At 6 in the morning the rain began to fall, the water rose and
the crowd moved up as high as they could. Waves came twice the height of a man, lashing against the bridge and pillars,
sweeping Joy out into the water. Joy hung on to a log, Miley Faith in her arms. It would have been all right, she said, until
an electric post slammed against the back of her neck and so Joy fell. Sucked into the water, an 8-months-pregnant woman
who couldn’t swim clutching a two-year-old baby who couldn’t cry. When Joy resurfaced, Miley Faith was gone. As she let
herself be swept along further upstream she saw her 9-year old daughter clinging to the post between her brothers-in-law.
All 4 held on to pocked cement for more than an hour.

As the waves stopped and the current slowed, Joy heard his husband shouting from the rooftop of a building. Michael had
held on to 4-year-old Michelle Ivory, who survived swimming from rooftop to rooftop with a bleeding foot. I’m sorry, I
lost her, Joy’s words to Michael. They found Miley Faith near the bridge, close to where Joy lost her in the water. They took
the small dead body to the church for a blessing, and then buried her, along with many others who found their father and
brother and sister and son on the shores of Tanauan. Joy had an ultrasound months ago. She was frightened she would
lose one more daughter. It took 8 hours until the baby kicked. Joy says she used to weep every night. She missed her
youngest, the funniest, sweetest baby who set the family laughing. She will name the baby Megan Faith, after her dead
daughter.

Story 3
“I was four months pregnant when Yolanda hit. At about 5 a.m. my husband sent me and Althea to a house we thought
was far enough from the coast. But it wasn't far enough as the house was instantly flooded when the big waves came.
Althea and I struggled to get out as a big fridge blocked the door. Thankfully, one of the neighbours kicked the door in
from outside, and we all fled to another, stronger and larger house. I saw waves 20 feet high, one after another. Inside, the
water level kept rising. It was ice-cold. I took my daughter's hand, held it tightly and with all my energy as I swam to the
second floor. We stayed there for nearly 10 hours. People around us were crying, praying, begging for help… I don't know
how I found the strength, but I remember telling myself, "Yolanda, you may be strong! But a mother's love is stronger."
Rhea Macawili Milado, 24

Story 4
Yolanda cut through Tacloban like a scythe, sending walls of water across the downtown area in a furious rush, toppling
power lines and felling houses, wrecking trucks and cars totally and, in many cases, ending lives. Dozens of corpses turned
up under piles of rubble. Some bodies lined the roadside, covered in blankets, staining the pavement with bright red blood.
The Tenegra family had huddled together in their shanty believing it could weather the storm as it had always done in the
past. But as the water rose with astonishing speed, the house toppled over, sweeping away the occupants, including
Tenegra’s husband and her other daughter. They were able to scramble to safety, but the youngest Tenegra was spun
around by the current along with the deadly debris. “I crawled over to her, and I tried to pull her up. But she was too weak.
It seemed she had already given up,” the mother said. “And then I just let go,” she said, crying.

High school teacher Bernadette Tenegra, 44, would never forget the last words of her daughter. “Ma, just let go. Save
yourself,” said the girl, whose body was pierced by wooden splinters from houses crushed by Super typhoon “Yolanda.”
“I was holding her and I kept telling her to hang on, that I was going to bring her up. But she just gave up,” said Tenegra,
her face contorted in grief.
4

Story 5
“Our family was awakened by a strong gusty wind that seemed to lift our house off the ground. The situation
became worse until suddenly, an enormous volume of water engulfed our tiny house and eventually submerged it.
We hurriedly swam to a nearby coconut tree, hopeful, that we could hold something on to until the water subsides.
I was with my two brothers in one coconut tree, while my parents were on another not far from us. All hopes
disappeared when a bigger wave, strong and so fast that struck us off the coconut trees like fruits being slowly peeled
from the tree. I glanced at my two brothers to make sure they were still there, but they were gone. That was the last
I saw of them. The next thing I remember was that I was being dragged deeper into the sea by the strong current,
couldn't breathe, and then came darkness. When I regained consciousness, I was afloat near a worn-out wooden boat.
Along the way, I got struck on the face by a floating galvanized iron. I never cared whether the wound was deep because
I was far keener on saving my life. I landed near the municipal hall more than 500 meters away from where our house
originally stood. My face was profusely bleeding when some people took me in for first aid treatment. Two days
after the typhoon, I started looking for my family. My mother’s remains were found in the rubble within our barangay.
The bodies of my father and brothers were never recovered.”

The survivor, Nico Milo, is a 12 year old, from Tanauan, Leyte, one of the municipalities hardest hit by the typhoon.
Nico is currently staying with an uncle. He was among the first pupils who eagerly reported for class a month after
the devastation. When asked how he has been coping after what happened, he replied that he is very sad after losing
his family. When asked how he feels about going back to school, he readily answered, “I am excited because I will be
with my classmates again, and we have a new classroom!”

___________________________________________________________________________________________________________________________________________________________________________________________

*stories told by survivors, written and retold by Erlinda Dolly Tan, Pat Evangelista, Sandar Linn, and Mercedes D. Sarmiento

About the Composer

Ily is one of the emerging composers and arrangers in the Philippine and International choral
scene. A Music Education graduate at the University of the Philippines College of Music, his
love for choral music is what eventually opened doors for him as a composer, arranger, soloist
and choral clinician. His works have been commissioned and performed by some of the
world’s best choirs and vocal groups such as the King’s Singers and the Swingles, to name a few.
Aside from music, Ily's into graphic arts and photography, where his photos got featured in
National Geographic and El Pais. He currently sings Countertenor & also the resident arranger
and composer of the Philippine Madrigal Singers. To find more of his works,
visit www.ilymatthewmaniano.com
visit www.matttheworldnomad.com

About the Writer

Joey hails from Catanduanes, an island province east of the Philippines that is always
ravaged by typhoons that it became known as the Land of the Howling Winds.
A Communication Arts major in Writing graduate of the University of the Philippines
Los Baños, he writes poetry, short stories, and theater plays. In the fields of arts
management and theater: he has conducted researches and immersions in various
communities in the country; taught theater in the University; founded and directed
various art companies and festivals; and directed theater, dance theater productions,
and choral concerts. He currently sings Bass with the Philippine Madrigal Singers.
PRONUNCIATION GUIDE All vowels are very open, similar to Spanish and Italian.
VOWELS

FILIPINO ENGLISH APPROXIMATION

a Ang, daluyong fire
e delubyo send, mend
i hilakbot, langit sea, eastern
o dugo, apoy more, for
u dambuhala soon, moon

CONSONANTS

? na?u?upos, dagsa? the catch in uh-oh, (glottal stop)

b bawat best
d dambuhala, delubyo dawn
ɡ dugo, pagsilay gold, log
h habang high
j apoy, nagpapatuloy you, yesterday
k hilakbot skill (unaspirated)
l langit lamb
m mga make
n nang need
ŋ ang, nang sing, tank
p payapa pest, paint
ɾ ragasa (rolled r) like rapido in Spanish
s sa singer
t hilakbot stop (unaspirated) like tapas in Spanish
w bawat wow

SPECIAL WORDS: pronounced as

ang aŋ
ng naŋ
nang naŋ
mga maŋa

NOTES: ´ - denotes accent on syllable. eg. dugó, kuláy, sinaúnang, láot, etc…

Duɡó? aŋ kúlaj naŋ láŋit

Hábaŋ pajápa ?aŋ paɡhiŋá naŋ maŋá lá?ot,
Sa báwat paɡsílaj naŋ sinaúnaŋ apój
Na hindí? na?u?úpos.

Dambuhála hilakbót delúbjo aŋ sumaklót,

Dumadaɡundóŋ naŋ humaɡúnot uma?alimpújo?
Aŋ nananalantáŋ raɡasá?
Daɡsá? naŋ dalújoŋ.

Duɡó? aŋ kúlaj naŋ láŋit

Hábaŋ pajápa? naŋ namámahiŋa aŋ maŋá lá?ot,
Sa mulíŋ paɡsílaŋ naŋ sinaúnaŋ apój
Na naɡpapatúloj.
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
commissioned by the Cultural Center of the Philippines for the Andrea O. Veneracion International Choral Festival, Manila 2017

DALUYONG
isinulat para sa mga nasalanta ng bagyong Yolanda
dur. ca. 4'30-36"
Ily Matthew Maniano
Tempo I Andante q = 76 - 80 text by Joey Vargas
° 3 pp‰ ™ very calm Œ ‰™
SOPRANO &4 r r
œ ˙ œ œ œ œ ˙- ™ œ œ ˙ œ
Du - go ang ku - lay ng la - ngit, Du - go ang
pp very calm
ALTO
3
& 4 ‰™ r Œ ‰™ r
œ ˙ œ œ œ œ ˙- ™ œ œ ˙ œ
Du - go ang ku - lay ng la - ngit, Du - go ang
pp very calm
TENOR vv
3
& 4 ‰ ™ œr ˙ Œ ‰™ r
œ œ œ œ ˙- ™ œ œ ˙ œ
‹ Du - go ang ku - lay ng la - ngit, Du - go ang
pp very calm
?3 ™ r ‰™ r
¢ 4‰ œ ˙
BASS œ Œ œ ˙ œ
œ œ œ ˙™
- œ
Du - go ang ku - lay ng la - ngit, Du - go ang

6
° Œ j
& œ œ ˙-˙ ™™ ˙ œ œ™ œ œœ ˙ œ œ
œ œ œ
ku - lay ng la - ngit ha - bang pa - ya - pa ang pag - hi -

& œ Œ j
œ œ ˙- ™ ˙ œ œ™ œ œ œ œ ˙ œ œ
ku - lay ng la - ngit ha - bang pa - ya - pa ang pag - hi -

& œœ œ œœ ˙™ ˙ Œ j ˙ œ œ
œ - œ œ™ œ œ œ œ
‹ ku - lay ng la - ngit ha - bang pa - ya - pa ang pag - hi -

? ˙˙ ™™ ˙ Œ j ˙˙ œœ œœ
¢ œ œ œ ˙ œ œ™ œ œ œ œ
-
ku - lay ng la - ngit ha - bang pa - ya - pa ang pag - hi -

12
° ,
& ˙˙ ™™ ˙™ œ˙ œ œœ ˙˙™™ ˙˙ ™™
nga ng m - ga la - - - ot ,
& ˙˙ ™™ ˙™ ˙ œ ˙ œ ˙™
nga ng m - ga la - - - ot
,
& ˙™ œ œ œ ˙ œ œœ œœ œœ ˙˙ ™™
˙ œ
‹ nga ng m - ga la - - - ot ,
? œ ˙™
¢ ˙˙ ™™ ˙™ ˙ œ œ
œ
nga ng m - ga la - - - ot
17
° sub ff ˙˙ œœœ œœœ™™™ œœœ ˙˙ ™™ 2 3 œœ œ œ œœ œœ™™ 3
& œ J 4˙ 4œ œœ
J
Sa ba - wat pag - si - lay ng si - na - u - nang a -
sub ff j
œœ œœ ™™ œœ ˙˙ ™™ 2 3 œœ ™™
& œ ˙ 4œ œ 4œ œ œ œ œœ œ
J
Sa ba - wat pag - si - lay ng si - na - u - nang a -
sub ff
˙ œœ œœ™™ œœ ˙˙ ™™ 2 3 œ œ œ œœ œœ™™ œœ
& œ J 4˙ 4œ J
‹ Sa ba - wat pag - si - lay ng si - na - u - nang a -
sub ff œœ™™
? ˙ œœ œœ ˙™ 2œ œ 3 œ œ œ œ œœ ™™ œœ
œ J 4 4œ J
¢
Sa ba - wat pag - si - lay ng si - na - u - nang a -

23 Soprano Solo tutti sopranos

° ˙˙ ™™ œ œ œ œœœ œ œ 4 œœ w mp U
& ∑ œ 4 Ó™ œ œ œ œ œ œ œ Ó
˙
poy Na hin - di na - u - u - pos na - hin - di na - u - u - pos
mp U
™ 4
& ˙˙ ™ ∑ ∑ ∑ 4 Ó™
œ œ œ œ œ œ œ
poy
w
sub pp na hin - di na - u - u - po -

˙˙ ™™ ˙˙ ™™ ˙˙ ™™ mp U
& ∑ 4 Ó œœ œœ œœ œ˙ œ Ó
4 #œ œ ˙
‹
poy na hin - di na - u - u - pos
sub pp
˙™ ˙™ ˙™ mp U
? ˙™ ˙™ ˙™
∑ 4 Ó œœ œœ ˙˙ Ó
¢ 4 œ œ œ ˙
poy na hin - di na - u - u - pos

Tempo II ca. q = 116

30 * SAT 1st time: whisper
2nd time: voiced p 1. p
° ™™ Ó ™™
& ∑ Ó
b >œ œ œ œ œ œ œ œ b >œ œ œ œ œ œ œ œ
*
lu lu lu lu lu lu lu lu lu lu lu lu lu lu lu lu
p p
& ™™ ∑ ™™
w >œ œ œ œ œ œ œ œ ˙
p p
(o) * da la la la la la la la lal
p
& >¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó ™™ œ œ œ œ œ œ œ œ ˙ Ó b>œ œ œ œ œ œ œ œ ™™
‹ da la la la la la la la >
da la la la la la la la lal lu lu lu lu lu lu lu lu

pp
? ∑ ™™ w w ™™
¢
hmm
Note ! - All ( lal ) and ( lul ) close immediately to ( l )
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
4 33 2. p p
° Ó
&
b >œ œ œ œ œ œ œ œ ˙ bœ œ œ œ
>œ œ œ œ
lu lu lu lu lu lu lu lu lul da la la la la la la la
p p p
&
bœ œ œ œ ˙
>œ œ œ œ œ œ œ œ ˙ >œ œ œ œ
da la la la la la la la lal da la la la la la la la lal
p p
& Ó b>œ œ œ œ œ œ œ œ ˙ œ œ bœ œ
‹ >
lu lu lu lu lu lu lu lu lul da la la la
p p
? >œ œ œ œ œ œ œ œ ˙ >œ œ bœ œ ˙
¢
da la la la la la la la lal da la la la lal

35
°
& œ œ ˙™
˙ œ> œ b œ œ # œ œ œ œ >
lal da la la la lu lu lu lu yong

& œ™ œ œ œ œ œ œ œ
bœ œ œ œ #œ > >
>œ œ >œ œ
da la la la da la la la lu yong da la da la la la lal

>œ œ œ œ ˙
& Œ œ œ bœ œ œ
>
œ œ œ œ œ
>
‹ da la la la lal da la la la lal da la la la lal

? >œ œ bœ œ œ
>œ œ œ œ œ >œ œ bœ œ œ #œ œ œ œ
Œ
¢
da la la la lal da la la la lal da la la la lal lu lu lu lu

37
° Ó Ó
& œ œ œ œ œ œ œ œ ˙
>
da la la la la la la la lal
p
& Ó bœ œ œ œ œ œ œ œ
b >œ œ œ œ œ œ œ œ ˙ b >œ œ œ œ œ œ œ œ
lu lu lu lu lu lu lu lu lul lu lu lu lu lu lu lu lu
sub p
& >œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
>
‹ da la la la la la la la lal da la la la la la la la lal
sub p`
? ˙ Ó Ó b>œ œ œ œ œ œ œ œ
¢
lul lu lu lu lu lu lu lu lu
39
5
°
& >œ œ œ œ bœ œ œ œ ˙ œ œ œ œ bœ œ œ œ ˙
>
da la la la la la la la lal da la la la la la la la lal
`

& ˙ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ
˙ >œ œ œ œ
bœ œ œ œ œ
>
bœ œ œ œ> œ œ œ # œ œ
lul da la la la la la la la da la la la da la la la lu lu lu lu

œ œ bœ œ œ œ œ œ >œ #œ œ
& >œ œ œ œ bœ œ œ œ ˙ > >
œ
‹ da la la la la la la la lal da la la la da la la la da la lu lu
>œ œœ œ>œ œœ
? bœ œ œ œ œ œ bœ œ #œ œ œ œ J
¢ ˙ >œ œ œ œ >
lul da la la la la la la la da la la la lu lu lu lu yong da la

41
°
œ œ b œ œ #œ œ œ œ œœ ™™ œ>œ œœ œ œ bœ œ ˙ Œ
& >
da la la la lu lu lu lu yong, da - la la la la la lal

j œ œ œ bœœ œœ#œœ œœ œœ œ œ œ œ œ œ œ œ
& œ > > #œ œ œ œ œ
>
yong da la la la la la lu - yong da la la la la la lu lu lu lu

˙™ >
&˙ ™ ‰ œœ œœ œ œ bœ œ œ >œ œ #œ œ
‹ yong, da - la la la la la lal da la lu lu
>œ œœ œ>œ œœ
? ∑ bœ œ #œ œ œ œ J
¢ >œ œ
da la la la lu lu lu lu yong da la

43
° œ œ œ œ>œ b >œœ >œœ
& >œ œ bœ œ #œ œ
da la la la lu lu lu lu yong, da lu - yong

œœ œœ
& >œ™ œ œœ bœœ œœ #œœ œœ
>œ
yong da la la la la la lu - yong

œœ œœ œœ œœ
>
& bœ #œ œ œœ #>œœ œœ œœ œœ
‹ da la lu lu da la la la la la la la

? œœ œœ œœ œœ bœœ œœ œœ œœ œœ bœœ #>œœ œœ œœ œœ

¢
la la la la lu lu lu lu yong da la la la
6 44
° stomp
¿
f
bœj ˙ 3 bœj bœ œ™ œ œ 4
& nœ 4 œ 4
Dam - - - bu - - ha - la hi - lak -
stomp mf mf
& ¿
3 4
bœ œ œ œ 4 œ œ œ œ œ œ œ œ œ 4
>œ œ œ œ œ œ > œ
da la la la la la la la la la da la la la la la la la la la
stomp j f
bœ 3 bœj bœ œ™ œ œ 4
& ¿ ˙ nœ 4 œ 4
‹ Dam - - - bu - - ha - la hi - lak -
stomp mf
? ¿ >œ œ œ œ œ œ œ œ œ 3 > 4
¢ 4 œ œ œ œ œ œ œ œ œ 4
da la la la la la la la la da la la la la la la la la

46 stomp
° 4 œ™
&4 œ œ bœ œ œ œ 43 œ œ ¿
bot de - lub - yo ang su -mak - lot
stomp mf
4
&4 ¿
3
bœ œ œ œ 4 œ œ œ œ œ œ œ œ œ
>œ œ œ œ œ œ > œ
da la la la la la la la la la da la la la la la la la la la
stomp
4
& 4 œ™ œ œ bœ œ œ œ 43 œ œ ¿
‹ bot de - lub - yo ang su -mak - lot
stomp
?4 ¿ >œ œ œ œ œ œ œ œ œ 3>
¢ 4 4œ œ œ œ œ œ œ œ œ
da la la la la la la la la da la la la la la la la la

48
° n˙ff˙ œœ œœ bœœ nœœ ™™ bœœ nœœ 4
& 4
Dam - - - - bu - - ha - - la hi - lak -
f
œœ œœ œœ œœ 44
& œœ œœ œœ œœ œœ œ
œ bbœœ œœ œœ œœ œ œ œ œ œ œ
> >œ œ œ œ œ œ
da la la la la la la la la la da la la la la la la la la la
ff
n˙˙ œœ œœ bœœ nœœ ™™ bœœ nœœ 4
& 4
‹ Dam - - - - bu - - ha - - la hi - lak -
f
? >œœ œœ œœ œœ œœ œœ œœ œœ œœ >œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ 4
¢ 4
da la la la la la la la la da la la la la la la la la
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
7
50 stomp
° 4 œœ™™ œœ
&4 œœ œœ bœœ œœ œœ bœœ 3 œœ
4 ¿ 4
4
bot de - lub - yo ang su -mak - lot
stomp
4 3 œœ œœ œœ œœ 44
&4 ¿ œœ œœ œœ œœ œœ œœ bbœœ œœ œœ œœ 4 œœ œœ œœ œœ œœ œœ
> >
da la la la la la la la la la da la la la la la la la la la
œœ stomp
4 Ϫ
& 4 œ™ œœ œœ bœœ œœ œœ bœœ 3 œœ
4 ¿
4
4
‹ bot de - lub - yo ang su -mak - lot
stomp
?4 ¿ >œ œ œ œ œ œ œ œ œ 3 >œœ œœ œœ œœ œœ œœ œœ œœ œœ 4
¢ 4 œ œ œ œ œ œ œ œ œ 4 4
da la la la la la la la la da la la la la la la la la

52
° 4œ œœ œœ œœ œœ œœ œœ œœ œœ
&4 ‰ J J ‰ ‰ œ ‰ J ‰ J ‰
J J
du - ma - da - gun - dong nang hu - ma - gu - not

4
& 4 Ó™ œœ œ ‰ œ bœœ ‰ bœœ œœ œœ œ
J J
du - ma - da - gun - dong nang hu -

4 >
bœœ n>œœ bœœ
œœ >
bœœ
œœ
&4 œ œ œ œ
‹ du - ma - da - gun - dong, du - ma - da -

?4 > >œ œ
œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
¢ 4 >œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ ‰ ‰ œ œ
>
du ma da ga da ga da ga gun - dong du - ma du ma da ga da ga da ga gun - dong du - ma

54 œœ œœ
° œ œœ œœ œ œœ œœ œœ œœ
& ‰ J J ‰ ‰ ‰ J ‰ â
J J ä
du - ma - da - gun - dong nang hu - ma - gu - not

œ j
& ‰ J nœœ ‰ œœ œœ œœ œ ‰ œ
J
œœ
‰ œœ œœ ™™ â
J J ä
ma - gu - not du ma - - da - gun - dong
>œ , n>œœ >œ œœ
& œœ
n œ œ œœ œœ œœ œ â
ä
‹ gun - dong, du - ma - da - gun - - dong

? >œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰
>œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ â
¢ >œ œ œ œ œ œ œ œ œ œ >œ œ ä
du -ma da ga da ga da ga gun - dong du - ma du -ma da ga da ga da ga gun - dong du - ma
 8 56
° Ó œ œ œ œ œ œ 5 >œ >œ b >œJ b >œJ >œ >œ 4
S1 & Ó ∑ Œ œ bœ#œ 4J ‰ J ‰ ‰ ‰ 4L
u - - - u - ma - a - lim - pu - yo
> > > > > >
S2 & ∑ ∑ Œ œbœ#œ œ
˙ 5 œJ ‰ œJ ‰ œJ ‰ œJ ‰ œœ œœ 4
4 4 c
u u - ma - a - lim - pu - yo

5 j j > > > >4

A1 & ∑
œ œ œ œ œ™
bœ œ œ œ œ œ bœ #˙
œ 4 >œ ‰ >œ ‰ bœJ ‰ bœJ ‰ œ œ 4
L
gu - not u - u - ma - a - lim - pu - yo

∑ j 5 j j j j
œ ‰ œ ‰ œ œ 44 c
A2 & œ œ™ œ œ œ bœ œ œ œ œ œ œ ˙ 4 >œ ‰ >œ ‰ > > > >
gu - not u - u - ma - a - lim - pu - yo

œ œ ˙ >œ >œ >œ >œ >œ >œ

œœœ œ 5 4
œ œ bœ ™
T1 & Œ #œ œ 4J ‰ J ‰ J ‰ J ‰ 4L
J
‹ hu- ma - - gu - - - not u - ma - a - lim - pu - yo
> > > > > >
& Œ b˙ #œ ™ œ œ ˙™ 5 œJ ‰ œJ ‰ œJ ‰ œJ ‰ œ œ 4
T2 œ œ˙ J 4 4c
‹ hu - ma - gu - - not u - ma - a - lim - pu - yo
# œ bœ ˙ > > > >
? œ œ™ œœ œ œ bœ œ 5 >œJ ‰ >œJ ‰ bœJ ‰ œJ ‰ œ œ 4
B1 œ œ œJ J J 4 4
L
nang hu - ma - gu - - not u - ma - a - lim - pu - yo

? œ™ œ™ w 5 j ‰ j ‰ >œJ ‰ >œJ ‰ 4
œœ˙
B2 œ œ 4œ œ 4
¢ > > > > c
œ œ
nang hu - ma - gu - not u - ma - a - lim - pu - yo

60
° 4 stomp
¿
f
bœj ˙ œ 3 3
œ bœ œ™ œ œ 4
&4 4œ 4
Ang na - - na - na - lan - tang ra - ga -

stomp mf mf
4
&4 ¿
3 4
bœ œ œ œ 4 œ œ œ œ œ œ œ œ œ 4
>œ œ œ œ œ œ > œ
da la la la la la la la la la da la la la la la la la la la
stomp f
4¿ bœj˙ œ 3 3
œ bœ œ™ œ œ 4
&4 4œ 4
‹ Ang na - - na - na - lan - tang ra - ga -
stomp mf
?4 ¿ >œ œ œ œ œ œ œ œ œ 3> 4
¢ 4 4œ œ œ œ œ œ œ œ œ 4
da la la la la la la la la da la la la la la la la la
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
9
62
° 4œ œ œ œ stomp
&4 J ‰ œ œ bœ œ œ œ œ œ œ 43 bœ ™ J
¿
J
3
4
sa dag - sa ng

stomp mf
4
&4 ¿
3 3
bœ œ œ œ 4 œ œ œ œ œ œ œ œ œ 4
>œ œ œ œ œ œ > œ
da la la la la la la la la la da la la la la la la la la la

œ œ œ stomp
4
& 4 œJ ‰ œ œ bœ œ œ œ œ œ œ 43 bœ ™ J
¿
J
3
4
‹ sa dag - sa ng
stomp
?4 ¿ >œ œ œ œ œ œ œ œ œ 3> 3
¢ 4 4œ œ œ œ œ œ œ œ œ 4
da la la la la la la la la da la la la la la la la la

64
° 3 n˙ff˙ œœ œœ 3
œœ bœœ œœ ™™ œ œœ 4
&4 4
Ang na - - na - na - lan - tang ra - ga -
f
3 œœ œœ œœ œœ 44
& 4 œœ œœ œœ œœ œœ œœ bbœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
> >
da la la la la la la la la la da la la la la la la la la la

3n ˙ ff œœ œœ 3œœ bœœ œœ ™™ œ œœ 4
&4 ˙ 4
‹ Ang na - - na - na - lan - tang ra - ga -
f> >œ œ œ œ œ œ œ œ œ
? 3 œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ 4
¢ 4 4
da la la la la la la la la da la la la la la la la la

66
° 4 nœœ œœ œœ bœ œ œ œ œ œ œ 3 bœ œ˙ œ
&4 J ‰ 4 â
ä
sa dag - sa ng
stomp
4
&4 ¿ œœ œœ œœ œœ œœ œœ bœ œ œ œ 3 œœ œœ œœ œœ â
b œ œ œ œ 4 œœ œœ œœ œœ œœ œœ ä
> >
da la la la la la la la la la da la la la la la la la la la

4 nœœ œœ œœ bœ œ œ œ œ œ œ 3 bœ œ˙ œ
&4 J ‰ 4 â
ä
‹ sa dag - sa ng

stomp
?4 ¿ >œ œ œ œ œ œ œ œ œ 3 >œœ œœ œœ œœ œœ œœ œœ œœ œœ
¢ 4 œ œ œ œ œ œ œ œ œ 4 â
ä
da la la la la la la la la da la la la la la la la la
 Tempo III ca. q = 136 - 140
10 a little bit faster
68
° >œJ ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑
S1 &
da

>œ
S2 & J‰Œ Œ ∑ ∑ ∑ ∑ ∑ ∑
da

>
A1 & œJ ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑
da

hurried
> p
A2 & œJ ‰ Œ Œ ∑ ∑ ∑ ∑ Ó œœ Œ œ œ
j
œœ
da da - a - lu -

>œ
T1 & J‰Œ Œ ∑ ∑ ∑ ∑ ∑ ∑
‹ da

hurried
p
n>œ j
T2 & J‰Œ Œ ∑ ∑ ∑ Œ bœ˙ œ bœ œ Œ œbœ œ ˙
‹ da da - lu - yong da - lu -

hurried
>œ p
bœj˙ œ œ œŒ bœj ˙ œ œŒ
B1
? J‰Œ Œ ∑ œ œ œ ˙™ œ œ
da da - lu - yong da - lu - yong da - - lu - yong

marcato/intense
f sub p hurried
B2 ? œJ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰
¢ J J J J J J J J J J J J J J J J J J J J
da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong
 11
75 p legato
° ∑ ∑ ∑ Ó ‰™ r
& œ ˙ œ
Du - go ang

hurried
p
∑ j
& œœŒ œ œ
j
œœ œ ‰ œ
œ #˙ œ ‰ œœŒ œ
da - a - lu - yong da - lu - yong da - a -

hurried
p p legato
& ∑ ∑ œœ Œ œ
j
œ œœ ‰™ r
œ œ ˙ œ
da - a - lu - yong Du - go ang

& œ ‰ œ ‰ Œ j ‰ œ ‰
œ# œ œ b œj œ œ œ œ œ œ œ œ# œ œ b œj œ œ
yong da - lu - yong da - a - lu - yong da - lu - yong da -

hurried p legato
p
œj œœ œ
& Œ œœ Œ œ œœœ œ ‰ Œ œ œ ‰ ≈ œr ˙ œ
œ J
‹ da - a - lu - yong, da - lu - yong da - Du
- - go ang

p
j œ j
& œ œ bœ œ œ œ bœ Œ œ bœ œ œ ˙ œ bœ ˙ œ
‹ yong da - - lu - yong da - lu - - yong da -

bœj œ œ œ œ
? œ œœ˙ œ œ œ Œ œ œœ œ ˙ œ
da - lu - - yong da - - lu - yong da - lu - - yong

? œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰

¢ J J J J J J J J J J J J J J J
da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong
12
80 poco a poco cresc. mp
° b-˙ ™ ‰ ≈ œr ˙ -
& œ œ œ ˙ œ œ œ œ b˙ ™
ku - lay ng la - - ngit, Du - go ang ku - lay ng la -

poco a poco cresc.

& œ œ œ ‰ œœ j
œ
j
#˙ œ‰ œœŒ œ œ
j
œœœ ‰ œœ ˙ j‰
œ œœ
Œ
œ
lu - yong da - lu - yong da - a - lu - yong da - lu - yong da - a -

poco a poco cresc. mp

& œ œ œ ˙- ™ ˙ ‰ ≈ œr ˙ œ œ œ œ ˙™
-
ku - lay ng la - - ngit, Du - go ang ku - lay ng la -

poco a poco cresc.

j
& Œ œ œœ œ
j
œ
‰œ
œ# œ
‰
œ b œj œ œ
Œ
œ œ
j
œœ œ
‰ œœœ
œ œ‰ œœ
- a - lu - yong da - lu - yong da - a - lu - yong da - lu - yong da -

poco a poco cresc. mp

-˙™ ˙ -˙ ™
& œ œ œ ‰ ≈ œR ˙ œ œ œ œ
‹ ku - lay ng la - - ngit, Du - go ang ku - lay ng la -

poco a poco cresc.

j j
& bœ œ Œ œ œœ ˙™ œ bœ ˙ œ bœ œ Œ œbœ œ ˙ œ œ bœ œ
‹ - lu-yong da - lu - - yong da - - lu - yong da - lu - - yong da -

poco a poco cresc.

bœj bœj
? ˙ œ œ œŒ œ œ œ ˙™ œ ˙ œ œ œ Œ œ œœ˙
da - - lu - yong da - lu - - yong da - - lu - yong da - lu -

poco a poco cresc.

? œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰

¢ J J J J J J J J J J J J J J J J J J
da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
13
86 poco a poco cresc.
mf
° ˙ -˙ ™ ˙
& ‰ ≈ œR ˙ œ œ œ œ ‰ ≈ œR ˙ œ
ngit, Du - go ang ku - lay ng la - ngit, Du - go ang

mf poco a poco cresc.

‰™ r ˙ ‰ ≈ œr ˙
& œj œ œ œ œ ˙ œ œ œ œ ˙™
- œ
lu - yong Du - go ang ku - lay ng la - ngit, Du - go ang

mf poco a poco cresc.

& ˙ ‰ ≈ œr ˙ œ ˙™ ˙ ‰ ≈ œr ˙ œ
œ œ œ -
ngit, Du - go ang ku - lay ng la - ngit, Du - go ang

poco a poco cresc.

j j
& Œ œ œ
j
œ œ œ ‰ œœœ œ œ‰œœ Œ œ
œ
j
œœ œ ‰ œœœ œ œ‰œœ
- a - lu - yong da - lu - yong da - a - lu - yong da - lu - yong da -

mf poco a poco cresc.

˙ ‰ ≈ œR ˙ œ b-˙ ™ ˙ ‰ ≈ œR ˙ œ
& œ œ œ
‹ ngit, Du - go ang ku - lay ng la - ngit, Du - go ang

poco a poco cresc.

j
& œ œ bœ œ Œ œ bœ œ œ ˙ œ œ ˙ œ œ œŒ œ œ œ b˙ ™
‹ - lu - yong da - lu - yong da - lu - yong da - lu -

poco a poco cresc.

? œ œ Œ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰
J J J J J J J J J J J J J J J
yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong

poco a poco cresc.

? œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰
¢ J J J J J J J J J J J J J J J J J J
da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong
 poco a poco rit...
14
92
° œ œ œ -˙ ™ ˙™ œ œ™ œ œ œ
& J œ
ku - lay ng la - - ngit, ha - bang pa - ya - pa na -

poco a poco rit...

-˙™ œ œ™ œ œ œ
& œ œ œ ˙™ J œ œ
ku - lay ng la - - ngit, ha - bang pa - ya - pa nang na-

poco a poco rit...

-˙™ j
& œ œ œ ˙™ œ œ™ œ œ œ œ œ
ku - lay ng la - - ngit, ha - bang pa - ya - pa nang na-

poco a poco rit...

j
& Œ œ œ
j
œ œ œ
‰ œœœ
œ œ Œ œ œ™ œ œ œ œ œ
- a - lu - yong da - lu - yong ha - bang pa - ya - pa nang na-

poco a poco rit...

œ œ œ -˙ ™ ˙™ ˙™ ˙ œ
&
‹ ku - lay ng la - - ngit, ha - - bang na -

poco a poco rit...

j œ ˙ œ
& œ œ ˙ œ œ œ Œ œ œ œb˙ œ œ
‹ yong da - - lu - yong da - lu - - yong, ha - bang na -

poco a poco rit...

? œJ ‰ >œJ ‰ œJ ‰ œJ ‰ >œJ ‰ œ ‰ œ ‰
J J
>œ œ
J ‰ J ‰
˙™ ˙™
da - lu - yong da - lu - yong da - lu - yong da - - lu - -

poco a poco rit...

? œj ‰ œj ‰ œj ‰ bœj ‰ œj ‰ j
œ ‰ œj ‰ j j œ ‰ >œ ‰ œ ‰ œj ‰ œj ‰ œj ‰
¢ > > œ> ‰ œ ‰ J J J >
da - lu - yong da - lu - yong da - lu - yong da - lu - yong da - lu - yong
is license entitles “SAIGON CHOIR” Quang ai Huynh, conductor, to perform this work for use of 40 singers of this choir.
Replicating and sharing to non members of this choir is prohibited. Your cooperation is appreciated.
poco rall. 15
lunga
°
97 ˙™ b˙ œ ˙™ œ -œ -œ -˙ ™ U
˙™
&
ma - ma - hi - nga ang m - ga la - ot.

poco rall. lunga

œ œ™ œ ˙™ ˙™ œ -œ -œ -˙ ™ U
˙™
& J
ma - ma - hi - nga ang m - ga la - ot.

poco rall.
lunga
œ™ ˙™ œ -œ -œ U
˙™
& œ œ
J
œ œ œ b-˙ ™
ma - ma - hi - nga ang m - ga la - ot.

poco rall.
lunga
U
& bœ œ™ œ b˙ ™ ˙™ œ œ- œ- ˙™
-
˙™
J
ma - ma - hi - nga ang m - ga la - ot.

lunga
poco rall. U
˙ -˙™ ˙™
& ˙
™ œ ˙™ œ ‰ œ-j œ œ
‹ ma - -
- - ma - hi - nga ang m - ga la - ot.

poco rall.
lunga
˙™ ˙ œ ˙™ œ ‰ œ-j œ œ -˙™ U
˙™
& - -
‹ ma - - ma - hi - nga ang m - ga la - ot.

poco rall.
lunga
? ˙™ ˙™ ˙™ ˙™ -˙ ™ U
˙™
yong da - lu - - yong

poco rall. lunga

U
? bœj ‰ œj ‰ œj ‰ bœj ‰ œj ‰ œj ‰ ˙™ ˙™ b˙- ™ ˙™
¢ > >
da - lu - yong da - lu - yong da - lu - - yong
 ca. q = 112 approx 7"
* Figure I Freely approx 6"
16103 Solo
° p longing
œ œ œ
& œœ J
L
p longing I lost my hus - band Tutti: enter sparsely and
Solo slowly fade away until bar 109

& œ œ œj
œœ L
I lost my mo - ther p longing
Tutti: enter sparsely and
Solo slowly fade away until bar 109
œ œœ
& œœ J c
‹ p longing
I lost my son Tutti: enter sparsely and
Solo slowly fade away until bar 109
? œ œ œ
¢ œœ J c
I lost my bro - ther

* Instructions:
1. Enter - Solo Alto, then Solo Tenor, Solo Bass, and Solo Soprano Text Options:
2. After 7" Enter- Tutti, singing respective lines in I lost my mother I lost my wife
random different manner. I lost my father I lost my husband
3. Singers may change and choose 3-4 texts I lost my sister I lost my love
from the text options. I lost my brother I lost my friend
4. On bar 106, few singers to continue singing this passage,
slowly fade out until bar 109. Other singers go back to respective lines.
5. Notes in ( ) may be sung or omitted depending on the text used.

Soprano Solo
enter on cue Tempo I ca. q = 76 - 80
104
œ ˙ ™™
° bœ œ™ œ œ œ 3 ˙™
R ˙™ ∑ ∑ ∑
& R 4
Da - - lu - yong
Figure I few singers continue with Figure I until bar 109, slowly fade out end
&
3
4
soprano p very calm
3
& 4 Ó™ ˙ œ ˙- œ ˙™ ˙˙ Œ
Sa mu - ling pag - si - lang
alto p very calm
3
& 4 Ó™ œ ˙™ ˙
Œ
˙ œ ˙-
Sa mu - ling pag - si - lang
tenor p very calm
3
& 4 Ó™ ˙ œ ˙- œœ ˙˙ ™™ ˙˙ Œ
‹ Sa mu - ling pag - si - lang
bass p very calm *
? 3
¢ 4 Ó™ ˙ œ ˙
˙-
œ
œ ˙™
˙˙ Œ
˙
Sa mu - ling pag - si - lang
* notes in ( ) sing if possible
if not, just sing the top note.
* may omit top note if notes in ( )
have been chosen.
 solo soprano or few s1
p (not overpowering)
110
˙ ˙™ ˙™ ˙™ ˙™ 17
° ∑
& œ
da - lu - - - - yong

j j ˙™ ˙ œ
& œ œ™ œ œ œ ‰ ‰ œj ˙™ ˙ œ
ng si - na - u - nang a - poy na nag - pa - pa -

& œ j j ‰ ‰ j ˙™ ˙˙ ™™ ˙˙ œœ ˙ œ
œ™ œ œœ œœ œ ˙™
ng si - na - u - nang a - poy na nag - pa - pa -

j j ‰ ‰ j ˙™ ˙˙ œœ ˙˙ œœ
& œ œ™ œ œ œ œ ˙˙ ™™
‹ ng si - na - u - nang a - poy na nag - pa - pa -

? j j j œ
œ ‰ ‰ œ ˙™
œ œ™ œ œ ˙™ ˙˙ œœ ˙˙
¢ œ
ng si - na - u - nang a - poy na nag - pa - pa -

116 pp
° Ó p ˙™ ˙™
& œ œ Œ œ ˙™ ∑
da - lu - - yong da - lu - - yong
loy poco a poco decresc.

& ˙™
˙™ œ˙™ Œ œ ˙™
˙™ œ˙™ Œ œ ˙™
˙™ œ˙™ Œ œ
tu - - loy, pa - tu - - loy, pa - tu - loy, pa -
poco a poco decresc.
& ˙™ œ Œ œ ˙™ œ Œ œ ˙™ œ Œ œ
tu - - loy, pa - tu - - loy, pa - tu - loy, pa -
poco a poco decresc.
˙™ ˙œ ˙™ ˙™
œœ
œ œ ˙™ œœ Œ œœ ˙™ œœ Œ œœ
& œ œ
‹
tu - - loy pa - tu - - loy, pa - tu - loy, pa -
poco a poco decresc.
? ˙ ™™ œœ œœ ˙™ œ Œ œ
¢ ˙˙ ™™ ˙˙ œœ ˙ Œ Ó™ Ó™
tu - - loy pa - tu - - loy, pa - tu - loy, pa -
no rit.

122 U
° ˙™ œ˙™ œ ˙™ œ˙™ œ ˙™ œ˙™
& ˙™ Œ ˙™ Œ ˙™ Ó
tu - loy, pa - tu - loy, pa - tu - loy

& ˙™ œ Œ œ ˙™ œ Œ œ ∑ ∑
tu - loy, pa - tu - loy, pa

˙™
˙™ œœ Œ œ ˙™ ∑ ∑ ∑
¢ & Ó Ó™
‹ tu - loy, pa - tu
Deo Gratias! 011417 Manila, Philippines