The Sun Will Shine Again

The Sun Will Shine Again (2004)
The Sun Will Shine Again (2009 version)
Music by Jon Lord; Lyrics by Sam Brown
Full Scores, 20pp
Reconstructed and edited by Paul Mann
Female vocal
Flute solo (2009 version only)
Acoustic Guitar, 5-string fretless Bass Guitar,
Synthesiser (optional)
Percussion, Strings
4 minutes

The Sun Will Shine Again (2004)
The Sun Will Shine Again (2009 version)
Music by Jon Lord; Lyrics by Sam Brown
Piano-vocal scores, 18pp
2004 (F major) and 2009 (C major) versions
Reduction by Paul Mann

“The glass is half full even though, sometimes, it might be with tears.”
(From J.L. original sleeve note to The Sun Will Shine Again)

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Paul Mann’s note
The present full score contains two versions of The Sun Will Shine Again.

The first is a reconstruction of the original version used for the Beyond The Notes sessions in 2004. The low key was chosen with the song’s dedicatee and original performer, Frida, specifically in mind and is retained here as a record of the song in its original form, but perhaps will be too low for many singers.

As with the other Beyond The Notes scores, the composer left this version in an incomplete form. The vocal part was entirely un-notated and other aspects, such as the guitar and percussion parts, have been completed with reference to the finished recording. The acoustic guitar part should be improvised where shown, and the bass guitar part, which should be played on a 5-string fretless bass, may also be discreetly elaborated, using the notated part as a guide. Unusually, however, the piano part was completely notated by the composer, as he himself played it.

The second version was made in 2009, for performances with Kasia Laska, and is transposed up a fifth, into C major. The composer made only one structural change for this later version, doubling the note values in the song’s final cadence (b.59-60). Since this appears intended as an ‘improvement’ on the original version, it has been added editorially to the 2004 score as well, so that both versions of the song are now structurally identical, reflecting what seem to be the composer’s final intentions. However, in all other respects the two versions are distinct and no further attempt should be made to combine them. The composer added a solo flute and a synthesizer to the original instrumentation, and completely revised the string arrangement.

(The synthesizer part, a string pad, has also been added in small type to the 2004 version, but may be regarded as optional and only to be used if the orchestral strings need some discreet reinforcement.)

The harmonic roots of the song’s initial idea lie in the famous Canon by the German Baroque composer Johann Pachelbel (1653-1706), and Jon’s original sketches show that the song’s working title was The Canon Song.

The corresponding piano-vocal scores, in both keys, are also available.

P.M. July 2015