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Role of A Lifetime - Damon Intrabartolo and Jon Hartmere From Bare A Pop Opera

This document is the score to "Bare: A Pop Opera", a musical written by Damon Intrabartolo and Jon Hartmere. The score consists primarily of musical notation written across two pages. It depicts the opening number of the musical, with lyrics that describe taking on a role to please others and living up to great renown, despite the risks involved.

Uploaded by

Rick Verbraak
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
0% found this document useful (0 votes)
96 views9 pages

Role of A Lifetime - Damon Intrabartolo and Jon Hartmere From Bare A Pop Opera

This document is the score to "Bare: A Pop Opera", a musical written by Damon Intrabartolo and Jon Hartmere. The score consists primarily of musical notation written across two pages. It depicts the opening number of the musical, with lyrics that describe taking on a role to please others and living up to great renown, despite the risks involved.

Uploaded by

Rick Verbraak
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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ROLE

OF A LIFETIME
Bare: A Pop Opera


Music by DAMON INTRABARTOLO
Lyrics by JON HARTMERE

            
 = 72

                
             

   

 

 

            
3


3


  
Ev 'ry thing's an act when you're pleas ing ev 'ry one. And

                     
         
  

       
Ped. continues throughout

       


5

          
he as sumes that role to such re nown. He

           
      

          
   
    
              
7 3 3


     
plays a per fect part, straight from his heart, know ing the risk he takes and

     
            
       
  


Damon Intrabartolo and Jon Hartmere


2

          


     
9

  
       
hop ing that the house is not brought down. The

              

             

  

 
            
11

  
3


          
role of a life time, it's liv ing a fan ta sy, a

    
            
     
           
 

     
      


13

                   
dra ma that you strug gle to e rase.


           

       
     
      
       
  
15 3


 
Thoughts bat tle words o ver deeds, a war with such cas ual ties, all

          



          
 
   
          
 

 

Damon Intrabartolo and Jon Hartmere


3

    
          


17

                
played out be hind a smi ling face.

 
                        
       
    
 


               


20

   
God, I need your guid ance. Tell me what it means to

             
               




       
22


4 4

   

live a life where no thing's as it

             
                

                
24


           
seems. Spend ing days in si lent fear, and spend ing nights in lone ly prayer,

              
        
     

   

Damon Intrabartolo and Jon Hartmere


4

                  
26


      
hop ing that one day when you wake those feel ing won't be

                
      
         
    


  


 
28

                
there.

            
   


             

       

 
            
30

  
3


         
So con fused be cause I feel com plete with him. When

 
             
    
          

   

    
          


32

                     
we're a lone it all some how makes sense. I

       
  
         
    
 

Damon Intrabartolo and Jon Hartmere


5

             
       

34 3 3


            
look in to his eyes for some com pro mise. Re mem ber the word for get, and


             
           
  
3

 
3

            


    
36

     
try to bu ry some thing so in tense. You

   
    
                       
   
     
 

               


39

   
learn to play the straight man. your lines be come rou tine,

             
               

  


     
41


4 4

   

nev er real ly say ing what you

  
          
            
    

Damon Intrabartolo and Jon Hartmere


6

                 
43


    
                  
mean. But I know the scene will change. White pic ket fen ces and a dog,

   
              

    

                   
45


                
a tro phy bride and child ren. God, I know that's what he wants.

          

                 
     

             


47


  
But, Ja son, what role do I play? Am I a sav ior or a phase?


    
 
 
  



        
     

                  


49

     
Am I here to damn you or to help you nav i gate this

         
            
                 
    

Damon Intrabartolo and Jon Hartmere


               
7

  
51



maze where con fu sion is a crime, so you fill your life with sound,

                   
           
     
       
     

                
 
53



and if you dance like hell you hope you'll nev er touch the ground?

          
                
          
     

           
     


55


What hap pens when the mu sic stops? In the si lence will he stay?

          
        

 
         

       

Damon Intrabartolo and Jon Hartmere


               
8

   



57

     
One day he'll real lize that these feel ings aren't go ing a way.

         
            

        
        


   

   
    
        


59


So we drive our selves in sane, spin ning cir cles in our souls

       

         

            
 
   

                
  


61



as we dance a round and play pre tend, then once a gain,

       
                 
        
      

    

Damon Intrabartolo and Jon Hartmere


       
9

     
63


re prise our roles.



    
  
       
    
                                  
    

Damon Intrabartolo and Jon Hartmere

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