My Briefcase

John Kilpatrick

S A T B (div)
with piano accompaniment

©2006 John Kilpatrick

This work may be freely duplicated, performed and recorded.
2

“My Briefcase” - A True Story

Words & Music by John Kilpatrick
1998 – unaccompanied version
2001 – accompanied version
2006 – reset in Overture in fewer pages
©1998, 2001, 2006 John Kilpatrick
This work may be freely duplicated, performed and recorded.

Performance
Expression and speeds mostly not given, and should be decided by the performing group. The piano
part is required for the Recits., and the piano bass line is required in section 9. Otherwise the
accompaniment is optional.

Admission
The story is true, but there are two instances of artistic licence: the unfavourable remarks in section 4
about metrication and Europe do not represent the true sentiments of the composer; and the dog
introduced in section 8 was in reality a Doberman, not a Doberman Pinscher.

Libretto
1. Opening
Si apre solo in questo senso.
2. Recit.
I had a briefcase, a favourite briefcase. It was a present from my wife (his first wife).
It was Brown. It was Strong. Its make was Samsonite. Its surface was sort of like simulated leather, but not like any real animal
or dinosaur; more like the floor of a dried-up reservoir, or crazy paving, where the children play games with the cracks.
3. Fugue
Where the bears and crocodiles lurk in the cracks be careful - don’t get caught - mind where
waiting for children, to eat them up. your feet go - you must be careful - they’re
Where the bears and crocodiles lurk in the cracks bad - they’re very nasty - mind your step -
waiting for dogs and children. don’t tread on them (etc.)
4. Recit. and Objections
My briefcase was capacious, holding all manner of articles. With comfortable clearance from the hinges it could take A3 paper.
What’s that? A3? What’s that? metric? We don’t like metric. Down, down with Europe. What’s wrong with Quarto? What’s
wrong with Foolscap?
Do you like numbers? I’ll tell you about Foolscap.
5. Foolscap
One and one is two,
One and two is three,
Two and three is five,
Three and five is eight,
Five and eight is thirteen.
Foolscap’s edges are eight and thirteen so come in the Fibonacci series. Because the edges are Fibonacci numbers, Foolscap
approximates to the Golden Rectangle.
6. Recit.
Never mind Quarto, never mind Foolscap. Don’t forget there’s another size, not metric, not an A size: Octavo - much used for
music the whole world over – that’s what my briefcase was used for.
7. Music
Music.
8. Recit.
And now for the sad part. My briefcase was stolen from my wife’s car (his second wife).
I rang the baby-sitter (her name was Lisa). I’ll be late. Lock the door. They’ve got the keys.
She was frightened; rang her father. When I got home there were two men (big men) and a Doberman Pinscher.
9. Dog
Woof. Arf.
10. Recit.
And now for my special memory of my briefcase. It had on it an inscription in four languages: I remember but two.
11. Close
Si apre solo in questo senso. Which is to say: Opens this way only.
John Kilpatrick - 1998
 3
My Briefcase
A true story
Words & Music by John Kilpatrick
1. Opening
c sit
solo
; 2 c t | | t| !t
1 ap - re so - lo
c t c t | | | c t |
tutti
¼ €2 | | | | t
Moderato
S. t
¼ Si ap - re, si ap - re, si ap - re so - lo, si ap -
¼ 2 c t c t c t a c t
A. ¼ €2 | | | tttt | | t t !| | |
¼
¼ 2
Si ap - re, si ap- re, si ap - re so - lo, si ap -

T. ¼ †2 c t | | | c t tttt | | c t t t | | a c t |
¼
¼ •2
Si ap - re, si ap- re, si ap - re so - lo, si ap -

A | | A | | | t t a A
B. <¼ 2 | |
Si ap - re, si ap - re, si ap - re so - lo, si

2 c t c ttt || || c t t | | a c tt |||
> €2 ||| ||| ||| ||| tt
Moderato

tt | | t tt ! | | t
? •2 t tt | || a A
2 A | | A | | | |

; c
c t | | "| t |t t "| c "t "| | "|
9 solo si
c t |
ap - re so - lo
| | | t
tutti
S. ¼€ t
¼
¼
re, si ap - re, si ap - re so - lo in que - sto,

¼€ | | c t tttt | c t a " "AA "|| ||

A.
| t t | |
¼
¼ | |
re, si ap- re, si ap - re so - lo in que - sto,
| | b | c t t t "| a " "AA AA
T. ¼† |
¼
¼• |
re, si ap - re, si ap - re so - lo in que -
| | | tttt | | t t "| | a "A "A
B. ¼<
ap - re, si ap- re, si ap - re so - lo in que -
c "|
> € ||| |||
c ttt ||
|
||
| ||| c t
t tt tt "|
|
|
|
a " "AA "t "AA| "|

? • | | t tt "| | " " "AAA A

| A | | "| a "AA

; c "t "| | ²
"|| "|A
in que- sto, in
| | "t
"| "t AA
17

¼€ c "t | "| | "| "|| "| "t "t

div.
S. "|
¼
¼ ²
in que - sto sen - so, in que - sto, que - sto sen - so.

A. ¼€ # "|| "|| #|| #| | #| "A "A "| | A A

¼
¼
in que - sto sen - so, in que - sto sen - so.

" "AA "|| "|| " "|| ²

¼† "|| "A
"| "A #| "|| c tI tI | A
que - sto sen - so.
T.
¼ "| "A | A
¼ ²
"A
sto, in que - sto sen - so, que - sto, sen - so.
¼• A "| | "A "A "| | A
B. <¼ A
sto, in que - sto sen - so, que - sto sen - so.
c c "t "| | | ²
> € # "AA "t
| #||| #|| "|| #|| "| "|| " "|| "t| t "|| || "|AA "t t AA
A
" ""AAA " || "|| ""|
? • A "|| "||| "A
"| "|
"A
" "AA
#| "|| A
"A "|| | A A
A
³
© 2001, 2006 John Kilpatrick
This edition may be freely copied and performed
4

2. Recit.
ó
Tenor Solo
"tY "tY
† 22 c t Yt tY t
1
t t
In free time

(T) t t c t t t t c t t t tI tI | | c tI tI
I had a brief - case, a fa - vou -rite brief-case. It was a pre - sent from my wife. It was
; 2 a a a a a b c tI tI
S/A ¼ €2
¼
¼ •2
It was

a a a a b cÇ tY tY t Ç c tY tY
T/B <¼ 2
(his first wife) It was

2 || b
> € 2 || ||
| AA || AA ||| || ||
|
AA | || AA
? •2 A
2 | " "|| || || b

ó
tÇ Yt | |
7

(T) † A | c tI tI A c t t t b c t t t t t t t t
Ç
ttt tt Ç
Brown. It was Strong. Its make was Sam - son-ite. Its sur - face was sort of like
; c tI tI c tt tI | | b a a
S/A ¼€ AA #|| "AA t !t Ç Yt | |
¼
¼• "AA || c tY tY "AA "tt tt ÇÇ tYt || ||
Brown. It was Strong. Its make was Sam - son-ite.

T/B ¼<¼ c t tt b a a

|| b c tt tt A | b
> € AA "AA t t !A | AAA AAA
? • "AA "AA tt "ttt AA ||
|| b c t t A | b AA AA

ó
tY tY tY tY "tY Yt "t t ót t
15

(T) † t t t t t t tI I
t tI "tI "tI I
t |Ç t t t
sim - ul - at - ed leath- er, but not like an - y real an - im - al or din - o - saur; more like the floor of a

> € || " "|| ||| "AA || |

# ||
| ||| AAA |
? • | A
AA AA "|
| "| "A "|| |||

t t tY tY tY tY "t "t t t | "tó t t ót t t ót t |Ç

20

(T) † c
dried up re - ser - voir, or cra - zy pav - ing where the chil - dren play games in the cracks.

> € AAA
A " " "AAA AAA " " ||
| "||
""| |Ç
|Ç
" "AA AA
? • AA
" "|| #|
"| || ÇÇ
 5

3. Fugue
; 2 Andante t t t
¼ €2 c a a a a c
1
S.
¼
¼ 2
Be care - ful,

A. ¼ € 2 tI !tI t t tI tI t "t "tI tI | t I t I t t t c "t I t tI t c t !t t

¼
¼ 2 c
Where the bears and cro -co-diles lurk in the cracks wai - ting for chil - dren, to eat them up. Be care - ful,
a a a b c tY !tY t
T. ¼ †2 t I
t tI t
¼
¼ •2 c
Where the bears and cro - co- diles

B. ¼< 2 a a a a a

2 "t "t t t c "t c tt !tt tt

Andante
> € 2 t !t t t t t t | t t t t t t t
? •2 c t !t t t t t
2 a a a b c

; !tY | |
6
t t t t c !tI !tI t t tI tI t t "tY Yt | t I
S. ¼ € c tY t tI t t
¼
¼
don't get caught, mind where your feet go. Where the bears and cro-co-diles lurk in the cracks wai - ting for chil-dren,

A. ¼ € c tI tI | "| t t t t b a a a
¼
¼ t "tY tY | t tY tY t t c t tY Yt t
don't get caught, mind where your feet go.

T. ¼† c t t t c !tI !tI | | t t
¼
¼•
lurk in the cracks wait - ing for chil-dren, to eat them up. Be care - ful, don't get caught, mind where your

B. ¼< a a a c !t !t t c tY #tY !| "| t t

Be care - ful, don't get caught, mind where your

c tt !tt || "|| tt tt tt tt c t t "t | t t

> € !t !t t t t |
t "t | | t t t t t
? • c c !tt !tt tt c !tt !tt || "|| tt tt

; t I t t t | |
12

S. ¼€ c t tI t c c tI tI "t t t t b
¼
¼
to eat them up. Be care - ful, don't get caught, mind where your feet go.

A. ¼€ a c t !t t c tI tI | "| t t t t c t !tI
I
¼
¼
Be care - ful, don't get caught, mind where your feet go. Where the

T. ¼ † !t t b a a a a
¼ "t " t Yt
¼• t t c tY tY t "tY tY | "t tY tY t t tY t
feet go.
t tY tY t c
B. <¼
feet go. Where the bears and cro - co-diles lurk in the cracks wait - ing for chil - dren, to eat them up.

c t t t c tt !tt tt c tt tt || "|| "tt tt tt tt

> € t !t
t t t "t "t | "| t t "t t t
? • !tt tt c t t t c
6

; t !tt tt || tt " "tt " "ttY tYt tt "tt " "||

17

S. ¼€ c t c c !tI !tI
¼
¼
You must be care - ful, they're dan - ger -ous, they're bad. Where the

¼€ t "t "tI I
t | t t t
tI I t | |
A.
t tI tI t
¼
¼
bears and cro - co - diles lurk in the cracks wait - ing for dogs and chil - dren.

¼† c t "t t "| "t tI t "t

I t t I
I t !|
T. "t tI tI t
¼
¼•
You must be care - ful. Where the bears and cro - co - diles lurk in the cracks

| t t "t "| t "t #t

B. <¼ "| Ç |Ç
You must be care - ful, you must be care - ful,

t "t |
> € t| ! ||| |
"|| ||| "t| || !!||| ! |||
A " maj9 D" 7 D" ?
c t "| c "t c "t "| c t
A maj9
? •
C7 C?

|Ç t "A "t t "| Ç t A t t

;
21
t "tY tY | | | | t t
S. ¼€ t t tI tI t t t t
tI I t | t t
¼
¼
bears and cro -co-diles lurk in the cracks wait - ing for dogs and chil - dren. Care - ful, they're

¼ € c tt t t || ||
c "|
tt " | "tt !tI !tI t t I
t tI t
¼ t t " "tt tt
A.

¼
You must be care - ful, they're ve - ry nas - ty. Wherethe bears and cro-co - diles

¼ † !t tI I t !t t "| | "| t t !t | | !t t
¼ t
T.

¼• t
Y "t "t " tY Yt "| "t tY tY "t t
wait - ing for dogs and chil - dren. They're ver - ry nas - ty, be care - ful,

B. ¼¼< | !t t #t "t c tY "t tY tY t

ve - ry care -ful. Wherethe bears & cro-co-diles lurk in the cracks wait - ing for dogs and

t "t | t ! |||
> € !|t ! ||| ||
| |||
"t| || ! !!||| !!||| !|t
"
c | B " maj9
"t E"7 "|E ? |
? • t t "Ac t t "|c Ç "t c
A !t
t t c| Ç t
B maj9 E7

|Ç t t
D7 D? E?

; tYt tYt tYt d b tt tYt tYt tt

" "|| tt
26

S. ¼ € || || c c
¼
¼
nas - ty. Mind your step, care - ful, don't tread on them.
t Yt tY | tIt tIt tIt d b c c tt tt I
I tt tt
A. ¼€ | t
¼
¼ tYt tYt tYt d b
lurk in the cracks. Mind your step, care - ful, don't tread on them.

¼ † #t tI tI c "|| tt c tt tt I
I tt tt
T.
|
¼
¼• | | tY tY tY d b
care - ful. Care - ful! Mind your step, care - ful, don't tread on them.

c "| t c t tI tI t
B. <¼
chil - dren. Mind your step, care - ful, don't tread on them.
|| ||| tI d c b c " "||| ÇÇÇ t c b
> € | ttt t
A" 9
b | |Ç
t " "|| ÇÇ
C maj9 Am 7
? • d
C

A Yt c b c t c b
t
 7

4. Recit. & Objections

"tY tY
† 22 c t tY tY
1
t t c t t "t
In free time
(T) tI tI t "t "tI tI | t
My brief - case was ca - pa - cious, hold - ing all man - ner of ar - tic - les. With

€ 22 AAA || || "|| ||
> | | " "AA
? •2 A | | "|| || A
2 A | | "A

ó ó
t
5

(T) † tI I
t tI tI tY Yt tY Yt t t t t !t t t |
com - fort - ab - le clear - ance from the hin - ges it could take A - 3 pa - per...

> € | || A A
| A !A
? • "|| || AA AA

; | tI t d t t d "| tI t d b
8
t c b t c b
a tempo
S. ¼€ | I |
¼
¼
What's that? A - 3? What's that? A - 3? What's that? Met - ric?

A. ¼€ | t c b tI t d | t
c b I
t t
d | | tI t
db
¼
¼† | tY t d | | tY t d b
What's that? A - 3? What's that? A - 3? What's that? Met - ric?
t c b | t c b Yt t d
T.
¼
¼ t t tY tY | tY t d
¼¼ • t t t tY tY | t t
What's that? A - 3? What's that? A - 3? What's that? Met - ric?
c c c t c c t b
B. <
What's that, a met - ric size? What's that, a met - ric size? What's that, Met - ric?

||| tt c b tt tt d
I || tt c b ttt ttt d "||| ttt ttt d b
> € t t t | t
I ||| I
? • c t t t t t |
c c t t t t t | c c t t t Yt t d
b

; 11 | | "| "|| "tt tt c

14
| c AA t c "AA "|| || c
faster
S/A ¼ €4 AA | || tt tt | "| t tt | "AA #tt tt
¼
¼ "| | t #"||
We don't like met-ric. Down, down with Eur -ope. What's wrong with Quar-to? What's wrong with Fools-cap?
AA ||
¼ • 114 AA || || || tt !|| || || tt " "AA | || | t "AA | t
T/B <¼
We don't like met - ric. Down, down with Eur - ope. What's wrong with Quar - to? What's wrong with Fools - cap?

"| "||
> € 114 AA |
| || tt tt c AA |
| "|
| t
t tt c "AA | tt tt c
"AA "|| || #tt tt c
AA || "| | | t "AA #"|| || | t
? • 114 AA || || || tt !|| || tt " "AA | | | t

ó
Soprano Solo

t tY Yt õ Yt t t ²
18

€ c tI tI tI t t c
freely
(S)
|
Do you like num - bers? I'll tell you a - bout Fools - cap.
(unaccompanied)
8

5. Foolscap
Soprano Solo

õ õ õ õ t
€ 22
1
t t t t
Moderato

(S)
t t t t t t t t t t t t t t t t t t t
One and one is two, one and two is three, two and three is five, three and five is eight, five and eight is

> € 22 A
A
A
A
A
A
A
A
A
A
|| | || | ||
? • 22 A| || A|| A| A| AAA

6
tY t Ç | A õ õ õ
(S) € t t t t t t t t t t t t t t t
thir - teen. Fools - cap's ed - ges are eight and thir - teen so come in the Fi - bo -
; b Ç
S/A ¼€ b Ytt tttÇ Ç
tI AAA a a a
¼
¼ tYt tt ÇÇ AA
thir - teen.

T/B ¼<¼ • b a a a

€ b ttYt ttt ÇÇÇ AAA |

!| | "| "| "| "|
> | | | "| "|
? • Ytt tt ÇÇ AA
b A A A
A A A
11
õ t Yt tÇ | |©
€ t t t t t t t b
(S) t
na - cci se - ries, the Fi - bo - na - cci se - ries.
; a a b c t
t tt ÇÇ
tutti
S/A ¼€ tI ||
¼
¼• tYt tt ÇÇ ||
se - ries. Be -

T/B ¼< a a b b

€ b ttt
I ttt ÇÇÇ ||| c t
> | | "A
!| | A
? •
A A b tYt tt ÇÇ || b
A A

; t !|| ||
tY tY t tY tI I t tt tt tt
15

¼€ t tI t t c t t t I
I
S. t tt
¼
¼
cause the ed - ges are Fi - bo - na - cci num - bers Fools - cap ap - prox - im - ates to the Gold - en

¼€ | c t t t || ||
A. | | | t t t tI tI
¼
¼
Fi - bo - na - cci. Fools - cap ap - prox - im - ates to the Gold - en

b | t tI tI t tY t t !| |
T. ¼† t t tI tI
I tt t tI t t
I
¼
¼• t Yt tY t t
Be - cause the ed - ges are Fi - bo - na - cci, ap - prox - im - ates to the Gold - en

| t t t Yt tY tI tI Yt Yt | t t !| |
B. <¼
Be - cause the ed - ges are Fi - bo - na - cci num - bers, ap - prox - im - ates to the Gold - en

t| !||| ||||
> € t t
| t t| t t t
t| t
c
tt tt tt tt tt ttt ttt tt |

? • || t
tt t tt tt t t| t t tt tt tt t tt tt !! || ||
| t t t
 9

; !|| || || ó| || AA
#|| || |
20

S. ¼€ t tÇ tY ! tt t t tÇ I
t
¼ Rect - óan - gle.
¼
Rect - an - gle, the Gold - den Rect - an - gle, the Gold - en

A. ¼ € !tt tt ÇÇ tI
t !tt !|| || tt tt tt ÇÇ tIt
|| || || || || AA
¼
¼ ó
Rect - an - gle, the Gold - en Rect - an - gle, the Gold - en Rect - an - gle.

¼ † !A !A || ÇÇ tt | | | A
T. !| |
¼
¼• | ó
Rect - an - gle, the Gold - en Rect - an - gle.

B. ¼< | !| !t t #| Ç t !| | #| | | A

AAAA AAAA
Rect - an - gle, the Gold - en Rect - an - gle.
!||| |||
> € !||| ÇÇÇ !! tttt ! ##|||| |||| AAA | |

? • !A| !A A
| !| !t t #AA !!|| || A
#A
A
A

6. Recit.

tó
Tenor Solo

† 22 b tó t |
1
t t t
More rhythmically
t |Ç b t |Ç t
In free time
(T) !t
Ne - ver mind Quar - to, Ne - ver mind Fools - cap. Don't for - get

2
> €2 A A AA AA AA
? • 2 AA AA AA AA !AA
2

| "t "| | | |
6

(T) † !t t #t | !t t c tI I
t !t t c t
there's an - o - ther size, not met - ric, not an A size: Oct - a - vo,

AA
> € "AA " "AA !AA | " "||| #A
!AA A
? • AA "AA AA !||| | #A A

²
12

† t | t | | t t t t | | c t t t t b "
(T)
tI I
t t t |
²
much used for mu - sic the whole world o - ver. That's what my brief - case was used for.

AA AAA !AAA A "AAA A | b "

> € A A " #AA AA ||
? • " "AA "AA !AA AA "AA AA || b "
³
10

7. Music
; " 32 t t !t t t t !| t t t #t
1 Andante

S. ¼€ t t t t !t t !t t t t t t A |
¼
¼ "
Mu - sic, mu - sic, Ah mu - sic,
32
S. ¼€ | A | | | t t | !| | | | A |
¼
¼ "
Mu - sic, mu - sic, mu - sic, mu - sic,
32
¼€ t | t | | t t | | | # | "| "|
| t t #A
A.
¼
¼
Mu - sic, mu - sic, mu - sic,

¼ †" 32 t t #t "t t #t | "t t t t "| #| | A "A |

T.
¼ |
¼ Mu - sic, mu - sic, mu - sic,

¼ †" 32 | |
T.
¼ t t | | | | | | | A A |
¼ Mu - sic, mus - sic, mu - sic, mu - sic,

¼ •" 32 A | AÇ | | | | A "A |
B. <¼
Mu - sic, mu - sic, mu - sic, mu - sic,

"3 t| t t t !t| t t t !| t| t t
!t| t !t| t #| #t t| t
Andante

> € 2 t t | tt tt | !|
# A| "| "||
|
t t #t "t t #t | "|| || ||| |#|| ||| #AAA
? • 3 |
"2 A | | b A " "AAA |||

; " ¹ t t
| A !t t !t t
6

¼€ | | "| #| | #| t t t t
S.
!t t
¼
¼ " ¹
mu - sic, mu - sic. Ah ...

¼€ "A | A | | t "| t | A | |
S.
|
¼
¼ " ¹
mu - sic, mu - sic, mu - sic, mu - sic. Ah ...

¼€ A | A "| | | | t | t | | t t
|
A.
¼
¼ ¹
mu - sic, mu - sic, mu - sic. Ah ...

¼ †" c t t "t t t t t | | A | | t t #t "t t #t | "t t

¼
T.

¼ Ah mu - sic.
¹
Ah ...

¼ †" c t t "t t t t t | | A | t t A | | |
¼
T.

¼ Ah mu - sic.
¹
Ah ...

¼ •" "A A "| t t "t t | A | AÇ

B. <¼ |
¹
mu - sic, mu - sic, mu - sic. Ah ...

" "|| #|A | #| || Ç A| "| t| t t t !t| t !t t

> € "AA| | | A "|| | | t t t | | !t| t
|
c t t "t t t ¹ | t #t "t t #t | "||
? •
" "A At t | "|| At
t "t t
|| A t | |
|
 11

; "
11
t t !| | ¹ !| | #| |
S. ¼€ t t b b aÇ b b
¼
¼ " t !t t t ¹
Mu - sic, mu - sic,

t t | b c t #t t !| b | | b | |
S. ¼€ |
¼
¼ " ¹
Ah ... Mu - sic, mu - sic,

¼€ | | | b b b | !| b | |
A.
t t | A
¼
¼
Ah Mu - sic, mu - sic,

t t | !| | !|
¹
¼ †" !| #| "A AÇ AÇ
¼
T.

¼ !A #| ¹
Ah Ah

¼ †" | | !| | A !A Ç #A Ç
¼
T.

¼ !| ¹
Ah Ah

¼ •" | | !| | !| | A AÇ AÇ
B. <¼
¹
Ah Ah Ah

" t t !| t t !t t t t #t t !| b !|| | b ||| ||

> € tt tt | | | !A | A | | !|| |
? • || || ! !! ||| ||| !! || !|| #|| "AA ¹ !AA ÇÇ AA ÇÇÇ
" AÇ A

; " | | | | |
16
b b #| b b #
solo
S. ¼€ | | | A AÇ
¼
¼ "
mu - sic, mu - sic, mu - sic, mu - sic, mu - sic.

b | #| b #| AÇ #
S. ¼€ !| AÇ AÇ AÇ
¼
¼ "
mu - sic, mu - sic, Ah Ah Ah Ah

¼€ b #| | b !| | #
A.
AÇ #A Ç A #| AÇ
¼
¼
mu - sic, mu - sic, Ah Ah Ah

¼ †" #A Ç #A Ç AÇ AÇ A | AÇ #
¼
T.

¼ Ah Ah Ah Ah Ah

¼ †" AÇ !A Ç AÇ AÇ AÇ AÇ #
¼
T.

¼ Ah Ah Ah Ah Ah.
¼ •" AÇ AÇ AÇ AÇ AÇ AÇ #
B. <¼
b
Ah Ah Ah Ah Ah.
| | |
> €
" b #|| ||| b ! #|| ||| AÇ | b | | A #
AÇ #AA ÇÇ | AA # || AA ÇÇ
AÇ
? • #AA ÇÇ ! #AAA ÇÇÇ AA ÇÇ AAA ÇÇÇ AA ÇÇ AA ÇÇ
" AÇ AÇ #
12

8. Recit
Tenor Solo

ót ó
"tY "tY
† 22 c
1
t t t t
In free time

(T) t t tY Yt | c c tI tY t | | b
And now for the sad part. My brief - case was sto - len from my wife's car.
; 2 a a a a a
S/A ¼ €2
¼
¼ •2 a a a b cÇ tY tY ótY tY t b
T/B <¼ 2
(his se - cond wife)

2 a a c
> €2 AA "|| | |Ç
? •2
2 a a A
A " "|| || || ÇÇ c

† d I 44
t tI tY tZ tZ Zt tZ t
6

(T) a a a

d
I rang the ba- by- sit-ter
; 4 "tI I
t "tI I
t
a tempo
a d t tI tI t d 4 t t " "tt #tt "tI "tI I
t #|
they've got the keys.
S/A ¼€ t I
I t t t !t t |
¼ (her name was Lis - a)
¼ "t t
44 " tY Yt "tt #tYt tYt " "tt
I'll be late, bolt the door, they've got the keys.

¼• a a "tt tYt tYt "||

T/B ¼<

44 "tt tt " "tt "t t

> € AAA A #tt "tt "t #||
a tempo

AA t t ! t !tt
"t t "tt
? • A
A AA 44 " t t #tt tt " "tt "tt tt tt "||

† 22 c "tY tY "tY t d c "tY tY #tY t d t ót t t ót t tó | | c tY tY t tó t t

10 In free time
(T)
|Ç
She was frigh- tened, rang her fa- ther. When I got home there were two men and a Do-ber-man Pin-scher.
; 2 a a a b ó a a
S/A ¼ €2 t |
¼
¼ •2
(big men)

T/B ¼< 2 a a a a a a

2 AA
> €2 "AA AA #|| || "AA "AA A
? • 2 " "AA "A
"A || "| "A "A A
2 | A A A
 13

9. Dog

; 4 t
1 Allegro

¼ €4 c t t t t tI tI t t c t c t
S.
t t t t
¼
¼ 4
Woof Woof Woof Woof Woof Woof Woof - woof (etc)

c c c b b t c
¼ €4 t t t t
t t t
A.
¼
¼ 4 t !t
Woof Woof (etc)
c t b t c t c c c
T. ¼ †4 t t t t
¼
¼ •4 t t t
Woof Woof (etc)

t c b c c c t t c t c c
B. ¼< 4
Woof Woof (etc)

4 c c
> €4 t
Allegro

t t t t t t t t !t
t t t t
? •4
t c t c t c c t c c t t c t c
4 t t t
t t t t t t

; t
5

¼€ b !t c
t
c c c
t t t t t t t tI tI t
S.
t t t
¼
¼
Arf Arf Arf

¼€ tI !tI t c c b c
A.
t t t t t t t t t t t t t t
¼
¼ t t t
Arf Arf Arf

b c t c t c t c c t c t t t
T. ¼† t t
¼ t
¼• t t t t t
Arf Arf Arf

b b b c b c t t t
B. <¼ t
Arf Arf Arf
t t t
c c t t t
> € t t !t t t t t t t t t
t t t t
? • t t t t t t
t c t c t c c t t c t c t c t c t t t t
t t t t t t
14

10. Recit.

ó
t "tó
Tenor Solo
"| t "t |Ç
† 22 c t t t |Ç t
1

t t "t t b t t
A tempo Freely
(T) t
And now for my spe - cial me - mo - ry of my brief - case. It had on it

2 | "|| "| "|||

> €2 | | || "||| AA AA AA
? •2 A A A A A A
2 A A A A A A

7
t | t |Ç t | ó| |
(T) † b t t b t t t | t A
an in - scrip - tion in four lan - guag - es. I re - mem - ber but two.

A AA AA
> € AA AA AAA AAA A
? • A
"AA AA A
"A A AA A
A
AA

11. Close
; 2 c
solo si

| t t| !t
ap - re so - lo
c t | |
1
c c t | | c t |
tutti

¼ €2 t | | | | t
Moderato
S. t a
¼
¼ 2
Si ap - re, si ap - re, si ap - re so - lo, si ap -

¼ €2 c t | | | c t tttt | | c t a c t |
A.
t t !| |
¼
¼ 2
Si ap - re, si ap- re, si ap - re so - lo, si ap -

T. ¼ †2 c t | | | c t tttt | | c t t t | | a c t |
¼
¼ •2
Si ap - re, si ap- re, si ap - re so - lo, si ap -

A | | A | | | t t a A
B. <¼ 2 | |
Si ap - re, si ap - re, si ap - re so - lo, si

2 c c ttt || || c t | | a c tt
> €2 ttt ||| ||| ||| ||| tt |||
Moderato
| | t tt ! | | t
? •2 t tt | || a A
2 A | | A | | | |
 15

; c
"| t t| "| |
solo si

c t | | t "|
9 ap - re so - lo

¼€ | | | c t t "| | c "t
tutti
S. t a
¼
¼
re, si ap - re, si ap - re so - lo in que - sto,

c t tttt c t a "|| ||
A. ¼€ | | | | t t | | " "AA
¼
¼ | |
re, si ap- re, si ap - re so - lo in que - sto,
| | b | c t t t "| a " "AA AA
T. ¼† |
¼
|
re, si ap - re, si ap - re so - lo in que -
¼• | | | tttt | | t t "| | a "A "A
B. <¼
ap - re, si ap- re, si ap - re so - lo in que -

c ttt || || c t "| | a c "t "| "| "|

> € ||| ||| | | ||| t tt tt | | "A"A "AA
• | | t tt "| || " " "AAA A
? | A | | "| a "AA

; c "| "|| | ©
| | "t t "|A #AA
17
c "t "| | t
in que - sto, in que - sto sen - so
"|| "|
div.
S. ¼€ | "| "| "| |
¼
¼
in que - sto sen - so, in que - sto, que - sto sen - so.

¼€ "|| || #|| | "A | A

©
#| | "A | A
¼
A.

¼
in que - sto sen - so, in que - sto sen - so.

¼† " "AA "|| "|| " "|| "|| "A

"| "A #| "|| #AA A ©
T.
¼ "| "A | A
¼ "A ©
sto, in que - sto sen - so, que - sto, sen - so.

B. ¼<¼ • A "| | "A "A "| | A A

sto, in que - sto sen - so, que - sto sen - so.
c c "| | | ©
> € "AA "t | |||
|| "|| || "| t "|| " "|| "t| t "|| || "|AA | AA
A
" ""AAA "|| "|| """|||
• A "||| "A
"| "| A | "|| AA A ©
" "AA AA
?
"A "|| | A

; | t | b "t "t |
"|A |
25
a a | | b t "| "| | @
Maestoso
S. ¼€ | @
¼
¼
Op - ens this way, this way on - ly, op - ens this way on - ly.

¼€ a a | | | "| | "| "t t |

A.
¼ | | | "| A @
¼
Op - ens this way, this way on - ly, op - ens this way on - ly.

¼† a a | | !| | | t t | "| b "t "t " "|| #| #| Ç t @

T.
¼
¼
t ót t
Op - ens this way, this way on - ly, op - ens this way on - ly.
¼• b | | | "| Ç "t "| | A
solo
b | | !| | "| | @
tutti
B. <¼
Which is to say: op - ens this way, this way on - ly, op - ens this way on - ly.

|| | b t | "t "t "| |

a a | t "| || "|b Ç "| "|A | @
Maestoso
> € | || | | | t | @
@
| !| | t | "| "t "
" | | # ||| #AAA @
? • A A || | | !|
|| t|
"| | "|b Ç "t t " | @
@
A A
 Music by John Kilpatrick, available on www. k i l p . c o . u k
With words by Edward Lear
The Jumblies (SATB div.)
The Dong (SATB div.)
With words by Gelett Burgess, from the Burgess Nonsense Book
The Knave of Hearts (SATB)
The Purple Cow (SATB div. + optional piano)
Cuttings from a Nonsense Book (SATB + wind quintet)
(includes The Purple Cow)
With words by Keats
Two Homer Sonnets (SATB)
On First Looking Into Chapman’s Homer
To Homer
With words and music by the composer
My Briefcase (SATB div., keyboard)
--- do ---- (SATB div., wind quintet)
Sacred music
Magnificat and Nunc Dimittis in F (SATB div., organ)
(with English and Latin texts sung in parallel)
Fanfare and Grace for St Peter’s Day (SATB div., organ)
In Paradisum (SSATBB unaccompanied)

Music by Percy Snowdon, available on www. k i l p . c o . u k

Northumbrian Folk Songs (SATB div.)
Wrap up, roll up
Dance to your Daddy
Sair fyeld, hinny
Bonny at morn
Adam Buckham, O
Other works (SATB div.)
Betelgeuse
Ave Maria

25/03/2008

My Briefcase May 2006

John Kilpatrick, 135 Twentywell Lane, Sheffield S17 4QA
www. k i l p . c o . u k mu s i c..@..k i l p . c o . u k