All time favourite by Sergio Tapia Sandoval

Reader's Digest

All-Time Favourites Songbook MUSIC ARRANGED AND EDITED BY DAN FOX

Published by The Reader's Digest Association limited, London

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How your Songbook Programmed for Pleasure

Everybody enjoys hearing music over the radio or on records or tapes; we even make folk heroes out of unusually gifted interpreters of songs, whether singers or instrumentalists. Yet there is nothing about music so satisfying as the involvement of playing and singing great songs together. Great in the sense of soaring melodies, rhythmic dances, dreamy romantic ballads - all the glittering facets of the musical diamond. This involvement in music is what the Reader's Digest All-Time Favourites Songbook is all about. Here, we give you a unique collection of 97 favourites for endless evenings of fun, relaxation and excitement. And this is what we mean when we say unique: in no other songbook will you find a selection of songs so enticingly programmed, with such easy and adaptable arrangements, with surprising musical twists. You will find they are simple to play and will delight your friends. We are really proud not only of the songs we have selected but of the way we are presenting them to you. And we are sure you will be pleased, too, when you run through the first few of these up-to-the-minute arrangements. Actually, simply by opening it, you will see one reason why the All-Time Favourites Songbook is something special. Rather than being stitched and bound together, the pages are hinged on a spiral binding that allows them to lie flat on a music rack. The result: no need to flatten down pages yourself and no danger of damaging the book's spine. Also, of the 97 selections included, no fewer than 57 have been so organised that they fit completely on either one or two pages, thereby eliminating page turning in the middle of a song. This has been accomplished not by reducing the size of the typeface but by omitting the rarely played introductory verses or forestrains as well as any superfluous harmonic embellishments that might prove difficult for the average performer. On the other hand, the more

experienced performer will probably want to add his own imaginative elaborations. Selecting just the right songs for a well-balanced compendium resulted in a list of 97 songs that constitute virtually an all-time musical hit parade. These are the songs that are almost as meaningful to us as pictures in a family album or pages in a diary. We have danced to them, sung them in schools, on birthdays, at sing-alongs, at family reunions, and at all kinds of social events. There is hardly one here that will fail to stir your memory of some treasured past event. We hope we have also increased your enjoyment of this songbook with the introductory paragraphs you will find with the songs in the book. These are crammed with stories about how a song was born, how it was introduced to the public, what musical and lyrical qualities have given the song its distinction. Some players may want to read them aloud before the group singing gets underway. To make sure that these songs appear in the most useful and enjoyable way possible, the editors have been guided by the concept of pleasure programming. One of the features on this unique and exclusive Reader's Digest approach to music is to group together songs with common chronological' and musical traits. In this book, they fall into six major categories: 1. Down Memory Lane . .. Wonderfully nostalgic numbers which include favourites from before the First World War, the hectic days of the Jazz Age, and the 'protest' years after the Second World War.

2. Melodies /rom the Tuneful Twenties .,. Memorable music and lyrics from the pens of the giants of musical shows: George and Ira Gershwin, Richard Rodgers and Lorenz Hart, Cole Porter, Noel Coward, Vincent Youmans, Ray Henderson, and Jerome Kern and Oscar Hammerstein.

3. All-time Hits of the Thirties ... Haunting themes from dramatic hits, and hit tunes from the screen's happiest musicals ... Fond recollections of Fred Astaire and Ginger Rogers dancing, Eddie Cantor singing, and the lovely, lilting voice of British musical comedy star Jessie Matthews.

4. Favourites from the Forties . .. From Second World War hits such as the Beer Barrel Polka (better known as Roll Out The Barrel) to cheerful, optimistic numbers which many of us sang while growing up after the war. 5. Yesterday'S Hits: the Fifties, Sixties and Seventies ... How often a song triggers our memory of a cenain time, a cenain place, a certain person. These lovely melodies are so familiar it seems they were topping the charts just the other day. Can it really be so long ago since their words and runes first entered our lives, and came to sum up for many of us certain magical moments moments which we will treasure forever. 6. Magic of the Movies . .. Songs sung in the floridly romantic musicals of yesterday have never lost their appeal. And they bring back some .;bewitching scenes in screen history - when stars such as Frank Sinatra, Gene Kelly, Bing Crosby, Doris Day and Louis Armstrong sang what became well-loved classics from the cinema.

Pleasure programming, however, does not stop with placing songs in these categories. We provide you here with many more cross-references to help you round out particular moods and occasions. Here you will find nostalgic songs and glad songs; songs for the panicular girl and songs for the particular boy; songs to stan musical panies off with a swing and songs to bring them to a close; and songs for all kinds of group singing from

barbershop-style ensembles to 'choirs'. All the arrangements have been especially created to provide easy-to-play fingering so that the average home musician can perfonn to his best advantage. Many of the pieces, chiefly the older songs, have been updated for the first time through the use of smooth, modern harmonies and intriguing rhythmic effects. Note, too, that each song has been arranged for three instruments: piano, guitar and organ. However, these arrangements can easily be adapted to any treble-clef C instrument, such as accordion, ukulele, recorder, marimba and xylophone. Most of them can also be used for the chord organ. Any guitarist - or would-be guitarist - need only read the special guitar diagrams above the staves to be able to accompany the songs. As for the organist, he should have no trouble finding the proper organ pedal merely by reading the small notes on the bass clef. The songs may also be performed on a keyboard instrument by playing the melody with the right hand and following the chord symbols to improvise a left-hand accompaniment. Piano srudents will probably recognise this as the 'popular piano' method widely used by music teachers today. It is also important to note that, in order to distinguish the melody from other symbols for the right hand, the stem of each melody note goes upward unless it stands alone. A songbook, of course, can simplify the arrangements, but it cannot play them. It can be a teaching aid, but it cannot teach. Nonetheless, everything possible has been done to assure the amateur musician's fullest enjoyment and proficiency. The rest is up to you ... Experienced pianists who have played these arrangements tell us: 'The notes seem to fall right under your fingers - no need for reaching or stretching. ' We hope you will feel the same way.

I ndex to Songs A Foggy Day .................................................................. 239 MterYou'veGone ........................................................... 30~ Alfie ............................................................................. 252 All Of Me ..................................... ; ................................ 24~ All the Things You Are ...................................................... 100 Almost Like Being in Love ................................................. 142 April in Paris .................................................................. 110 April Showers ................................................................. 34 Autumn Leaves ............................................................... 162 Beer Barrel Polka (Roll Out The Barrel) .................................. 134 Beyond the Sea ................. " .. ... ..... ..... ........ .. .... ... ........ .. .. . 139 Blowin' in the Wind. .. .. . .. .. .... .. ..... .. .......... .. . .. .. .. .. .. ..... ... .. .. 24 Blueberry Hill................................................................. 154 _ Blues in the Night ............................................................. 132 Bye Bye Blackbird ........................................................... 84 Can't Help Lovin' Dat Man ................................................ 81 Caroli~a in the Morning... ........ ... .. .. .. .. . .. .. ....... ... ..... .. .. .. . . . .. 36 Charleston ..................................................................... 28 Charmaine ..................................................................... 178 Dancing in the Dark .......................................................... 112 Dancing on the Ceiling ...................................................... 96 Embraceable You ............................................................ 92 Fascinating Rhythm ......................................................... 78 Feelings ........................................................................ 172 For Me and My Gal .......................................................... 39 Getting To Know You ....................................................... 180 Gigi .............................................................................. 236 Heart and Soul ................................................................ 231Hello, Dolly! .................................................................. 196' I Don't Wantto Set the World on Fire ................................... 146 I Get a Kick Out of You ..................................................... 114 I Only Have Eyes for You .................................................. 244 If .................................................................................. 16 . . . If Ever I Would Leave You ........ ~ ........................................ 188 If You Were The Only Girl In The World ................................ 10 I'll See You Again .................... ............ .......... ..... .. .. .. .. . ... ... 64 I'm Forever Blowing Bubbles.............................................. 12 I'm Looking Over a Four Leaf Clover .................................... 160 In a Shanty in Old Shanty Town .......................................... 102 Isle of Capri .................................................................... 98 It Had to Be You .............................................................. 204 • It Might As Well Be Spring ................................................ 201 It's Only a Paper Moon...................................................... 223 Jeepers Creepers ................................................................ 250 Just One of Those Things ................................................... 118 Long Ago (And Far Away) ................................................. 228 • Love Is Here to Stay ......................................................... 226 Love Story Theme (Where Do I Begin) ................................... 210 Lovely to Look At ............................................................ 206 Lover, Come Back to Me ................................................... 26 . . Lulu's Back in Town ........................................................ 234 Ma (He'S Making Eyes at Me) ............................................. 50 4

~ake

Believe ................................................................... 76.JL Manhattan ..................................................................... 20 T Mona Lisa .................... , ............................. " ................ " 128 My Funny Valentine ............... , ............... , ....... , .. .... . . .. .. .. ... 220., My Heart Stood Still ......................................................... 56 My Melancholy Baby ........................................................... 46My Prayer ............. ,. ..... .... ... .. .. .. ..... .... ........... .... .. .. .. .. ..... 104 Night and Day ................................................................ 89 Now is the Rour .............................................................. 130 Oh, What a Beautiful Mornin' ............................................. 144 On the Street Where You Live ............................................. 192 One Alone .................................................................. ~.. 52 Paper Doll ..................................................................... 44 People Will Say We're In Love ............................................ 157 Puff (The Magic Dragon) ................................................... 186 Put On a Happy Face ........................................................ 184 Red Sails in the Sunset ...................................................... 94 (Roll Out The Barrel) Beer Barrel Polka .......................... ;...... 134 's Wonderful .................................... .-............................. 58 Secret Love .................................................................... 246 Send In The Clowns ......................................................... 168 Shine On, Harvest Moon ................................................... 32 Smoke Gets in Your Eyes .. , ....... , .................... " ........ , .. .. .. .. .. 86 Some Enchanted Evening .................................................. 149 Someone to Watch Over Me ................................................ 66 Summertime .................................................................. 122 Tea for Two ...................................... ..... ........ ....... .......... 74 Tenderly ....................................................................... 152 â&#x20AC;˘ The Blue Room ................................................................ 72 The Man I Love .............................................................. 53. The Nearness of You ........................................................ 213., The Sound of Music .......................................................... 198 The Way We Were ........................................................... 216 Thou Swell .................................................................... 70 Tie a Yellow Ribbon Round the Ole Oak Tree ......................... 164 Till We Meet Again .......................................................... 14 Too Marvellous for Words ................................................. 242 True Love...................................................................... 208. What Is This Thing Called Love? .......................................... 60 What Now My Love ......................................................... 175 When Day Is Done.. . ... .. ... .. ..... .. .. ... .. ..... .. .. .. ....... ........ .. .. . . 42 Who's Sorry Now? ........................................................... 18 With a Song in My Heart .................. , .......................... " .. , .. 62 You Do Something to Me ................................................... 68 You Go to My Head .......................................................... 107 You'll Never Walk Alone ................................................... 125

List of Sections 1. Down Memory Lane 10-52 2. Melodies from the Tuneful Twenties 53-85 3. All-time Hits of the Thirties 8fr124

4. Favourites from the Forties 125-163 5. Yesterday's Hits: the Fifties, Sixties and Seventies 164-200 6. Magic of the Movies 201-254

Pleasure Programmes For a Special Girl Dr.Bo.Y After You've Gone ......'....... ;....................................

Cheerful Songs 30

Almost Like Being in Love ..................................... 142

Alfie .....................••..•••...•.•••••••.••..•.•................. 252 All the Things You Are ......... ,~.~............................. 100

Beer Barrel Polka (Roll Out The Barrel) ..................... 134

Embraceable You .............••....•..•..••.....•............... For Me and My Gal •..........•.•• .............................. Gigi ................................................................. Hello, Dollyl ...................... ; .............................. IDon'tWanttoSettheWorldonFire ...................... lGetaKickOutofYou ... ~ ................. ; ................... I Only Have Eyes for You ...................................... If .................................................................... If Ever I Would Leave You .................................... If You Were The Only Girl In The World .................. I'll See You Again ............................................... Isle of Capri .........................•............................. It Had to Be You ................................................. Lovely to Look At ............................................... Lover, Come Back to Me ....................................... Lulu's Back in Town .................................-............ My Heart Stood Still ............................................ My Melancholy Baby ........................................... My Prayer ......................................................... Night and Day.................................................... One Alone......................................................... 'S Wonderful ..................................................... Someone to Watch Over Me ................................... Tea for Two ............................... ..... ................... The Man I Love.................................................. Thou Swell ........................................................ Till We Meet Again ........... :................................. TooMarvellousforWords ..................................... You Do Something to Me ...................................... You Go to My Head ............................... '" ....... .... When Day Is Done .............................................. With a Song in My Heart .......................................

92 39 236 196

146 114 244 16

188 10 64 98 204 206 26

234 56 46 104 89 52 58 66

74 53 70 14 242 68 107 42 62

Carolina in the Morning ........................................ 36 Charleston......................................................... For Me and.My Gal ............................................. Getting To Know You .......................................... Hello, Dolly! ...... ............................................... I'm Looking Over a Four Leaf Clover ....................... Jeepers Cr~pers ................................................. Lulu's Back in Town ........................................ ;... Ma (He's Making Eyes at Me) ................................. Oh, Whata Beautiful Mornin' ................................ Paper Doll............................................ ............. Puff (The Magic Dragon) ...................................... Put On a Happy Face............................................ 'S Wonderful..................................................... Tea for Two ....................................................... Tie a Yellow Ribbon Round the Ole Oak Tree............. You Do Something to Me ......................................

28 39 180 196 160 250 234 50 144 44 186 184 58 74 164 68

Nostalgic Songs

All Of Me .......................................................... 248 Autumn Leaves .................................................. 162 Beyond the Sea ................................................... 139 Blueberry Hill .................................................... 154 Charmaine ........................................................ 178 I'll See You Again ............................................... 64 I'm Forever Blowing Bubbles ................................. 12 Isle of Capri ....................................................... 98 Just One of Those Things ...................................... 118 Love Story Theme (Where Do I Begin) ..................... 210 Lover, Come Back to Me ....................................... 26 Red Sails in the Sunset.................................... ...... 94 Shine On, Harvest Moon....................................... 32 Smoke Gets in Your Eyes ...................................... 86 Summertime ...................................................... 122.1 Tenderly........................................................... 152· The Way We Were ............................................... 216 Till We Meet Again ............................................. 14 What Now My Love .............................................. 175 When Day Is Done .............................................. 42

To Get Things Going

Places to Sing About A Foggy Day (in London Town) .............................. April in Paris ..................................................... Beyond the Sea ................................................... Blueberry Hill .................................................... Carolina in the Morning ........................................ In a Shanty in Old Shanty Town.............................. Isle of Capri ....................................................... Manhattan......................................................... On the Street Where You Live ............................... The Blue Room ................................ ;.................

239 110 139 154 36 102 98 20 192 72

April Showers .................................................... Charleston......................................................... Fascinating Rhythm ............................................. Hello, Dolly! ..................................................... I'm Looking Over a Four Leaf Clover ....................... People Will Say We're In Love ................................ Beer Barrel Polka (Roll Out The Barrel) ....................

34 28 78 196 160 157 134

The Party's Over Just the Right Time (Songs for special days, months and seasons) April in Paris . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April Showers .......................... ~......................... Carolina in the Morning ........................................ It Might As Well Be Spring .................................... My Funny Valentine ............................................ Night and Day.................................................... Oh, What a Beautiful Mornin' ., .............................. Red Sails in the Sunset .......................................... Shine On, Harvest Moon....................................... Summertime ...................................................... When Day Is Done ..............................................

110 34 36 201 220 89 144 94 32 122 42.

Mter You've Gone ............................................... 30 All Of Me .......................................................... 248 Heart and Soul ................................................... 231 Long Ago (And Far Away) ..................................... 228 My Melancholy Baby ........................................... 46 My Prayer......................................................... 104 Now is the Hour ................................................. 130 Red Sails in the Sunset.......................................... 94 Send In The Clowns .............................................. 168 Some Enchanted Evening ...................................... 149 The Nearness of You ............................................ 213 Till We Meet Again ............................................. 14

Wedding Songs For Me and My Gal ............................................. I Only Have Eyes for You ...................................... If .................................................................... .. If You Were The Only Girlln The World .................. Love Is Here to Stay............................................. MyPrayer ......................................................... Night IUld Day.................................................... One Alone............ ............................................. -.:TeaforTwo ....................................................... I! The Blue Room .................................................. True Love .........................................................

39 244 16 10 226 104 89 52 74 72 208

Index to First Lines A foggy day in London Town................... ............. 239 After you've gone and left me crying ..... .................... 30 All of me, why not take all of me? ............................. 248 April in Paris, chesrnuts in blossom......... ................. 110 Are the stars out tonight? ....................................... 244 Charleston, Charleston, made in Carolina ......... ......... 28 Come sweetheart mine, don't sit and pine ...... ............ 46 Dancing in the dark till the tune ends ......................... 112 Don't throw bouquets at me ...... ............................. 157 Embrace me, my sweet embraceable you! .................. 92 Fascinating rhythm, you've got me on the go! ............. 78 Feelings, nothing more than feelings ........................ 172 Fish gotto swim and birds gotto fly .......................... 81 For me and my gal, for me and my little sweetheart....... 39 Getting to know you, getting to know all about you ....... 180 Gigi, am I a fool without a mind .............................. 236 Gotta get myoid tuxedo pressed .............................. 234 Gray skies are gonna clear up ................................... 184 He dances overhead on the ceiling, near my bed .......... 96 Heart and soul I fell in love with you .............. ......... 231 Hello, Dolly, well, hello, Dolly·............................... 196 How many roads must a man walk down.................... 24 I don't want to set the world on fire ........................... 146 I found my thrill on Blueberry Hill........................... 154 I get no kick from champagne ................................. 114 I give to you and you give to me ............................... 208 I have often walked down this street before ................. 192 Itook one look at you ........................................... 56 I wonder why you keep me waiting.... . . ....... .............. 178 If ever I would leave you, it wouldn't be in summer ...... 188 If they made me a king .......................................... 16 Ifyou were the only girl in the world ......................... 10 I'll see you again whenever spring breaks through again. 64 I'm as restless as a willow in a windstorm ................... 201 I'm comin' home; I've done my time ........................ 164 I'm forever blowing bubbles ................................... 12 I'm goin' to buy a paper doll that I can call my own ....... 44 I'm looking over a four leaf clover ............................ 160 Isn't it rich? Are we a pair? ..................................... 168 It had to be you ................................................... 204 It was just one of those things .................................. 118 It's not the pale moon that excites me ........................ 213 It's only a shanty in old ShantyTown ........................ 102 It's very clear our love is here to stay ...................... ,.. 226 Jeepers Creepers! Where'd ya get those peepers? .......... 250 Long ago and far away .......................................... 228 Lovely to look at, delightful to know ........•................ 206 Ms, he's making eyes at me! ......................... .......... 50 Mem'ries light the comers of my mind ...................... 216 Mona Lisa, Mona Lisa men have named you............... 128 My funny Valentine, sweet contic Valentine ............... 220 My mama done tol' me ......................................... 132 My prayer is to linger with you ................................ 104 Night and day you are the one ................................. 89 Nothing could be finer than to be in Carolina .............. 36 Now is the hour when we must say good-bye............... 130 Oh, shine on, shine on, harvest moon ....................... 32 Once I had a secret love ......................................... 246 One alone to be my own ........................................ 52 Pack up all my care and woe ................................... 84 Picture you upon my knee, just tea for two and ~b~

............................................ ··· ... ·...

Puff the magic dragon lived by the sea ....................... 186

Red sails in the sunset 'way out on the sea .................. 'S wonderful! 'S marvellous! You should care for me! .... Say, it's only a paper moon .................................... Smile the while you kiss me sad adieu ....................... Some enchanted evening you may see a stranger .......... Someday he'll come along, the man I love .................. .Somewhere beyond the sea somewhere waiting for me ... Summer journeys to Niag'ra ................................... Summertime, an' the livin' is easy............................ The evening breeze caressed the trees ....................... The falling leaves drift by the window ......... .............. The hills are alive with the sound of music .................. The sky was blue, and high above ............................ There's a bright golden haze on the meadow ............... There's a garden, what a garden .............................. There's a somebody I'm longing to see ...................... They asked me how I knew my true love was true ......... Thou swell! Thou witty! Thou sweet! Thou grand! ....... Though April showers may come your way ................ 'Twas on the Isle of Capri that I found her ................. We could make believe I love you ........ .... ... ..... ........ We'll have a blue room, a new room, for two room .. ..... What a day this has been! ...................................... What is this thing called love? ................................. What now my love? ............................................. What's it all about, Alfie? ...................................... When day is done and shadows fall . .......................... When you walk through a storm hold your head up high Where do I begin to tell the story ............................. Who's sorry now? .... ...... ..... ...... ........ ......... ...... .... With a song in my heart I behold your adorable face...... You are the prontised kiss of springtime... . . ..... . . ......... You do something 10 me ........................................ You go to my head and you linger like a haunting refrain You're just too marvellous .....................................

94 58 223 14 149 53 139 20 122 152 162 198 26

144 134 66 86 70 34 98 76 72

142 60 175 252

42 125 210 18 62 100 68 107 242

Index to Composers Albert, Morris Feelings ....................................... 172 Arlen, Harold Blues in the Night ............................ 132 It's Only a Paper Moon ....................................... 223 Ayer, NaID. IfYrYUWere The Only Girl In The Wurld . 10 Bacharach, Burt Alfie ......................................... 252 Bayes, Nora (also written by Norworth, Jack) Shine On, HarvestMoan ..................................... 32 Becaud, Gilberl WhatNowMyLO'lJe ....................... 175 Benjantin, Bennie (also written by Durham, Eddie; Marcus, Sol; and Seiler, Eddie) I Dan't Want to Set the W urld an Fire ...................... 146 Black, Johnny S. Paper DoU ................................. 44 Boulanger, Georges (original melody adapted by Kennedy, Jintmy) My Prayer......................................... 104 Brown, L. Russell (also written by Levine, Irwin) Tie a Yellow Ribban Round the Ole Oak Tree............. 164 Brown, Lew (also written by Timm, Wladintir A.; Vejvoda, Jaromir; and Zeman, Vasek) Beer Barrel Polka (RoU Out The Barrel) .................. 134 Burnett, Ernie My Melancholy Baby ........ ... ....... ...... 46 Carntichael, Hoagy HearcandSrYUl ........................ 231 TheNearnessofYrYU ........................................... 213 Conrad, Con Ma(He'sMakingEyesatMe) .............. 50 Coots,J. Fred YrYUGotoMyHead ......................... 107

Coward, Noel I'll See You Again ............................ Creamer, Henry (also written by Layton, Turner)

After You've Gane ............................................. 30 Donaldson, Walter Carolina in the Murning ........... ... 36 Duke, Vernon April in Paris ................................. 110 Durham, Eddie (also written by Benjamin, Bennie; Marcus, Sol; and Seiler, Eddie) I Don't Want to Set the World on Fire ...................... 146 Dylan, Bob Bluwin' in the Wind ............................ 24 Evans, Ray (also written by Livingston, Jay) MonaLisa 128 Evans, Tolchard If ................................. ........... 16 Fain, Sammy Secret Luoe ..................................... 246 Gershwin, George A Foggy Day ............................. 239 Embraceable You .............................................. 92 Fascinating Rhythm ........................................... 78

Luoe Is Here toStay ........................................... 226 'S Wonderful ................................................... 58 Sameone to Watch Over Me .................................. 66 Summertime .................................................... 122 The Man I Love ....... ...... ....... ...... ...................... 53 Gross, Walter Tenderly ....................................... 152 Grosz, Will Isle of Capri....................................... 98 Hamlisch, Marvin The Way We Were.................. .... 216 Henderson, Ray Bye Bye Blackbird ....... ................. 84 Herman, Jerry Hello, Do/Jy! ................................. 196 Johnson, Jimmy (also by Mack, Cecil) Charleston.... ... 28 Katcher, Dr Robert When Day Is Dane ................... 42 Kellette, John William (also written by Kenbrovin, Jaan)

I'm Forever Blowing Bubbles . ...............................

Kenbrovin, Jaan (also written by Kellette, John William)

I'm Forever Blowing Bubbles ................................ 12 Kennedy, Jimmy (musical adaptation by Boulanger, Georges) My Prayer ........................................ 104 Kern, Jerome All the Things You Are ....................... 100 Can't Help Lovin' DatMan ................................. 81 Lovely to Look At .............................................. 206 LongAgo(AndFarAway) ................................... 228 Make Believe................................................... 76 Smoke Gets in Your Eyes ..................................... 86 Kosma, Joseph (also written by Mercer, Johnny; and Prevert, Jacques) Autumn Leaves ........................ 162 Lai, Francis Love Story Theme (Where Do I Begin) ...... 210 Layton, Turner (also written by Creamer, Henry) After You'veGane .............................................

Levine, Irwin (also written by Brown, L. Russell)

Tie a Yellow Ribbon Round the Ole Oak Tree ............. 164 Lewis, AI (also written by Rose, Vincent; and Stock, Larry)

Blueberry Hill .................................................. 154 Lipton, Leonard (also written by Yarrow, Peter) Puff (The Magic Dragon) ..................................... 186 Little, Little Jack (also written by Siras, John)

InaShantyinOldShanlN Town ............................ 102 Livingston, Jay (also written by Evans, Ray) MonaLisa 128 Loewe, Frederick Almost Like Being in Love ............. 142 Gigi .............................................................. 236 If Ever I Would Leave You .................................. 188 On the Street Where You Live ............................... 192 Mack, Cecil (also written by Johnson, Jimmy) Charleston ...................................................... 28 Marcus, Sol (also written by Benjamin, Bennie; Durham, Eddie; and Seiler, Eddie) I Don't Want to Set the World on Fire ..... , ................ 146 Marks, Gerald (also written by Simons, Seymour)

All OfMe ....................................................... 248 Mercer, Johnny (also written by Kosma, Joseph; and Prevert, Jacques) Autumn Leaves ....................... 162

Meyer, GeorgeW. ForMeandMyGal ................... Norwonh, Jack (also written by Bayes, Nora)

Shine On, HarvestMoon ....................................

Pollack, Lew (also written by Repee, Erno)

Charmaine ...................................................... 178 Poner,Cole I Get a Kick Out of You ....................... 114 Just One of Those Things ..................................... Night and Day ................................................. True Love ....................................................... What Is This Thing Ca//ed Love? ........................... You Do Something to Me .....................................

118 89 208 60 68

Prevert, Jacques (also written by Mercer, Johnny; and Kosma, Joseph) Autumn Leaves ......................... 162 Rape., Erno (also written by Pollack, Lew) Charmaine ., 178 Rodgers, Richard Dancing On The Ceiling................ %

Getting To Knuw You ......................................... 180 It Might As Well Be Spring .................................. 201

Manhattan...................................................... 20 My Funny Valentine .......................................... 220 My Heart Stood Still ... ..... ....... ...... ....... ......... ...... 56 Oh, What a Beautiful Murnin' ............................... 144 People Will Say We're In Love .............................. 157 Some Enchanted Evening ................................... 149 TheBIueRoom ................................................. 72 The Sound ofMusic ........................................... 198 ThouSwell................................................. ..... 70 With a Song in My Heart ..................................... 62 You'llNeverWalkA/one ..................................... 125 Romberg, Sigmund Lover, Come Back to Me ............ 26 OneA/one ....................................................... 52 Rose, Vincent (also written by Lewis, AI; and Stock, Larry) Blueberry Hill ................................................ ,. 154 Schwartz, Anhur Dancing in the Dark .................... , 112 Scott, Clement Now is the Hour...... . . ...... . ......... ..... 130 Seiler, Eddie (also written by Benjamin, Bennie; Durham, Eddie; and Marcus, Sol) I Don't Want to Set the World on Fire ...................... 146 Silvers, Louis AprilShowers ................................. 34 Simons, Seymour All Of Me ...... ........... ......... ...... 248 Siras, John (also written by Little, Little Jack)

In a ShanlN in Old ShanlN Town ............................ 102 Snyder, Ted Who's Sorry Now? ............................. 18 Sondheim, Stephen Send In The Clowns .................. 168 Stock, Larry (also written by Lewis, AI; and Rose, Vincent)

Blueberry Hill .................................................. 154 Strouse, Charles Put On a Happy Face .................... 184 Timm, Wladimir A. (also written by Brown, Lew; Vejvoda, Jaromir; and Zeman, Vasek) Beer Barrel Polka (Roll Out The Barrel) .................. 134 Trenet, Charles Beyond the Sea .. ........................... 139 Vejvoda, Jaromir (also written by Brown, Lew; Timm, Wladitnir A.; and Zeman, Vasek) Beer Barrel Polka (Roll Out The Barrel) .................. 134 Warren,Harry I Only Have Eyesfor You ................. 244

Jeepers Creepers ................................................ 250 Lulu's Back in Town .......................................... 234 Whiting, RichardA. TillWeMeetAgain ................. 14 Too Marvellous for Words ..................................... 242 Williams,Hugh RedSailsintheSunset .................... 94 Woods,Harry I'm Looking Over a Four LeafClover .... 160 Yarrow, Peter (also written by Lipton, Leonard)

Puff(TheMagicDragon) ..................................... 186 Zeman, Vasek (also written by Brown, Lew; Timm, Wladitnir A.; and Vejvoda, Jaromir)

Beer Barrel Polka (Roll Out The Barrel) ................. 134 TeaforTwo ............................. 74

Youmans, Vincent

-------Section 1 . Down Memory Lane - - - - - - -

IF You

WERE

THE ONLY gIRL IN THE WORLD

~~~ Comic George Robey first posed this piece of melodic make-believe at the Alhambra Theatre, in the 1916 London musical The Bing Boys Are Here. The song ticked-over for some 13 years until American crooner Rudy Vallee got a bright idea: he changed its beat from a foxtrot to a waltz and successfully reintroduced it in his film debut, The Vagabond Lover, made in 1929.

Words by Clifford Grey

Music by Nat D. Ayer

Moderate waltz

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•

You

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r-.

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Were The

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In The World,

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beol Fulham 2-0.

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Till We Meet Again American compo$(:r Riclwd Whiting and lyricist Raymond Egan tho"8h{ so liu1( of {hi, song's commercial cun= ,hal they threw th. manuscript into ~ wa'to""per bask.!. Mrs Whiting, however, had other ideas. She fished il Out and, unknown to h~r husband, tool< it to publisher Jerome Romick. Her faith in (~ !lOng was "",n confirmed. E""n b<fore the sheet music Wi. off 1M prCSSt:$ Remick 801 th. first inklillj! ofthe song', fumr ••ucc .... wben it won. 1918 war-rong <XIntesl ,ponsored by l O¢tro;' dntma_ In 1951 it was sung by

Doris Day in the film mU';Clll 0.. MoonJiglu Buy.

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Today a song can become a round-the-world hit within. a few weeks, but in 1934 tastes differed radically from country to country. In England, for example, the big hit was a dramatic ballad, If; in the United States the public ear was tuned to light love songs and swing-band rhythms. But by 1951 America's mood had changed and 'big' ballads became the rage. Perry Como remembered If, and recorded it and - after 17 years the song became an 'overnight' best-seller in the United States as well.

Words by Robert Hargreaves and Stanley J. Damerell Music by Tolchard Evans

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Written originally for a vaudeville team, Crafts and Haley, this number went on to become one of the top American hits of 1923. It was featured in a Marx Brothers film A Night in Casablanca in 1946; and in the 1950 film Three Little Words - the story of songwriters Kalmar and Ruby - it was sung by Gloria de Haven. About 35 years after it was first recorded, a young rock singer, Connie Francis, was looking for a song to launch her career. Her father remembered this old hit and suggested she record it. By early 1955 she had taken it toNo. 1 in the charts.

Now~ Words by: Bert Kalmar and Harry Ruby Music by: Ted Snyder

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One section of this song's lyrics has required updating - the lines referring to a current long-running show on Broadway. In the original 1925 version the show' was Abie's Irish Rose. Mterwards, new lyrics referred to Rodgers'

and Hammerstein's South Pacific. Then came a version that celebrated My Fair Lady. For a later edition the publisher picked the controversial British revue Oh! Calcutta! Manhattan was Rodgers' and Hart's first big hit.

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We'll go to Yonkers Where true love conquers In the wilds; And starve together, dear, in Childs' We'll go to Coney And eat bologny on a roll; In Central Park, we'll stroll Where our first kiss we stole, Soul to soul; o Though "Oh! Calcutta!" has raised a flutter on Broadway We both may see it clothed some day; The city's clamor can never spoil The dreams of a boy and goil We'll turn Manhattan Into an isle of joy. Original Lyric: Our future babies we'll take to "Abie's Irish Rose." I hope they'll live to see it close. First Revision: And "South Pacific" is a terrific show they say: We both may see it close some day. Second Revision: And for some high fare we'll go to "My Fair Lady" say, We'll hope to see it close some day. o

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in the Wind Among modem folk song balladeers, no one has made a stronger impact than Bob Dylan, whose Blowin' in the Wind, composed in 1962, practically became the anthem of the civil rights movement in the United States. The sensitive words, however, are equally applicable to any situation involving man's indifference to the basic rights of others. In 1964, Peter, Paul and Mary's recording of the song received awards both as the best performance by a vocal group and as the best folk song recording.

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Lover, Come Back

The New Moon, a Hammerstein-Romberg operetta of 1928, was one of the few musicals. ever to close down completely and then, rewritten and restaged, become a standing-room-only attraction on Broadway. Unquestionably, much of the credit must go to the songs that were added, including the yearning Lover, Come Back to Me, sung by the show's prima donna, Evelyn Herbert.

to Me

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Charleston The dance sensation that best typified the zestful spirit of the 1920s was the high-kicking Charleston, which also happened to be the name of a song. Introduced in the 1923 all-Negro revue Runnin' Wild, it soon became the favourite dance in ballrooms around the world. In the 1950 film Tea/or Two Billy De Wolfe and Patricia Wymore danced and sang the Charleston.

Words and Music by Cecil Mack and Jimmy Johnson

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~AF I ER YOU'VE GONE~ Words and Music by Henry Creamer and Turner Layton This song, written by the American black vaudeville team of Henry Creamer and Turner Layton, became a standard almost before the ink was dry. AI Jolson introduced it at New York's Winter Garden in 1918, and both Sophie Tucker and Louis Armstrong included it in their repertoires during the 1920s. It

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became a Benny Goodman jazz classic in 1935, a Bing Crosby winner when he recorded it with the Paul Whiteman band, a Judy Garland favourite in the 1942 film For Me and My Gal, and it gave Shirley MacLaine a chance to show her musical talents in the 1958 film Some Came Running.

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... 31

ON. HARVES"r MOON Words and Music by Nora Baru and lack Norworth

ShiM 0.., Harwn MOO/! was wrinen by the " .. a·known Amc,;' can vaudeville team of Nora Bayes and her husband, Jack No,,,,orlh, in 1908. Later that year, tM highly temperamental Miss Rayes inl~rpoL",ed 1M ""'8 ;n (M ZiJ!gf./d FiJIlU!., and it ",main«! d~ly linked to h(1 for Ihe rest of her CO!ttL lronicaUy, althougb tbey insisted upon being biUed as 'T he Stage'. Happiest Couple', the Norworth. - who were always quarrelling _ w= divorced in 1913. As Wtll as becoming. popuLor ront2ntk ballad, the wag ~me one of the st.ple number. of lb. barbenhop quane,s which Were SO popular in America at Ihe lum of the cemury.

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IShowers When AI Johon wu ,n • Broadway &bow, IOOiol>«$ did nOl care I bit .bout Ibt 1I0I'Y_ TM aU-impOrWlt annction .... , lbctt bekr.-ed 'JoIit' ODd downillll to bis _ and thrir-Man'u:omml. So il wuwith &mho, 11921 hit lhIot ()!'leDed ., ....... tbnm: named in Jo/Ion'. honour. ni&h~y

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UIowJtopper, which Jobon sana from I platform jut!in& 0111 ,nil) the ludie",",. was April S~, h ....... also the Ia.r ""'8 he SIJlI in public - to [he US troops in Korea, shortly IItfo.., hi' death," October 19SO.

Words by B. G. iHSyln

Music: by Lou;! Silva.

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The 19201 saw a profusioD of &ong' celebraling Ihe appeal of lb. Soulbland of Ih. United Slat... Though Gus Kahn and Walt.r Donaldoon had never been in Carolina when th<y ""nnod Ibis tribal., Ibeir adroit combination of hopping and skipping notH, inl.mal rhym<"S and IOngU._IWilling doscriPiions produc.d an irresistible mlv.l brochur •.

Words by GU5 Kahn

MU5ic by Wah~r Donaldson

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For Me and My Gal In 1917, according to hard-up composer Meyer, 'I was writing songs for a living and I needed money, so I wrote this ballad'. Lyricist Edgar Leslie borrowed the title from the last line of the earlier hit, Shine On, Harvest Moon. When first introduced in vaudeville it 'laid an egg', until a hard-working song plugger placed it with such stars as AI Jolson, Sophie Tucker, Eddie Cantor and George Jessel. In 1942 it served as the title song of a film starring Gene Kelly (his first) and Judy Garland, and it became a hit allover again. It is one of the most popular melodies ever written about the joy and excitement of getting married and of anticipating the family to come.

Words by: Edgar Leslie and E. Ray Goetz Music by: George W. Meyer

Barbershop style

(For

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When Day Is Done

Although composer Katcher had written operettas in his native Vienna, and later spent more than ten years in Hollywood, his only lasting work is When Day Is Done. Called Madonna when first published in Vienna in 1924, it received its English title and lyrics years later - and became the signature tune of the pre-war English danceband leader, Ambrose.

English version by B. G. DeSylva Music and original text by Dr. Robert Katcher

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In 1930 in America composer Johnny Black sold Paper Doll to a E.B. Marks, for a $100 advance against royalties, but neglected to mention that he himself had copyrighted the song back ii11915. It collected dust in Marks' file until 1942, when the Mills Brothers recorded their hit version. Then someone discovered that the copyright was due to expire and Marks would lose the song unless he could sign up the renewal rights. But Johnny Black was dead and it was necessary to locate his heirs. The trail led to an elderly father and an ex-wife. Both were persuaded to sign, but the ex-wife demanded a bonus - one week in New York for her and a friend as guests of the publisher. The bonus was paid and the song was saved.

•

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«:l 1915 Edward B. Marks Music Corp.

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Words by George Norton; Music by Ernie Burnett Over the years this tuneful song has become linked with a moving expression of end-of-the-evening feelings. Originally called Melancholy, it was first heard around 1912 at the Dutch Mill in Denver, Colorado, then one of the more elegant hight'spots in the West, and it went on to become a popular vaudeville riumber. During the late 1920s it was frequently featured by Tommy Lyman, an American cabaret singer who began work at midnight and continued to perform into the wee small hours. It was also sung by Priscilla Lane in the 1939 James Cagney gangster film, The Roaring Twenties.

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Vaudeville was at the height of its popularity in the Roaring Twenties, and Eddie Cantor one of its top stars. In the 1921 revue The Midnight Rounders the ebullient Cantor style cried out for a novelty number, which would give him a chance to roll his 'saucer' eyes. Cantor's performance of Ma helped keep the show running for two years. In 1958 the song had a new lease of life as a rock 'n' roll number.

Ma (He's Making Eyes atMe)

Words by: Sidney Clare Music by: Con

C~nrad

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ONE ALONE

That stirring vow of fidelity, One Alone, from The Desert Song, is part of a three-way musical discussion called Eastern and Western Love. Representing the 'eastern' points of view one Moroccan tribesman advises treating love as a passing pleasure, while another advocates a 'harem of blossoms' . But the Red Shadow, a Frenchman in disguise, rejects both ideas. He pledges his undying devotion to 'one alone to be my own'. Harry Welchman starred in the 1927 London version, and recently John Hanson has played the Red Shadow in theatres throughout Britain.

Words by Otto Harbach and Oscar Hammerstein II Music by Sigmund Romberg B'7

.mil G

Slowly

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tat

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f Pe;;:-----------52

----Section 2 · Melodies from the Tuneful Twenties----

The Man I Love The Man I Love had the odd distinction of becoming a recognised standard despite its having been: (1) thrown out, of the Broadway musical for which it had been written (Lady, Be Good in 1924); (2) sung in a show that initially flopped on the road (the 1927 Strike Up the Band); (3) added to and then cut from a third musical (Rosalie, 1928); and (4) rejected when Strike Up the Band was successfully revised in 1930. The reason for the last rejection was ironic: by then

the song had become too well known. In England, this was largely thanks to Lady Louis Mountbatten, who had heard the song in New York. She liked it so much that, on her return to London, she had it played by the Berkeley Square Orchestra, who turned it into a cafe society hit. It was then taken up by various jazz groups - who played it in London and Paris - and American visitors would go home humming the melody and asking bands in New York to play it.

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My Heart Stood Still No lyric wriler has ever enjoyed a greater "'pul.Olion for intricate, many路syUabled rhymi"ll than Lorenz Han . Yet Hart could

also be bolh eloqumt and simple, which he pro>"e<\ conclusively in his words for My Hean Stood Slill. Her. not only is the ... &0 mtaningful a line as 'Thai unfelt clasp of ""mh', bUl {he <l>li", lyric _ witb th. ""eeJuion of JUSt w. words _ Wi, put

109"ther with words of only one syllable. h was first sung by Jessie Mauh~ and Richard Dolman in 1927 in the London revUe Oru Dam~ TIw!g Aller AM/lin. The

ballad was also used in th. 1927 Broadway mns;cal A C""""riaor YanJrn.

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- 59 1.:1

What Is This Thing Called Love? It was while listening to native chants in Marrakesh, Morocco, that Cole Porter got the inspiration for this dark, brooding melody of despair. Introduced in London by Elsie Carlisle in the 1929 revue Wake Up and Dream, the song became so well known that by the time the show moved to New York, in the following year, audiences greeted it as an old favourite. It is one of the classic songs about the agony of being jilted and left alone.

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Someone to Watch Over Me When forlorn Gtnruok L.awm1~. clutching a nog doU, sang !hi. gende pleII ;n the In6 musical comedy ru, Kay. Broad".y critic staled mOl Ih. Gershwin. had 'wrung the wilben of even 1M II\OS{ hard·beaned of those present'. Composer George hlld originally wrinen tht melody in up tempo, bul soon realistd 1M! it sound«1 far ""'-Itt IS • aIow rom2Jltic balbd. Th. musical CIOme to London', His Majnly's ThuIU in 1921, again Stllrring GcrtnJd. Lawr<:nce along with comedian Claude Hulbert.

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o. middle pan, srandud p:lpulu song has S(l(tom btcn MOre excitingly ro,mructcd than in YOII Do Somedn", Jo M~. He", the melody seem, '0 take winll' on I ftight of pure ecstIsy IS it puncl\n out tilt ~ with thox infectious inmior rhYD'"' 'Do do thai WI:> doo ,hat )101/ do SO wd!'. The song, a prodUct of 1929, wlI$ jmrodu~ in Co\( Pon",', lint major Brood,,'aY success Fifty Million Fmt<"-", I spOOf 011 Americans .tm.d. lbt brid~,

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The mating of Olde English with 1927 slang was accomplished with great style in Rodgers' and Hart's Thou Swell. Surprisingly, when first sung in A Connecticut Yankee during the show's Philadelphia tryout, the song left audiences so cold that the producer wanted it taken out of the score. Richard Rodgers fought to keep it in and was vindicated when it became one of the musical's most admired numbers. Its popularity was ensured when the musical became a success at London's Daly's Theatre in 1929.

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Words by Lorenz Hart

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Tea for

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Music by Vincent Youmans

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Make Believe Make Believe was one of the immortal melodies heard in Kern's 1927 musical version of Edna Ferber's novel Showboat. Lyricist Oscar Hammerstein recalled: 'Jerome

Words by: Oscar Hammerstein II

played a melody for me and I got some words to fit the, middle part. They were "Couldn't I? Couldn't you? Couldn't we,?" At the moment, though, I had no idea what I and you and we couldn't do. It just seemed to sing. Later, I wrote words up to that section and then away from it. But this is not the ideal way to write a song.'

Music by: JeromeKem

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3ascinating :Rhythm 'Fascinating' is the proper term for this combination of words and music. After receiving the melody from his brother, lyricist Ira Gershwin faced an enormous task: the jagged, syncopated tun~ with its tricky accents hardly lent itself to a boy-girl expression, either amorous or humorous. So he simply hit upon a lyric describing the effects of a nagging, insinuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the musical Lady, Be Good! which opened on Broadway in 1924 and at London's Empire Theatre in 1926 - again with the Astaires.

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LovIn· Bat Man Originally written in fasl tempo, as • ~ stqlK'flCC, thi, melody wu later ,~ down - by HcI(1I Morgan, who played JulK in lb. 1927 Broadwo.y production of Slwwboa/. Miss Morgan, poerdlt;d on lop of • piano, sang il in her night·dub au 1$ an <"'o'OClI.UWC Ind ""unting 'torch song'. [n 1M 1928 London production of SlIowbom,.' the Drury La~ Thtf;."", i. was ,uIIl! by ~

Burke (." Ju~.) and Edi'h Day (as Magnolilj, When il "''as .evi,-ed in London in 1971 ., 1M Adelphi, Cleo Laine (among OIhm) pJlyNi Julie and Lorn. Dalla played Magnolia. Music by: Jerome Ke rn

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Bye Bye Blackbird Every new generation sccm. susaptiblt to this ~free, rhythmic ch.",..., of I 5OI!i. Pcrh.aps it j. beau... Ibe lynes, though vinuaUy a ,[ring of non sequiturs, ron~ the r""Ung of thumbing a DOS( al tI,. wholt unfriendly, complk:u<;d, opprtS1jv~ world. [n the yea' 1926, composer Henderron rould affonllO do thi._ BlodIbird was one of "",-enl hits he wrote in that yea •. 1lH: SOJl3 "'.... included in the 1955 gangster film Pm Kel¥' BhIn, with Poggy Let and Ella F itzgenld.

Words by Mort Dixon

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- - - - - Section 3 · AU-time Hits of the Thirties - - - - - -

SMOKE GETS IN YOUR EYES It was 1933, the depths ofthe Depression, and shows were closing up and down along Broadway. But Roberta played on, thanks to this plaintive song, first intended by Jerome Kern as an instrumental interlude to fill in during scene changes. He dusted off a march he had composed some time earlier as a theme for an unproduced radio series, slowed down the tempo and then decided it could use lyrics after all. On opening night, the song brought down the house. Irene Dunne sang it in the 1935 film version to a wistful accompaniment of mandolins.

Words by: Otto Harbach

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Words by Ira Gershwin

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A 1935 visit to tilt rQI'lWltic i$land of c.pri inspirtd British Iyricl$r Jimmy Keno«ly to wrile 1M lOng, sugges!«I by bright rtd Ails on ~nLc Italian boots, cas! against a purple M«IitCTNlleaJI sunset. It became I hit on hoth sides of the AtLontic, and Goo. Fu,k!< reintrodw:«I it in Britain in 1947.

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Dancing on the Ceiling liod impresario FIomu: Ziqfeld 001 w~n such • IcronK dislike to OIl I4l CN.tw, the"""i would have been unvrilcd in hi. BrotdwIy musical SirItpk Sm-, early in 193(1. But Rodten and. Han did no! hi"" """ 10 wail for. spoil/) tit found for iI. n.. ton& ..... Iloncd into tbrir muskal, EN",,,", "'hkh ~ in London !aItt tbe .same )Ur. Suna; by J~ ManMwi, .he lilting air b«ame lilt ~ oflbc: producllon. Jeuie Matthews,_ popular musiaol comedy sur in the 1930s and. 19-101, bIer woo new fame in the titlt mit in HSC radio'. ttruJ, Mn DaV. Dimy. ~

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ISLE OF CAPRI Words by Jimmy Kennedy; Music by Will Grosz

~~~~~i~~~ Romantic and nostalgic, with an amusing tWist at the end, Isle of Capri is a product of the British songwriting team of Will Grosz and Jimmy Kennedy. Guy Lombardo and His Royal Canadians introduced the ballad in the United States in 1934, and Xavier Cugat and his orchestra popularised it further through their nightclub appearances and recordings. But it was the raucous swing version by Wingy Manone in 1935 that brought the song its greatest fame and gave the one-armed trumpeter his first hit recording. Gracie Fields also had a hit with it in Britain.

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Copyright C> 1934, renewed and assigned to T. B. Harms Company and Anne Rachel Music Corp. This arrangement Copyright C> 1982 T. B. Harms Company. International Copyright secured. All rights reserved. Used by permission.

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Nobody expected this song to become a hit, let alone an all-time favourite. Jerome Kern admittedly composed the complex melody for his own satisfaction, but he was certain the public would never hum it. Then the show in which it appeared, Very Warm fur May (1939), was a disaster. Yet AU the Things You Are survived, and appealed enough to Joan Regan and Mario Lanza to record it.

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In a Shanty in Old Shanty Town In 1932, when this paean to p'''''ny was wrineD, there w<:rc many .hanties in many shanty towns throughout the United Sate,. For the country wa, then in the depth of the Ikprt'SSion and rtttp,ive to a lyric C<'iebrating the pl<:o..= of. far from luxurious abode. Co-composer Link Jack Litde, whQ was prinurily â&#x20AC;˘ pianist and band_leader, introduced the number on his radio programme in his imimate half-singing, halftalking style. In Britain the song _ "ith ii' longing for home and mother - has been =rded by, amongothen, Ve .. Lynn .nd Max Bygl'l.ves. Word, by

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F~~~~~~~~~~~~~~~~~~~

PR~~ER

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for the violin, Avant de Mounr ('Before Dying'), by the French composer Georges Boulanger. English songwriter Jimmy Kennedy adapted the music to a song format and wrote lyrics which were introduced in England by Vera Lynn. In 1956-7 My Prayer became a best-selling record for the American singing group the Platters.

Music by Georges Boulanger Words and musical adaptation by Jimmy Kennedy

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Copyright © 1939 by Skidmore Music Co .• Inc. Copyright renewed. This arra~gement Copyrighted C> 1911 by Skidmore MUsic Co .• Inc. Founded on "Avant de MODrir" and published with the permission or Associated Music Publishers. Inc.

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It took this song some two years before finding a publisher in 1938. American radio stations at that time had a strict ruling against any reference to an alcoholic beverage and here was a lyric dealing with the heady effects of no less than three. But the song became a hit despite the radio ban.

Go to My

Head

Words by Haven Gillespie B~m'J

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·April in Paris Words by E. Y. Harburg

'Oh, to be in Paris now that April's here!' boomed a nostalgic Monty Woolley at a Manhattan bistro one day in 1932. 'April in Paris,' announced composer Vernon Duke dramatically. 'What a title!' And he promptly composed this lovely song for the revue Walk a Little Faster with the British comedienne Beatrice Lillie.

Music by Vernon Duke

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III

Words by Howard Dietz

Dancing in the Dark was a product of sheer inspiration. While working on the score for the 1931 Broadway revue The Band Wagon, composer Arthur Schwartz was groping for - in his words 'a dark song, somewhat mystical, yet in slow, even rhythm'. For days nothing would satisfy him. Then one morning he awoke with this melody so fixed in his head that all he had to do was jot down the notes. Bing Crosby and Frank Sinatra made best-selling records of it.

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Cm/Gbass

mm-6fr. 1 I

)

-e-

waltz - ing in

•

Fm/A~bass

F/Abass

.i r3

-----

Dark

I'J

the

____

-I

•

~~~

•

·• · -

Gm7-5

t..

Till

---.

~u---

~~.

.'" l

.......-:

.. 0_____.

If~ ::>~6

ooff

Slow, but not draggy

• • •

~~.It i.~1 2

E7IFbass

::>

S 5

::>

•

Fmaj7

. ""~

• •

::> l...

8 ···4·~·:

Music by Arthur Schwartz

"* lIo.

I~I

G~/E bass a

by,

hur - ries

we're here

----------

Fmaj '7-

B '7/Fbass

I'J

··

. ~ f::: ;1 r rtf. the light Look - ing for

altmyJ~

,..-:

~f~ Of I

----

love

._0----

~"'.

•

~q~

~ new

__v.

_0. Gm'7

ooff bf

1m •

1'il.

----11---

"""'L

------------------~ ---~(------------~ -----------------~F/Abass

m "i

Gm'7 -5

mm. . I

lfr. .~I

• @..

{·

bright-en up

i i

the night,

~j ~

.i ~ ~VI

r:~ I

~r..

have you,

~r_

love, and We

~-== cr~8c.

--M. . .

can face the

,----r:J

---------~-----------~ -.....------------~-

Fm'7

Fm/A~bass

sfr.

mu - sic

geth

ff:>

G~maj'7

t2 48

p :>

•

F&add9

•

::>

Danc-ing In

er,

•

_........• •

Ped.

.....J

113

IGeta Kick Out of You

Cole Porter's sophisticated ballad at first appears to fall into the familiar A-A-B-A pattern, with each section consisting of 16 bars. Yet both times the A theme is repeated, only the first six bars remain constant, the rest indulging in some compelling variations. This is particularly true in the final section in which the tones rise higher and higher with the plane's ascent, only to descend as the lyrics express total indifference to the flight. I Get a Kick Out of Yau was first sung in 1934 by Ethel Merman in the musical comedy Anything Goes, written by P.G. Wodehouse and Guy Bolton. It opened at the Palace Theatre in London in 1935, and was successfully revived at the Savoy in 1969.

Words and Music by Cole Porter

I'll

Moderately

-I

-J

..,

.,... ..,

..,

lVith a latin feeling

rnp

cresco

0 0

:J'

7Jr

~-df

Fm'l

mm----.

Sfr

•

fif get

71'

Gm'l

. - S f r.

•

~.-

i , no

kick

from_ cham - pagne,

11't

Fm'l

B~'l

----.

°fitif i Mere

114

mm_ E~

does

n't

thrill me_

----.

~_sfr.

Sfr .

•

al - co - hoI

•

all,

E~maj7

• Fm7

ltlm- afr. ~

'--Sfr.

tell

me_ why

~f2J ~

should it_

Fm7

true _ _ _ _ _-+-_

mmE~

That

sfr

ltlm- sfr. ~

) '11'~' {~~~~I~~G~e~t~~~A~~K~i§Ck~~o~u~t~~~O~f~~YI~OU~?~~~~~~~~~~~~~~ r

m-Gm7

--... 8fr

.-afr.

Some

r~fiJ ~ like a

bop

type_

re - frain; _ _ _ _ _-+_

r Fm7

.tJ

t..

Iil~

1m fO

I'm

mm-Sfr.

r ~ I' ; f sure

that

':;j

~1 _ ~

' r

heard

-JI

-ef

•

a-afr. ~

° ~

riff

-r

, r

ven_ 1

...

r'.

That_

'r would

t 1 ~ me_ bore ~

f"~ ter

•

If one *1

Fm7

Gm7

~ I

'"'F

~ rit I

, IC

f , t

'ly

r 11~

m-_ Gm ...--...

E~maj '7

mm-

Sfr .

Fm'7

Sfr.

Get_

r ".......

~-sfr.

'-"

~:~~u~.~~>~f~~~~~~~~~ ~,-,,---------r-------r·

mm-

~J.

···

I.....

-~ro

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see_ r--

Sfr

.·

• • :;".

stand

You re

•

,....."",.

.. • ..~$r·

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,....~

~.::::

--..

be-fore_

ing there_ I--

.-....:.t...

"r~··""*V~

···

.::=

----

• Fm

get

kick

tho'_ it's clear

_ _ _ _----jO

------r"---"'ro

mm",:,

Fm'7-5

lim

sfr.

•• • •

to me

1I6

You

vious ly don't

a - dore..

.-..

'-' '-'

'-'

...

I~ I:

.-..

>E~

mr.........

'I I t.

. i

kick

t '1 t

4J'

Gm'7

sfr

.....--... mmr

sfr •

, L ' r

plane,

In_

c;"Ij

get

r p, r ' r

f' f

'11'1',

-c....:"

;

With a lalin feeling

me._ r--

•

c;"Ir

-r

-J'

Pm'7 .....--...

mm '~ififi

Fly - ing too

mil •

'I i

~ ~

'I/J

dea_

tliI

the

Is_

sky

Gm'7 -5

in_

Pm'7

gal} {guy

high with_ some

t\ ~

'1'1

Roth - ing_

1m 'It

~'1.'1 ~ i

~'1fr

~t I

E~6add 9

Pm '7

.-......

m!.:--'---___.. Kick Out_ Of

You. _ _ _ _ _-+-_

117

~~~~

Words and Music by Cole Porter

~~~~

Just One 0/ Those Things is anything but. It is one of those legendary songs written on the spur of the moment - in fact, overnight. When Cole Porter's musical Jubilee was being prepared for its Broadway opening in 1935, Moss Hart, who wrote the book for the show, suggested to Porter that a strong new song was needed for the second act. The composer agreed, and the next morning he appeared with a sheet of scribbled notes and sang for Hart the comple~e verse and chorus of Just One o/Those Things. There was one word, however, that gave Porter trouble. He spent days poring through dictionaries, but he could not find an adjective to go with 'wings' until a friend suggested a word that had probably never before appeared in a popular song: 'gossamer'.

Briskly, in 2 ( J =1 beat)

M5fr. Dm

I-

was r.-,

mpr.-,

•

one_ t--

just

-.r

~ ~

•

of those

CoIf

Fm/Ab

CoIf

Gm7

ftW6fr.

era - zy

118

now and then

m C7

that

F/A ft006fr.

I ~: :: I

1 ~ I"~ ...

bells

••

.5fr.

I" ~ l-

one_ _

Just

.........

Bbdim

6fr .

f\ ~v~

~ t Bm7-5

F7 ~6fr.

things,

~r,-

of those

••

I-

smoothly throughout

I-

flings,_ -

~ ~l"

One of those

F#dim(addD)

m 1m

rings,

Just

one __ r--

of those

Gm7

Gm6

things. _ _ _ _-+-_ I

was

just

one_ f---

those J

••

Bm7-5

,m6fr. ~

4:.1

•

"'r

nights,

·•

~-:

one_ f--

Just

I- " - ~ I-

6fr .

--:0-

j..

of those

Bbdim

Am7

.5fr.

~5fr.

-r

fab - u - lous

~ flights,

•t, -

m (J

I Just

-r

to the

moon

F#dim(addD)

trip

r I

one

ft- ,,~ p

gos

m6fr.

Gm7

Fm/Ab

I•

I--.

."...

1'\

sa- mer

wings,

.. f

those

ftc;; 'F

r·

-1

things. J~I

~-r

~r·

-,j

we'd

I I

110

Fm7

~Sfr.

gSfr.

thought

11'--- ~II"

V"~ ~

bit_ I--

" r v

the

end

·r

~ I-- II'"

r.J

I'"

When

I t

~ 'f-

start

.fr.

mSfr.

•

~r~

~r -

paint

ing

the

town,

.. r

r-'

We'd

have

I I

F#m7-5

~10fr.

mSfr.

lbeen

I-

r~ :.,r

a -

ware_ I - -

That

our

•

1--r--.J ~

r 120

"r'::::

hot I

Fm7

Fm6

m9fr.

~9fr.

W9fr.

-I

III'

Was

too

r qr,--,r

af - fair_ I - -

love

Fm+7

N.C.

m8fr.

C/E

mSfr.

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'''"-- I-'

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not I

I"":,fo'

to I

Pf'----'f

", ~

...

cool I

down.

Il ---

f So, good-

m A7

~5fr.

5fr .

, t\.

bye,

and

dear,

"1 ~

J---J

Y-r

Here's

·i

Am7

"IT

hop

ing

great

•• I

then.

;

was

•

fun,_ ~

But

was

just

-r

"0'

mm 1\

::>

things.

I u_

I 1,.- ro••J _0

I J J., J

::>

Gm7

G#dim

one_ ~

1...- t"---&

r---

•

r.:::::: PI

C7-9

~.!

•

Gm7-5

::>

I Gm7/C

•

111

Gm7

::>

'- ~I

meet now and

3fr .

I-

J~ ~;

~5fr.

_5fr.

••

Bbdim

Bm7-5 Sfr .

gSfr.

"1 ~

men; .-::

I "1 ~

~r--

those

..... ~

mSfr. im6fr. WSfr.

J I

::>

r ---

121

When !hot curt:lin (Joel up On p~ aIOd 8 .... (M Iinl song heard is this charminjj lullaby. 0uB<:. tlryward devdopcd ~ IjTic from • pusqe in hi, book PQJTY (on wlU<h !be 1~3S Negro folk oprn wat basld) _ 'Husb , ~, baby, don' .,..... cry,IFlddtt an' mllddtt born \0 dot.' Gcorse Gershwin

I 'r

Iovul his own melody. Dir«lor Roubm Ma",oulian rtta!b ~ IlI1d his brothc1" In porfOl'lllUll tbt """I' 'George played with the most brali6c $JrIjJe on Ius f_ ... lra .... _ be tItrn!" his lind bIotk wnh abandon, lui t)'a closed, aDd S&DIIiU a rughunplc. In lhe middle of tbe SOI\lI, Gtorst could 1>01 bear it any kmStr and look ""er the ~g froon

him. To describe George'. f_ wbile "" sana

S~.....

... Nirvana mi3ht bt lbe wordl'

Words by DuBo •• Heyward

M,,~ic

by Ceorge Gershwin

Sum~rtime Slowly , with expression (J

.Am6

=1 beat)

E7/Bbato

im&{· 1I!I!l" Fish jurnp-

'"" ~4:;-; J~-

mm an'

122

the cat-toll Is

Oh.

_ _ o_ .. _ _ _ _ _ _ ... _ ••_ _ _ o"" ..

yo'

.-.~'"

OM.

E7/Bbass

, " 1'1 ___ t dad- dy's t t

iii

•

1'1___

•

E7/Bbass

Sfr.

m5fr. I

is good

-F-'

.---""

look

in'; _ _

:..c:;

:-6

yo' ma

an'

Am6

..-------1

rich,_

t-E

R5fr.

...-----1

••

m5fr.

h I

E7/Bbass

AIil6

R5fr.

..,

• • •

.5fr.

r. [ 11\

r-r

•

i hush,

lit - tIe

•

'1.9-

don'_

by,

yo'

Eaug

Am6

m5fr. $-L i6 ::-

1'1

Dm7/Gba~

C/Gbass

Am7

•

Eaug

Am6 t:~

m5fr.

~= i6 -

t;:

•

E7/Bbass

R5fr.

...

I 111_

One

cry. 11

1: 7T

of thes'e

1 ~1

morn - in's

:-6

~..G

--;E7/Bbass

Am6

m5fr. I

" .

•

You goin'

Am6

m5fr.

rise_ up

;-'

;-~

R5fr.

m5fr.

1~11I~1 <

E7/B bass

Am6

5fr. r--::::::::

-p

in'; J.I.

riJ I

Am6

mSfr. I

ttl

Then

you'll

123

• • ~

•

'I .

L.. 1

~-~

Am6

e:E!I

sky.

EmIl fffm 5fr•

I~I •

E7/Bbass

-. I

"1_

morn-in'

5fr

•

..-/1 There's a noth - in' can

...c:

~-6

r ~~ J ~r

-t

Am6

5 fro

"1~1 But tbl that

E7/Bbass

m5fr.

-L1

-1m

•

J J

Bb7-5

---r

tid "-

an' you'll take_ the

~-4 ~JhJIJ

lid

-4

• •

•

wings,_

spread yo'

•r

:-6

-4

Am6

E7 / Bbass

R=tm EHm 5 fr. fffm 5fr mtfI

fIR Am

~4fr. ~

" !)

"",I

i harm

C/Gbass

D9-5

Uf"[

With

Am6

•• , • c.;Ur D

I!J

by.

••

•

-I.

stand

9-,

in'

r r

fl'UI

add9

7fr,~ ~.."

.fL

-'f1

slowly

e124

Dad - dy and Mam - my

1m -

'r r-

'-'f

you,

Dm7/Gbass

~~~==========~-~------~

------Section 4 Favourites from the Forties-----0

!DI'lllever 'alk IIDBe Cole Porter once said that Richard Rodgers' best songs have 'a kind of holiness about them'. He might well have been talking about You'll Never Walk Alone, a musical, emotional, and spiritual high point of Rodgers' and Hammerstein's 1945 show Carousel. Rodgers' wife, Dorothy, has named this as one of her four favourite Rodgers' compositions - the others are Hello Young Lovers, Little Girl Blue and a personal, sentimental favourite, Dear, Dear, the very first love song Rodgers wrote after they were married. Any visitor to Anfield, the home of Liverpool Football Club, will hear their supporters on the Kop singing You'll Never Walk Alone. It was adopted by the club soon after Gerry and the Pacemakers- part of the Mersey sound-had a No.1 hit with it in 1963.

Music by Richard Rodgers

Words by Oscar Hammerstein II

... i

Not too fast, with a singing tone

.. i

.... i

(rEr rrrr ur_

jrr

P'w." smoothly throughout·

··

When 0

-i

wa1k

you

through

•

-r

G/Bbass

t..

Err

hold

your

head

storm

• :fi

i -

··

u '1 --

---

- --r-

....

r t r !:L r: !: L r~.-

high

• ~ or

And

~~.I

·Suggestion to pianists: Use pedal while sustaining chords.

.,.

T-

:r.: o

-oon-

ir-r- r-i-

r-rr-rrrr

C/Cba..

don't '~

LtC r Lt ( t-

-,- r

-f~ r

fraid

the

dark

~t;;

:: r c: •

=to

•

3fr .

'--r

Cop)'l'ight @ 1945 by Williamson Music Inc., New York, N. Y. Copyright Renewed. T. B. Harms Company, Sole Selling Agent. International Copyright Secured. All riibtl reserved.

125 '

• Dm

the

•

It ~

gold J

··

Gm/BPbass

F/Abass

song

r~ r-

=ii

• ~.I

:::; =i

··

"if ~ J

. Wa1k

.,..;:::;:;; l..

r--I

1· ~

<f7

( ~)

rain,

Tho'

p;::-----

·· 0'"

126

:::-

•

-y

.-=r.

through

----=-

HHH

dreams ~

l.. J

1be

(~)

your

Wa1k

C/Gbass

wind,

"'"

C/Ebass

foI·

the

through

ver

1'~

tOOl ~

~.-

-----

Fdim

...

• t.

sil

•

lark.

C7/Gbass

....i

mm S~

sweet

EIG'bass

the

And

I r-l

•

I11i ~I

f I

cresc~

I ··

• I

F/Cbass

t.r- skyi ~ i ..r--,

•

r·

~~t

•

Bb/Dbass

y and

tossed w;:::---.....

...

.---.-

r the :::--.

• -

II!

It " <

blown.

mp cresco .....-::::::::-

I, ··

•

on,

with I

Eaug

mmI

mmI -

nev

··

•

mmI

•-

you'll

lone,

Eaug

----==-J

J""""'T

r -,

..l

i- 'P'

'F'

CjEbass

=---

---=

mmmm • • • J

... -r

··

And

flM-sfr. J~..1

fI-

EmjGbass

~---,

F#7

wa1k

, '\ - I

heart

i~'U'

Fmaj7

.. ..

I < t

your

~'U'

CjGbass

l!~

hope

...--::::::-

L.......

I ~

---=::::::;;;-

-ee-

..I

walk

··

on,

~'U'

.~.~

----.

Eaug

I Walk

::---

..I

-e. -

• C

Gil

You'll

nev

----~ ~-

wa1k

t1'"r-r~r--

lone! Softer and softer till the end

-G ~

-f.i

•..

• t.o'f'

=6 .-.

I ..

·· to

~,...

.r·

-- ---

.f: f.

-or

•

.-r

t:\

"E.

.,,-

-----

\!.I t:\

-e127

Mona Lisa In 1949 songwriters Jay Livingston and Ray Evans were asked by Paramount to write a 'warning song' for Captain Carey, U.S.A., an Alan Ladd film about the OSS in Italy during the Second World War. Every time the Nazis were in the neighbourhood, a strolling accordionist was to play this melody. Mona Lisa was the song, and it won an Academy Award. It was also a hit record for Nat 'King' Cole.

Words and Music by: Jay Livingston and Ray Evans Slow and pretty

•

---

• D

-----

1I.,jj.

Mo - na

II ·· "-

I ".

Li - sa,

Mo - na

Li - sa

men

have

named

----

t~ I

··

You're so

• D

blamed

you

y~u:

,,jj.

-::

...-:::=---.

•• /

'"UU" Em7

•

~~)T ~

for that

f- '- Lr

Mo-na

[

Li - sa strange -ness in your

•

tJ r smile? . ~

~ Do you

128

I,jj.

t . , .

.I.....J

1fT

rr=--j

•

Li - sa,

lov - er, Mo - na

smile to tempt a

---

•

heart?

t . .

Man-y

Or is

-, I

15 I"""'""'

..I ~

~ ,

mm I

die

(No chords) i

r r

Or just a

~ "I

-, i

··

~~f

cold and lone - ly, love -ly work of

-t

art?

Mo- na

• A7

,.......,

mI V

#r -

Gm7

1I,jj.

... ~ T ~

Li - sa,

··

•

• p,-

J ..J

Are you

there.

r i

They just

I:--J and they

there,

.....-.

1I,jj.

lie

--....."

to your -'d[or _ step.

dreams have been brought 3 1_

r r

this your way to hide a brok- en

'-oJ

Gm7

r---t

Mo - na ::>

-tl :(5)-

sa,

slower

sa.

,.........--

VV"___

-e-

..----I

B ..___v

129

(Maori Farewell Song) Ahbough usuaUy tbo"8ht of as a g<nuint Polynesian song,

Nuw is 1M HINr i, of n~ith..,. Maori nor Ntw :Ualand origin, It i. believed to bav. b«n wriUen in Australia in 1913 under another title, and to ~". b«n adopted by Moori singers so"", yean later. The song achieved widespread popularity during th. Second World War, when it was llSoocio.ted wilh Ntw Zealand servicemen abroad, and r=:.rded by Bing CrD$by in 1947, The following ~.r Grode Field, made it • hit in Britain.

Original words by Maewae K.ihau Music by Clement Scott English words by Dorothy Stewart

Andante (but not too slow)

C/J!ba ..

I!!1!l

Cm/J!bb...

• D

I!lI!ldll

•

T'--____T" Em

iii 800. To

130

"""".,, . "

. " ... ft .

...

R."'''' ... co., .... , _..l. COM,,.,.., .......... ,,_ c-.<.. , _ ,.

""""'- ' - '... ., ""

".... ".,_

"""

•

"4f

r ;r

if Far

a - cross nga ka

I',

•

Fz.

then

Oh,

~f you

.,~

•

.1"'--- ........ ,

re ra

F-'

turn, nga

You'll

"T find 0

•

~. 'P

~.,

1\4f

••

'~·'r

• •

r p-:

'-'

r/'

wait i

. ,

(Guitar tacet)

-----

I vr

r~ -

ing wi

...•

here. e.

..--

~elody

I ~

•

··•

, "'f:

~~.

I I I I I I

When Hei

,-... ,..-..

~r·

. 1:

r Df i

,-.. ,,-...

-41

...

--r.

me. pai,

I'" I me te

rat

i i;j

i~i F7 E7

ku -

re - mem - ber te YO ngo

·•

rt¥j~

}

..... 1

i ia

you're nga

f'-.:

• • r•

-,;'p-.

••

While Ki

~"i

way, pu

,~jj.

---

sea. e.

•

". ~.

,,~

q' ~.

Cm/Ei1bass

.•

i the

• •,. •r •

C/Ebass

• •

slower

I J I J I J J J 1j 1 J I J I ~f~

f·

l't.o.!..,

r,--

~t:'\

---:(

Haere ra Te manu tangi pai; E haere ana, Koe ki pamamao. Haere ra, ](a koki mai ano, Kite tau E tangi atu nei.

131

Blues in the Night Words by Johnny Mercer

Wrium in (941 for â&#x20AC;˘ ntinof Hollywood film caUed HOf NIKIlnTW, litis melancholy song bta.me so popular Withe picture "'as retitled 8/ua '" Iitt NI/{/u, Stlrrins Priscilla Lane, Belty Fitld Ind J.ck Carson, the film ",lltn the romantic and profcs.ional odvt1l1U,," Qf. travtlli"ll jazz bond. Johnny Me"",. wrote alternative lyric, for. boy and girl. And th. song _ one of Mu.icby compoS(1" Arlen', own flvOUriltl - WIll nominated for an Academy AWlItd . Harold Arlen

, m&-m& done t ol' me_

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Trans"'ted from Czub, ~ ...,.', ori&inaI UlK ..... UllRqIIIud lAcJf, hardly suitlblt for the ~,II"IOII populu polka o{.u time. But l/I 1940, 1M Ammcan IIbtb for

Cf3eer Cf3arrel polka

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.h«r up ,h. Briti,h propl. during Ihe dark .uyaofth. Scomd World Wlr. By, Lew Brown,

('R.£jl out the 'Barrel)

Wladimir A. Tirnm,

Vasek Zeman and Jaromir Vei'-oda

f. - ees

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134

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During the 1930s and 1940s, Charles Trenet, probably France's most popular singer and entertainer next to Maurice Chevalier, was also the most prolific of French songwriters. His surging La Mer, written in 1945, contains many Debussy-like suggestions of Impressionism. Jack Lawrence wrote English lyrics for it in 1947, and in 1960 Bobby Darin's recording of Beyond the Sea sold a million copies.

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French words and Music by Charles Trenet English words by Jack Lawrence

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Copyright © 1945 and 1946, renewed 1973 Editions Raoul Breton. Copyright" 1947 T. B. Harms Company. Copyright renewed 1975 MPL Communications, Inc. This arrall8ement Copyright" 1982 T. B. Harms Company. International Copyright secured. All rights reserved. Used by permission.

139

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~s a team, lyricist Alan Jay Lerner and composer Frederick Loewe scored their first commercial success in 1947, with Brigadoon preceding Paint Your Wagon, My Fair Lady and Camelot. This charming fantasy of a Scot. tish village that wakens out of the mists for one day every hundred years proved the pair to be worthy of Broadway and gave the world such lovely music as The Heather on the HiU, Come to

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day smile

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rare mood I'm in! WhY. it's whole hu - man race; Why, it's

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me, Bend to me, There But/or You Go I and the now-classic Almost Like Being in Love. The last lyrical number is sung in the show by the American hero Tommy Albright, who falls in love with a lass from Brigadoon - and, in a happy ending, remains with his love in the sleeping village. Philip Hanna sang this exhilarating song in 1949 in the highly successful London production at His Majesty's Theatre.

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Words by Alan Jay Lerner, Music by Frederick Loewe

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Dh, What aBeautifullarain' No Broadway musical had ever started with a stage empty of people except for one old woman churning butter. But then, until Oklahoma! came along in 1943, no musical had ever started with a song like Oh, What a Beautiful Momin', which the hero, Curly, begins from offstage. Its warmth and sheer delight in the glories of nature on a fine day waltzed each evening's show off to a magical beginning for five years and nine weeks. Hammerstein worked for three weeks on the lyric to create 'an atmosphere of relaxation and tenderness'. Rodgers, on the other hand, dashed off the melody in about ten minutes. No matter; the effect was perfection.

Words by Oscar Hammerstein II

Music by Richard Rodgers

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Words and Music by Eddie Seiler, Sol Marcus, Bennie Benjamin and Eddie Durham Bennie Benjamin, one of the four writers of! Don't Want to Set the World on Fire, conceived of the song as a lively number when it was written in 1940. At about the same time, Harlan Leonard's Kansas City Rockets seemed to be filling the void left by Count Basie after the Basie band left Kansas City for the greener pastures of New York. The Rockets recorded the song in 1940, but both the record and the song flopped. For a while it seemed that this musical spitfire would go nowhere. Then The Ink Spots came into the picture. First, they slowed down the tempo. Next, they recorded it in 1941, employing their gentle, laid-back style. Much to Bennie Benjamin's surprise - pleasant surprise, that is - the ballad tempo proved just right, and the song became a classic. Another Benjamin hit of this period was When the Lights Go On Again (All Over the World). He later teamed up with George David Weiss to form one of the most successful collaborations of the late 1940s, producing such winners as Rumours Are Flying and! Don't See Me in Your Eyes Anymore.

Moderately, with a lilt

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South Pacific, Rodgers' and Hammerstein's 1949 musical, was based on some of James Michener's Tales of the South Pacific. The show's hero was a middle-aged French planter, Emile de Becque, played by 57-year-old Metropolitan Opera star Ezio Pinza. It is with Some Encha:nted Evening that de Becque proclaims his love-at-first-sight for US Navy Ensign Nellie Forbush. Nellie at first resists de Becque's impassioned pleas, singing I'm Gonna Wash That Man Right Outa My Hair, but it is not long before she is joyfully singing I'm in Love with a Wonderful Guy. The musical opened in London in 1951 - with Wilbur Evans proclaiming his love to Broadway singing star Mary Martin.

~nGhantec4

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Words by Oscar Hammerstein II; Music ~y Richard Rodgers

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Copyright" 1949lUchard Rodgers and Oscar Hammerstein U. Williamson Music,inc., owner of publication and allied rights for the Western Hemisphere and 'apan.

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Tenderly American pianist, the late Walter Gross wrote just one immortal hit. Most of the singers he accompaniecl in the 1940s were familiar with Walter's melody, but it remained untitled and unsung until the singer Margaret Whiting introduced him to lyricist Jack Lawrence. Lawrence recalls that Gross was reluctant to accept his title, feeling it sounded like directions to a performer. Today, when someone suggests, play Tenderly, it is this song they have in mind .

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Blueberry Hill was the product of three of the more successful hands in Tin Pan Alley - Vincent Rose, who also wrote Avalon, Whispering, and Linger Awhile; Al Lewis, writer of The Breeze, Now's the Time to Fall in Love, and Rose O'Day; and Larry Stock, who composed You're Nobody Till Somebody Loves You and You Won't Be Satisfied. They wrote Blueberry Hill for the cowboy film star Gene Autry to sing in the 1941 film The Singing Hills. But it was Glen Miller's recording with a vocal by Ray Eberle that put the song in the Hit Parade that year. In 1949 it was picked up by Louis Armstrong when he was reviving his jazz career with The All-Stars. Blueberry Hill did it for him then, and even after Fats Domino gave the song a third revival in 1957, Armstrong continued to rely on it as a big vocal and trumpet number until his death in 1971. Elvis Presley also had a hit record with the song.

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Oklahoma! (1943) was the first collaboration of Rodgers and Hammerstein. Besides the title song, Oh, What a Beautiful Mornin' and The Surrey with the Fringe on Top, the team produced People Will Say We're In L(JVe, in which the young lovers, Curly and Laurey, warn each other against any sign of affection. When Oklahoma! opened at London's Drury Lane Theatre in 1947, Curly and Laurey were played by Howard Keel - then known as 'Harold Keel' - and Betty Jane Watson.

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I'm Looking Over a Four Leaf Clover Written in 1927, this song was overlooked until 1948, the year bandleader Art Mooney recorded it. When, through a whim, American disc jockey Al Collins decided to play it continuously one afternoon over a Salt Lake City radio station, the event generated enough front-page publicity throughout the United States to boost both the record and sheet-music sales to best-seller status. In the 1949 film Jolson Sings Again - which tells of the entertainer's life after the break-up of his first marriage - it was mimed by Larry Parks to the off-screen voice of Al Jolson.

Words by Mort Dixon

Music by Harry Woods

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Autumn Leaves This lovely, mood-inspiring song began as a French poem, Les Feuilles Mortes ('The Dead Leaves'), by Jacques Prevert. It was set to music by Hungarianborn Joseph Kosma and became a favourite among the more sophisticated French cafe singers after the Second World War. Johnny Mercer, one of America's most prolific lyricists, was also a busy recording executive and singer, but he loved the song and agreed to write the English lyrics. Then he became preoccupied with other matters. Reminded of his commitment, he hurriedly scribbled the lyrics in a cab on his way to catch a plane, stopping off to slip them under the publisher's door. The song really hit its stride, however, in 1955 when Roger Williams recorded a piano version of it which sold 21 million copies.

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-SectionS· Yesterday's Hits: the Fifties, Sixties and Seventies--

recorded song of 1973 (the recording by Tony Orlando and Dawn sold 5~ million copies alone). Since then, over 400 recordings - most notably, one by the British pop star Tom Jones - have been made of the song which became the American theme of hope during the Iranian hostage crisis of 1979-81.

Does the tale of an ex-convict riding a bus back to his home town after three years in prison seem an improbable subject for a hit song? It does? Well, just add the suspense of learning whether he'll 'find a yellow ribbon tied around the old oak tree a sign that his love has waited for him - and you have got the most popular

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Send In the Clowns Words and Music by Stephen Sondheim Stephen Sondheim.'s 1973 musical A Little Night Music, an adaptation of Ingmar Bergman's film Smiles of a Summer Night, deals with a subject more suited to operetta than to the Broadway stage. Yet Sondheim's score is far from the sugary world of Sigmund Romberg or Rudolf Friml, and one song is hauntingly beautiful. Send In the Clowns, sung in the show by Glynis Johns, became an instant classic in the way that songs from musicals used to but seldom do anymore. It is a favourite of many performers, including Judy Collins and Sarah Vaughan.

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3--!.J Don't y~u love

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•

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us -

•

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B7sus4

• G

r r LC_ r.'~r

t..- 3 --'

3.;...!J farce? _ _ _- - I I - rich ?_ _ _ _-+-_

My fimlt, I

Is - n't

fear. _ _ _ _+__ queer? _ _ _-+-_

I thought that Los - ing my

I~~:g:~~~~~~~~~~~~~~ ------~::.;

170

----------------'ILL-------J'

~~---~-:;:...

L I_ _ _ _- - - - - - - - - - - - - - - - - - - - - - -

Crnaj9

3-I

I\~

...--- 3---.

-I

... ·

you'd want what tiT - ing this

Sor - ry, my in

I want, late_-

clowns ? _ _ _ _ _ _ _ _\--_ clowns ?_ _ _ _ _ _ _-I-_

r-J1r_

- -. -

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IrJ~

---

r--:"".3---'

•

---

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r-~J

•

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r.~

here._--,. _ _- - 1 _

--. clowns.

··

,..--3--:1

.-3--,

I\~

Lr3~

r~J

Is-n't it

-e-

•

• --.

Well, may-be next year. held back

r~J ~-

[~j [~JL~~

in tempo'

held back

r-~--r_

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the be

clowns . _ _ _---+_ I

Quick, send in There ought to

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I1. D9/G @)

---

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-----------------------

E~r

--e-e-

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•

I\~

my ca -

dear, reer.

·-

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:--.

'---- 3----1 But where are the And where are the

r.'\ ~

LL_ - - - - - - - - - - - "

LI.._---l'

--171

I"J, 8',,&1*

Along with Send In the Clowns, i ('beach bum' in Portuguese). Feelings, a remarkable one-shot ~ !iOh ~i But when his own recording of ~~~ l~ ~188 Feelings became a No. 1 hit in hit by a Brazilian singer and )1 songwriter with a very un- ,{ r> J 1975, first in Mexico and then 0 0 l&& ~ around the world, he became Brazilian name, Morris Albert, "t[ was one of the most widely " ~ ~~~ an international singing star inrequested songs of the 1970s. J t stead. In Britain the entertainer Albert once thought that he Des O'Connor has had most would like to become a caravia Words and Music by Morris Albert success with the song.

IrflYro

rl I{ Jl

Slow ly, but not draggy Ern*

...----~

I'\,w.

It.

1+0 (no organ pedals except where mdicated) Ernie D7

,--, am .

jIt..

< ~,w.

r--...,....

- -

qe-

?n. .

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---

I'\,w.

Ern/D

iI.

P very smoothly

.·~d -

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Ern/D#

•

/\,w.

r--..

---

•

I'\,w.

~,. .~

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172

~ it~

d I

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-....

Try-ing to' for - get ~,w. ILJ

, (L_--....,..., FLL-_---,

II.-.-....

Ernie

Ern/D

1+0

;;;;;;;

'--

Ern/e# /\.w.

noth -ing more than feel-ingS,_} roll - ing down on m~ face,_ ........

it-

• •

F#rn7

Piano R.H. 8va higher than written; singers and other instr ~ments as is.

. Feel-ings,_ Tear- drops,_

< I

Ern/D#

iI.

......-;; ~~

Copyright C 1974, 1975 Editora Augusta Ltda., Sao Paulo, Brasil. All rights for U.S.A. and Canada assigned to Fennata International Melodies, Inc., Hollywood, California. This arrangement Copyright C> 1982Editora Augusta Ltda. International Copyright secured. All rights reserved. Used by permission.

r - '3 ----,

.-..

L~~

feel - ings of ,......-,.....,.-~ I 0

* Chords to be

played finger style.

1'\jJ,

1"\.110

-t

1 Am7

1'\.110

:::>-

Feel - ings,

!m1Tf1

~ r

1mI

•

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met

I ··

r· :::>-

you, girl;

rrn

iffl

• ,

Feel

I ....·

I -

ings,

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•

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I J.. -ttt~ I........

You'n nev-er come a- gain.

I I 1]

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:::>-

l wo,

wo, ~

....

wo,

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-r

----

Am7

...

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I wish I'd nev-er

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it;

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for all my life I'n feel

. I

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(piano R. H. as is)

:::>-

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(

.....

love. - : : -

•

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feel

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J I

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]

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wo,

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feel

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•

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::::::::::::"

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a-gain in my suddenly p

arms.

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(organ pedals tacet)

Em/D#

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Em/D

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feel-ings like I've

piano R.H. Bva higher till

1\iJ, IJI/If

......----.

,..---.-,-.-,

f\iJ,

,.......-;-

• G

•

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er have you

...--;::-..,~

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174

1 iii;;

er ~

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L~~

A-gain in

COda.

~~.

arms.

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•

q-e-

er lost you

And feel-ings like I'll nev f\iJ,

"1"

...

Em/c

Em/C#

D.S.

nev

slower

--r

Gilbert Becaud is among those great European chansonniers (Jacques Brei, Charles Trenet, and Charles Aznavour are others) whose careers as songwriters and as singers have been happily in harness. Becaud has written more than 700 songs and an opera, L'Opera d'Aran, that ran for 100 performances in Paris, an achievement more to be expected of a musical comedy than an opera. In 1962 Becaud wrote and introduced a song called Et Maintenant. When Jane Morgan, an American singer who had spent several years in Paris, returned to the United States that year, she brought with her Et Maintenant which, with English lyrics by Carl Sigman, became What Now My Love. The song helped to reintroduce Miss Morgan to American audiences, establishing her as a bilingual singer (she sang both French and English versions),,'and provided first, Herb Alpert and The Tijuana Brass, then Sonny and Cher, with one of their most successful hits.

~~~~~~~~~~

WhatNow Jl1YLove

~~~~~~~~~~ (Et Maintenant)

Original French words by Pierre Delanoe, English words by Carl Sigman, Music by Gilbert Becaud

Moderately I

1\ ..

Lt~

t \

··

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---

u ___

love? love?

Now that you Now that it's

1""/

-r

---

•

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Ajf

I .......·

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---

left

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fl~i

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day? me.

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me, ver,

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through an-oth - er clos - ing in on

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live world

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, ·· ·· -r

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---

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c/ Gbass

f\loIo I I!.;

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see; love,

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feel. gone;

J 1>

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•

I've become To go on

176

un - real. on. and

,----......... -0,

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r am a

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numb; fool

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mf more broadly

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clay? be.

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es me;

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Dll

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heart, live

··

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........

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•

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a With - out No one would

•

night care;

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....

177

Words and Music by ErilO Rapee and Lew Pollack A sweet-scented breath of loveliness from the 1920s, Charmaine was written by Erno Rapee and Lew Pollack as accompaniment for the classic silent film What Price Glory, starring Victor McLaglen, Edmund Lowe and Dolores Del Rio. Theatre pit orchestras, mighty Wurlitzer organs and countless honky-tonk pianos played it wherever the film was shown, while contented audiences hummed and whistled it. Later, during the Second World War, Harry James and his orchestra played it in the film Two Girls and a Sailor, and in 1951 it rose to even greater heights thanks to the shimmering strings of Mantovani's best-selling record.

Moderately slow

" @)

p delicately

R. H. '-....L,../ (Female) I (MaZe) I

•

No organ pedal till

* C#dim

m5fr.

" ··

-d•

won-der why you keep me won-der why you keep me

wait wait

f\ @)

··

~5fr.

.1 •

•-

1.1·.

f\ IL

$~.~ ~,~ ~ ~

I . I . L __

t! J!-

won-der when blue-birds are won-der when blue-birds are ~I'

tl-

~'1-

• $!-

•

Dm7

cries in my Char$~Il. ~.. pl.

maine maine. ~.~.I.

I I ~!

,.....-

Char Char -

• •

,.....

vain. maine.

(

Dm7

:jJ, ing, ing,

:jJ.

mat mat

t~ t~

ing, ing,

Will Will

178

Gaug

come come

you you ~!

~I-

I-

~ ..

pray pray

ing, ing,

- I J~j.J ~J ·· . -. I ,........-::

if if

Ev Ev

you you

- er think of

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wait - ing for Char-maine, for

··

o.!,.

same? same?

..--: ...

I I

1 I

JI r"i

N.C.

mSfr.

t:"\ ../fI/

-..

11-

too; too;

Char - maine's wait-ing, Just I am wait-ing, My

t:"\

I I

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1 Wl'l me, me,

" /I

I-

G7sus4

. ::!of!""

/I~ I

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the the

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Bb13

keep on keep on

I I

r·

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if if

•

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C/E

. .

won-der won-der

dreams dreams

~I "II

•

Will our Will . our

Fm6

•;f

A7/D

irdo,

won-der WOn-djr

I I

Em7-5

gain? gain?

a a -

back back

~5fr.

.-::

...

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you.

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very quietly

(MaZe) I

t:"\

.. -[

you.

r•

.·

J .

I 1·

t:"\

~.-.

.., 179

Getting 10 Know lbu By 1951, when Richard Rodgers and Oscar Hammerstein wrote The King and I, they had acquired that songwriters' treasure trove, a 'trunk' full of discarded songs that could be pulled out to cover emergencies. One of these songs was a melody Rodgers had;,written for South Pacific that had been replaced by Younger Than Springtime. During the tryout of The King and I, Gertrude Lawrence, who played the 'I', governess Anna Leonowens, felt

that the first act could use a song involving herself and the king's children. Hammerstein wrote new lyrics to order, Getting To Know You. Rodgers had only to reach into his 'trunk' and pull out this melody. The King and I opened on Broadway in 1951 with Yul Brynner as ~e king. Brynner has since made the part his own, appearing in the 1956 film version and also in a stage revival at the London Palladium in 1979.

Words by Oscar Hammerstein II

Moderately . /

~ ·

iftf, J

Music by Richard Rodgers

"r-i

-G

'-.

---.

.-/

--"

t, Get-ting to

·" " @)

/·

r" I

. I

, I

you.

. "' -r

Get-ting to

sirrzo

-r

r r

Get-ting to hope you

Dm7

a- bout

•

you,

19-

J •

------ r "

-r" I

'----

R.B.

• •••

--t r r r Get-ting to know all know you, ., . .. . . . "' "'

•r

-6

Dm7

tfr

me.

Get-ting to

r Fmaj7

~ r f

@...

know

you,

180

but

nice

r r

Put-ting it my way,

I T

Faug

mmi!

••

•r

rJr

ly,

You are pre-

"r t

4 \;:

~\;:

CopyrIght © 1951 by RIchard Rodgers and Oscar Hammerstein II. Thls arrangenlent Cop,fright © 1977 by RIchard Rodgers and by Dorothy B. Hammerstein. 'Vllliam Hammerstein, and Philip Zimet, ex(>('utors or the estate or Oa('ar Hammersteln II.

• I, D7

TIl

cise

~ I

•

'[l

my cup

rrrr

tea!

qr r qrr

I Get-ting to

-r

-,j

r jO

•r

know

you,

··

. I

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D and

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Dm7

Get-ting to feel free

-r

•• •• Dm7

-r

eas

I When I am

-r

(

with

° °

\ t

Have-nIt you

say.

~~r 3 -

I "r

I -

4Tr

-r

11.

U"3

Fmaj7

4!J

Get-ting to know what

-r

you,

··

1 "

ticed?

and

Sud-den-ly 11m bright I

4 "i-

--r

181

Dm7

breez

Be-cause of

Y,---i--

Things

Ito

• •

t .

day

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. T

-L: 182

. r

G/Bbass

•

• an - cient

say - ing,

-6

true

•

Am/Gbass

1m But a

and

hon - est

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thought,

ver - y

N.C.

Verse Freely, but don't drag

little ,Y little

IIFinal ending

new

71T

...

•

learning a-bout you

Dm7

Tfl

I'm

c~esc.

beau- ti-ful and

the

all

• •

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That if

• Em

Am/F3bass

•

I ··

you

become

ftOu

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teach - er

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I've

··

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r~t.f

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A7sus

letrn - ing

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C/G bass

been

As a

:=6 j9=

,....,

taught.

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pu - pils you'll be

19-

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i t

By your

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-ee-

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ex - pert

the

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most. (spoken) Get-ting to know

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----,

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un-

D. S. ~ to Final ending

. ~Jt•

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/I .JL

183

Put On a Happy Face

Bi~

1%0 Broadway musical Bye Bye made stars of Dick Van Dyke, Chita Rivera and Paul Lynde, while it good-heartedly spoofed the whole rock-and-roll era and the cult of Youth for Youth's Sake. The musical opened in London a year later, with Marty Wilde as the rock star who is conscripted into the US army.

once a most ill-tempered man who was persuaded by his neighbours to wear a mask with a smile on it. He wore the mask for so long that when it accidentally broke, the townspeople discovered that the man was smiling all by himself. That same message, more or less, is the good advice of Put On a Happy Face, a song from the frantically paced

Words by Lee Adams ",

lightly , with a lilt

Music by Charles Strouse

•

"if

··

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M·Sfr.

r-- _

, ~

V-

I-'"

..··

......,.

' Gray skies are gon-na clear_ t--- up,_

Gm7

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M1 1

g-sfr.

Gm7

011

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Am7

1m ....

~ ~'-- ~tf

Put on a hap - py face,_ r--~

...

•

...

1'1

Am7

1m ... .

.-.

r""""

M·Sfr.

g-sfr.

.....

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···

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Take

off the

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m- ,...., m- mm- 'm mI A7

Sfr .

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mask of trag - e - dy,

r vr r

It's not your

r r

style; 1\

em7

·· 184

"~I~ ~~ Put on a happy face._ -

...

C9 .

Gm7

011

-,-

'-"

Brush off the clouds and cheer _up,_

......

•

h J,---J

j ~

by Edwin H. Morns & Company, Inc. Used by pennlsslon.

Sfr .

t.:

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.....

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spread

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place,

Just

•

put

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Gm7

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Sfr.

sun- shine

a I

o - ver

all

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r ...

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r-"'"

r--

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look,_

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mm .

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you'll be glad_ ya de -

tl.

··

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r-":"l.

You'll look so good that

m- mG7

A7 m-Sfr.

•

.--...

tJ~~=~

185

Puff (The Magic Dragon) Peter Yarrow, of Peter, Paul and Mary, shares one-half the credit for writing this gossamer fable and one-third for making it one of the musical delights of 1963. 'Puff' remains a special favourite of children, who love following the antics of Puff anq. Jackie Paper - and their elders delight in seeking hidden meanings in the couple's fantastic adventures.

Words and Music by Peter Yarrow and Leonard Lipton Em With a lilt

r. .; .

m ..

f·

lived by the sea

J t

ld J

the mag - ic

m mm Am o

D'7 o

,....,

mm I

au-tumn mist in a

.. pl' I

t the

drag - on,

-r-

land called Ho-nah -

Pa -per L

r r

---~ 'I'

f. r seal -lng wax

and

And

G'7

oth - er

G'7

fan - cy

...

loved that ras - cal, Puff,

c.;o

• bfught him sttngs and

1tc.ll!

t..

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186

"".....

p r

Lit -tie Jack - ie

t ••.

c.II~

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r f f And frol-icked in

m I

Puff,

mil

··

Lee.

(

r r

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000

I I

•

Verse

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stuff.

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r r-

nlnr ","

r Oh!

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m " ldf

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r, r

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~ frol-icked in the

And

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sea

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land

cftled

au-tumn mist in a

-o

verses G'7

000

1',

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Together they would travel on a boat with billowed sail. Jackie kept a lookout perched on Puff's gigantic tail, Noble kings and princes would bow whene'er they came, Pirate ships would low'r their flag when Puff roared out his name. Oh! (Chorus) A dragon lives forever but not so little boys, Painted wings and giant rings make way for other toys. One gray night it happened, Jackie Paper came no more And Puff that mighty dragon, . he ceased his fearless roar. Oh! (Chorus)

His head was bent in sorrow, green scales fell like rain. Puff no longer went to play along the cherry lane. Without his lifelong friend, Puff could not be brave So Puff that mighty dragon, ' sadly slipped into his cave. Oh! (Chorus)

187

If Ever I Would Leave (Jou Words by Alan Jay Lerner; Music by Frederick Loewe Camelot is Alan Jay Lerner's and Frederick Loewe's 1960 musical retelling of the legendary King Arthur-Queen Guinevere-Sir Lancelot romantic triangle. In the original production, it was Julie Andrews who had to make the difficult choice between Richard Burton, as Arthur, and Robert Goulet, as Lancelot - though her final choice of Lancelot seemed almost inevitable after he sang the ardent and poetic If Ever I Would Leave You. Barry Kent sang the number when the show opened in 1964 in London's Drury Lane Theatre, and Robert Meadmore sang it at the Apollo Victoria when Camelol returned to London in 1982.

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Copyright C 1960 Alan Jay Lerner and Frederick Loewe. Chappell &. Co., Inc owner of publication and allied rights throughout the worl, International Copyright secured. All rights reserved. Used by pennissior

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On the Street WhereYou Live Freely

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In the midst of all the 'situation' songs in My Fair Lady, Freddy Eynsford-Hill's straightforward love ballad to Eliza Doolitde stands out in romantic relief. The song is one of the lyricist Alan Jay Lerner's favourites, although, according to him, composer Frederick Loewe hated it, feeling it held up the

action. When My Fair Lady was on its pre-Broadway tryout tour, audiences tended to agree with Loewe. But when Lerner replaced the original middle section of the song with a verse that was more explanatory, he changed an out-of-town flop into a New York - and later international- showstopper.

Music by Frederick Loewe

Words by Alan Jay Lerner

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Hello. Dolly: TIle song HeikJ, Dolly! wu vigorous enough to help kttp tl\(: musi<:aJ of the sa= n.me .he for one of the longest Broadway runs in history. 111(, song oold~ the record for tM l.rg<st sum ever paid in. copyright infringement senJ<mrnt, thanks 10 the similarity of it. opening ph!';l$eS

to. part of 1M song Swr,jIQw.er, a .hon-Iived h it of 1948. The musical reached umdon's Drury lane Theatre in 1966, Wilh 00"" BI).. n as DoUy, and 'he song also becamc oDe of Loui, Annsu-ong's greatest hits .

Word< and Music by, Jerry Herman Medium Slrut tempo

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197

The Sound of Music

The film version of Rodgers' and Hammemein', TIu Sound 0{ ,II",ic; opens with. SbOI of Julie AndrtWS, in the vivid springtime of lhe majestic Austrian Alp'. singing

dazzle Hollywood and ,he world with M;" Andrews. Richard Rodgtls h im~lf once remarked, 'What', wrong with sw""meSS .nd light? They\-e betn around qui!••

'the hills ar. ali"" .. .' It is an exaltation of "IUUrt, of love

while!' They came 10 London in 1961 with Jeao Baylen as Mari. at the Palace Theatl"<:, and again in 1981 wheD

for hfe, of fulliJmenr in joy, and il nill crowns the score of Ihis prize-winning, record-br••1cing musical that had d.z:zled Broadway with Mary Martin just as it wos later 10

Words by Oscar Hammentein U

Perul. Clark $Iafrfd in a revival of lhe internationaUy popuLor show a, the Apollo Victoria.

"Iu.;(' by Richard Rodgers

Moderately

II!!ll •. Ii""

wilh the sound of

II!!ll lhey have

198

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-------Section 6 Magic of the Movies------°

For the only film score that they wrote together - State Fair, in 1945 - Rodgers and Hammerstein had to come up with a song for the heroine, Margy (Jeanne Crain), who is about to go to the fair but has the blues for no apparent reason. Lyricist Hammerstein decided that her problem was spring fever. His problem was that

I\~

Words by Oscar Hammerstein II Music by Richard R.odgers

Slowly and reflectively

~ ~

•

state fairs are held in the autumn, not in ~e spring. His solution: a lyric in which Margy sings that, although it is autumn, her feelings tell her it might as well be spring. Set to music in less than an hour by Rodgers, It Might As Well Be Spring won the Oscar for Best Film Song of 1945 and became a 'standard'.

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202

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203

IT HAD TO BE You AlthoUSh bandleadtr-composcr Jones "TOte this I"'ttnni.ol hit with Gus Kahn in ]924, i1 bc<:ame. 'current' hit~ in 1944 ar'er felliuring in the Eddie Cantor""C;"O'll. MUrphy film Sltow lJl/J,,,,,... 1M,.., was I ban on new recording. that }'car, but RCA reiSSUM an Earl Hil\<1 r«ording that had bttn made in 1941, and i( became a best-seller. 1M song h.as bttn uStd in no 10$1 than 48 r•• ture-l<1Igth films _ including "U Sa y"" l~ My Drttmu with Dons Day and comedian Danny Thomas in ]952.

Words by Gus Kahn

Music by bbam Jon e.

Moderate swing

I ......n-dere rl .. -

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•

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204

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-----------

--:::>

-. - -8-··--: 205

Words by Dorothy Fields and Jimmy McHugh Music by Jerome Kern Irene Dunne introduced Lovely to Look At in the 1935 film version of Roberta, which 'also featured Fred Astaire and Ginger Rogers. Jerome Kern, who had originally written Roberta for Broadway, provided the melody, and the experienced songwriting team of Dorothy Fields and Jimmy McHugh supplied the words. When Your Hit Parade was inaugurated on American radio in April 1935, Lovely to Look At was named the first No.1 hit song in the nation. It was such a success that when a second version of Roberta - starring Kathryn Grayson and Howard Keel- was filmed in 1952, the producers changed the title of the picture to ... Lovely to Look At.

Freely

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Copyright It> 1935 T. B. Harms Company. Copyright renewed. This arrangement Copyright C> 1982 T. B. Harms Company. International Copyright secured. All TIghts reserved. Used by permtsston.

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207

Words and Music by Cole Porter High Society, the 1956 film of Philip Barry's play The Philadelphia Story, about romance among the upper crust, had a score by Cole Porter, with Grace Kelly, Bing Crosby, Frank Sinatra and Louis Armstrong to sing it. True Love, a duet for Bing and the future Princess of Monaco, was named after a boat that the two characters had once owned. Cole Porter preferred other songs in his score - such as You're S ensational- and was dismayed when True Love was nominated for an Academy Award. To Porter's relief, it lost to Que Sera, Sera, one of Doris Day's most enduring hits.

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Theme from

The phenomenal success of Erich Segal's Love Story, both as a book and as a film, demonstrated that there is still a place in the world for oldfashioned romance and sentiment. When the film starring Ryan O'Neal and Ali MacGraw - opened in 1970, the almost Mozartean theme music became the biggest record-seller of the year.

LOVE STORY (Where Do I Begill)

Words by: Carl Sigman

Music by: Francis Lai

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Words by Ned Washington ) Music by Hoagy Carmichael

Very few popubr 5Ong. 11.0."" been oucce""fuUy introduced on Ihe SCtttn by ope'" .tar!;. Gladyo SwanhoU!, bowt'\·..., ",as DO ordinary ",,"'" star during !>or beyday in America in Ihe 19300. She looked like I film .Ior and bad I voice lhal wuld enwmpa&S lhe romse of a pop 50ng wilhom 50unding pmenlioU$. B..lw..,n 19>6 and 1939 she made five films, playing a maigh, dramalic role in lhe last ...... TIu! Ntamm of y"" "'U her finalll<ln.g in films and """s featured in lhel938 film R _ _ in./u Dm*, in whicb she .tarred wilh John Bole. and John Barrymore_ Hoagy Carmichael, who composed TIu! NtamtSj of Y"", coum. il among IIis four besl composition. (.he O'M" a~ Slardul., Rocl:lII' CIIa#' and Momi1lg in May). In 1940 Glenn M,l)er and hi. hand recorded 1M: Il008 wilh RlIy Eb<rle •• vocaliSl, Ind il """. Ihi. vu.ion lhat comributed 50 much '0 iI, ull;mole popularity.

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•

TheWay WeWere The talents of C<lmpos<1" Marvin H.mJisch _ aged 29 and "ill ",L.I;vely unknown _ W()Jl him 'hree Os<;an in one nigh!. Tiu Way W. W ..... , the till. song of Ih. noot.lgic film, was vOIro (he beSt

original song 0' the Academy Award. =emony ;n 1974, and Hamlisch's IIC<Jr. for the film was vO!<d the b«t origin.l dTllmatic SCore. 10 addition, HamU«h won another Oscar for hi, scoring and adaptation of Soon Joplin's music, usN on the soundtrack of 1M

SU"ll ' For lyricists Alan and Marilyn Bergman the Oscar for T~ Way We WITt was their 5CC{Ind; they won Ihcir fit" in 1968 for TIr£ Wirulmilll u/Y"", MilUi, with musk by Michel Legrand,

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In 1937 Lorenz Hart used the adjective 'funny' to develop My Funny Valentine, a song that, in much the same way as Ira Gershwin's earlier Funny Face, catalogued the appealing charms of a face that might easily be dismissed as plain. The song was one of Hart's most touching lyrics, underlined by the warmth of Richard Rodgers' melody. But because of its unusually demanding range it was a difficult song to sing. Sung by Mitzi Green in Babes in Arms, the show for which Rodgers and Hart wrote it, its story might have ended right there. But two years later Judy Garland sang it so effectively in the film version of the musical that it became one of the most requested numbers in her repertoire.

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p-.:;r

mel-o -dy played in a

it's a

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•

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lieved

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it would-n't be make-be-lieve_ If

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A JJ.

....'

. "I

·C

225

Love IsHere to Stay is the last song George Gershwin wrote. He was working on it for the score of the film The Goldwyn Follies when he died in 1937 at the age of only 38. Vernon Duke, composer of April in Paris, was asked to complete the melody, but all he had to work with was a 20-bar sheet that indicated only part of it. Fortunately , Duke was able to reconstruct the tune with the help of pianist Oscar Levant, a close friend of Gershwin, who remembered the harmonie~ of the song from hearing Gershwin play it at parties. In 1951 Gene Kelly sang it to Leslie Caron in the Academy Award winning film, An American in Paris.

Words by Ira Gershwin Music by George Gershwin

•

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year

stay;

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•

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226

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stay.

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i'-&eI

--- =6

., 227

LongAgo (A nd F arAway) When Gene Kelly 5Uli LoIw A,gt> (Alld FID' AWCIy) 10 Jljll Hl)"*'Orth in the 1944 film C_G,rI, POOIlt muld ~''t imagined the difficuhielthat]I'I Gtnhwin b.ad nptru,n~;n

UYlng to find ,he right lyrics (or Jerome Kern", btaU!;fui melody.

I.. made m= than 40 ralse stano and completed $;" diff•• ent versions. Fin.Uy,

,h.

film', produ«r, Arthur Schwartz, I m=ssful JOnpril.' him~lf, ,dephoned Gtrshwin 10 say the Iyria had to he finished within IWO daya. Reluctantly, Ira rud hi$ 1.110$1 effon 10 Schwartz, who took it dO\\1I Ind added it to the sro~. Even thtn, Gershwin (el! 1M.,1..oroI A,gt> was just '. coIl«tion of word, adding up \0 ~ry Imk' . In .talily ;11dded up 101 lot: ~""" (Alld FarAWCIy) told mo«oopiesof sh«t music than Iny 0Ihcr """i In WI'I,lIc, ",dudi.., aU the hUI he tmltcd with his brother, ~ .

,ha.

Worm by Ir. Gershwin

Music: by Jerome Kfln

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r F6

II1!lI

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•

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mmm go

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228

now

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side

~~~

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~--------------~

HEART AND

During a brief period in lhe Swing EIlI, Ih~ HoUywood film srudios pr0duced • ,.,firs of 'shon.' f..turing dance bands, usu.ally playing lheir esubhshed hils. But only one ·Ihon', A S"", Is 80m (1938), effecti'"ely inmxluced I hit. The band """" Larry Qimon's, wilh VQ(:IOlist Bta Wain, and the lOng "'..s Htan tmd Soul, Hoagy Carmichael', and Frank l..ors$tr's first ooUaboration. Carmi· chael "'as an rsllblislted romp"""r II the lime, bUI l.oesser - who Ial ... "'"JOlc the word, and music for such

bil, as Guys tmd DoUs and Ham CltrUlJaI'I A!IdMto! - .......till only. lyricisl. Acoordinj to Carmichael, the """3 kicUd around lhe back. room. of Paramount Pictures fo< I monlh before il ...... s assigned to o.ny piCtUre. During that period 'the best usc the lOng got ...... for Anthony Quinn's voice practiec'. The wrilm ~re disappoinw.! when Iheir song was launched in a minor production, bul the disappointment WlS short· lived as Ointoo's recording ~ I

SOUL

big ... lIer.

Word! by: Fnnk t.oes...eT

Music by: H oagy Qrrmichael

•

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1ft .

fell

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begged

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and tum - bled "

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t · · '\

232

Lost

con

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IIr

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in.

the

that

mag - ic

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Oh!

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your lips

were

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held

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. 233

Lulu's Back in Town Minus chorus girls or Busby Berkeley dance spectacles, the 1935 film musical Broadway Gondolier had only a slender plot line about a radio crooner (Dick Powell) upon which to string along a collection of engaging tunes. This one tells of the impecunious Mr Otis happily preening for his date with the longabsent Lulu, for whom he will happily renounce all other women.

Words by Al Dubin

•

tux -

I r

Got-ta get my old

··

"!f I

C'7

mit

jft fJ

Music by Harry Warren

(nTI::J 9 j n )

Moderately, with a jazz feel F G'7

•

·.·

G'7

iff

,......-.,.

~-I do pressed,_ ~ I

Got-ta sew a

r·

··

· · -.

•

Town.

~::r

G'7

GJt - ta shine my Shies and

I :;:> :::>:;:>

r r

234

get

a half - a

•

• •

V''-' j

""""""'" ~-I

·· -. j

mm Got - ta

I get

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my hair,_

lim

buck some-where,_ I ~ I

best, I

r·

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•

look

got - ta

mit

I ve

G'7

night

pr r Back In

•

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Lu-Iu's

Cause to

mm ~f

my vest,_

r G7 fJ

•

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but - ton

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mit

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f. All my

pets,

·· -

Daug.

grets

··

That

IIi

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might not get back

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til

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home at

all,

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all

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I .

m ,.......mm r·

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f'l

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r~i

mmmm

mil I

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mm r- .r--

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bou - ton-niere,

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LU-Iu's

And I I "j

~,~r F

mm pr r Back In I

i q~'-'~ Town.

:::.-'::> -----

::>

= r

V .!.

~'-'~

·r

235

1bt history of Gig; i$ strt:",n with ",,~bnlted n.unes. Origi!l$.lIy, Gigi "'as a nov.l by CoItttc, tbe: French aotOOr. Whm Ihe novel "'... turned into I ploy, Gigi became: the first speaking role for Audrty Htpburn, who until thm had bNn known only as a dut""r. From the s\lge, GWI moved 10 film. 1bt pi~, which 51arred Leslie Caron, anoIh..- former dane .., in th. lill. rolt, accumulaled I record·breaking total of nine Acadtmy A...-.rds on 1958. One of [Ilost .",.rds was for thi. song, sung by Loui. Jourdan and ",rinen by Alan Jay Lerner and Fredtrick Lotwe. 1bt """'" for Gigi ",as their fint sin"" lheir tremendous SUCttSS with My FIltT L<Idy in 1956. II WlIs also Iheir lin' original film scor •.

Word. by Alan Jay Lerner Music by ."rederick Loewe

Moderately and somewhat freely throughout No chords

, ,

•

fool

with

•

out

I mere~ly

been too blind to N!-ai

Ize?

00.

gl ,

why you've been

, eyes!

236

r·

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........

· _ ~

_ _ O'tn .. _

6"",_

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··

- gi,

•

In strict tempo

F#m7

,..

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~, y'

I '"

tJr

knew.

·· .

Oh,

no!

I <

"-r -

I ~r

::>

r~i

ver - night there's been a breath -less

1-- -.....

I I

Bmaj7

Dbmaj7

•

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i ~.-I

1+c:..'j'

girl

Am. 7

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~lf:

•

all that fun - ny, awk - ward lit - tie

you're not at

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L.H.

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m4fr.

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change ___

= you.

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r ##1 r f Oh,

Gi -

while you were

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'" t f t~em

r f i fJ

- bling on

the brink, Was

lout

r f r rj

yon - der some - where blink - ing

~ 8va...J

237

Dm7

•

••

Dm7

Oh,

Gi -

-t ~t

gi,

have

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star?

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I been standing up too close or back too

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sire?_

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made you the way

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• you

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r.I

turn

"-J'U

warmth

.....

I .....· 238

II 1

Fi-4J

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....

When did your spar - kle

---------------------

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Early in 1937 George and [," Gershwin were working on whit prm-ed to be George's bst compLete film score (be died in July of thaI year), A l)amsL1 on ihltrnf, ,wring Fml Astaire and JOlIn Fontaine. One night ~ge returned from t party, took off his dil\Del" ja<:ket, SOl down II die piano, and asked Ira if he had any id .... Ira said that tbtre was I spot in tbt film wbtre lhey mishl do I song lbout [011 · .It. F01I8Y Oar in London,' lra suggesled, '0' TlIllybe It. F01IIY Oay in London Town.' George said be preferred the title with 'Iown' in il Ind immed.iotely .taned <Ie""loping I mdody. Bu! dt$pil~ Gtorge's prtf.,..""". the

puhl;,be, used I shon..- ullo , Ind tbe song became A FIJflIlY Day.

Words by Ira Gershwin Music by George Gershwin

Very Creely

rallk!r

Fmaj7

•

swwing down

R." ...... _.... , '

07-9

IIlm

_ 0 ...... _ _ _ ' -_ _ _ _ _ _ _ _ _ _ 0' ..... _

..... __

219

Ebm7

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•

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low

Had

G7+5

had

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~6fr.

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and

t~:~~~~'I~~~~:~~~ I

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In tempo with a moderate swing

•

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t!J

morn-iDg

with

m6fr. fI

mm '1

larm;

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The

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Abmaj7

Brit - ish

•

OJ-

•

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lost

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charm.

Fmaj7

Eb9

240

viewed the

M .

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had

•

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won-dered,

its

r Gm7

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thing

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m m g . r V1 But

last?

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~ And through fog - gy relaxed and free

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...

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241

Too Marvellous for Words

Could the dictionary be at a loss for words? The song's thoroughly smitten lover thinks sO'after searching in vain to find the magical adjectives to describe his beloved. The number came from an otherwise forgettable 1937 film called Ready, Willing and Able, starring Al Jolson's first wife, Ruby Keeler.

Music by Richard A. Whiting

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9 (0btQy mave 8yeg bOlt gJOll

With the stars twinkling above and the island of Manhattan aglow in the distance, a poor young songwriter and his girl are seen snuggling against the rail of the Staten Island ferry. The hero is oblivious to everything but the heroine - a condition he expresses in song. And when he is finished, what does the misty-eyed girl say? 'Gee, Jimmy, that was swell.' It all took place on the silver screen in 1934: Dick Powell and Ruby Keeler in Dames.

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Spurred by Broadway's hit musical western Annie Get Your Gun, Hollywood staked its own claim to similar sagebrush territory in Calamity Jane. With Doris Day as the sharp-shooting heroine and Howard Keel as 'Wild Bill' Hickok, the saga had a variety of explosive numbers, but only one romantic piece, Secret Love. The ballad became a 1953 Oscar winner, a top-selling Doris Day recording and the most durable item in the score.

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ALL OFME

For Seymour Simons, All Of Me was just one of many song hits that he wrote while leading his own orchestra in Detroit in the early 1930s. But for Gerald Marks, his collaborator, it was the start of a songwriting career that was to earn him awards from all over the United States. Belle Baker introduced the song on radio in 1931, and it was featured the next year in the Joan Bennett film Careless Lady. In 1952 Frank Sinatra made it a hit again in the film Meet Danny Wilson. For a while, jazzmen tended to swing the tune and up the tempo, but in 1980 Willie Nelson revived the song in its original ballad style.

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Jeepers Creepers In Jeepers Creepers wordsmith Johnny Mercer put together a lyric based primarily on a collection of teenage slang of the 1930s, including the rhyming of 'jeepers creepers' with 'peepers' and 'weepers', and 'heaters' with 'cheaters'. This swinging tribute to a young lady's remarkable eyes was written especially for Louis Armstrong, whose mellow growl presented it first on the screen in a now forgotten film - Going Places (1939) - and then on a best-selling record. He kept it in his repertoire for the rest of his long career.

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ALFIE MiehMl ea;". .r.arnd in the film A!Jie IS an irre.ponsiblt philanderu whO$C chum could never quite di5guiSf: his own mon.I blind,,", Mu.icalllCOf<$ for film. are usually added .f,er 1M piC'lu"" hu bfen shm, and most of the music for Alk "''as improvised 10 ,h. On-SCreen action by jizz saxophonist Sonny Rollins . But one !lOng was needed allhe end of the Story \0 sum up ,I,. ennral charact.... Lyricist Hal Ihvid read th.lI<:'ript in hi. Lona Island hom. whilt wmpow Ben BachaBch flew 10 Califonm to sec • 'rouah cul', of Ih. film. Thq conf... rtd by I.kphone and Hal wrote the lyric thaI, in hi. word., 'pUt • hullon on Ihe picture'. [n 1966 the song heca~ one of Cilll!

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Music copyrights Chappell Music Ltd

EM! Publishing Ltd

A Foggy Day Alfie All the Things You Axe April in Paris Beyond the Sea Blueberry Hill Blues in the Night Can't Help Lovin' Dat Man Charleston Dancing in the Dark Dancing on the Ceiling Embraceable You Fascinating Rhythm Getting To Know You Gigi Heart and Soul Hello, Dolly! I Don't Want to Set the World on Fire I Get A Kick Out ofYou If Ever I Would Leave You I'll See You Again It Might As Well Be Spring It's Only a Paper Moon Just One of Those Things Long Ago (And Far Away) Love Is Here to Stay Love Story Theme (Where Do I Begin) Lovely to Look At Lover, Come Back to Me Make Believe Mona Lisa My Funny Valentine My Heart Stood Still Night and Day Oh, What a Beautiful Mornin' On the Street Where You Live One Alone People Will Say We're In Love Put On a Happy Face 's Wonderful Send In The Qowns Smoke Gets in Your Eyes Some Enchanted Evening Someone to Watch Over Me Summertime Tea for Two Tenderly The Blue Room The Man I Love The Nearness of You The Sound of Music Thou Swell Too Marvellous for Words TrueLove What Is This Thing Called Love? With a Song in My Heart You Do Something to Me You'll Never Walk Alone

Mter You've Gone All Of Me Almost Like Being in Love Autumn Leaves Beer Barrel Polka (Roll Out The Barrel) Bye Bye Blackbird Carolina In The Morning Charmaine Feelings For Me and My Gal I Only Have Eyes for You If IfYou Were The Only Girl In The World I'm Forever Blowing Bubbles I'm Looking over a Four Leaf Clover In a Shanty in Old Shanty Town Isle of Capri It Had to Be You Jeepers Creepers Lulu's Back in Town Ma (He'S Making Eyes at Me) Manhattan My Melancholy Baby My Prayer Now is the Hour Paper Doll Red Sails in the Sunset Shine On, Harvest Moon The Way We Were Tie a Yellow Ribbon Round the Ole Oak Tree Till We Meet Again . . ". . When Day Is Done Who's Sorry Now? You Go to My Head Warner Bros Music Ltd Blowin' in the Wind Puff (The Magic Dragon) Secret Love What Now My Love Redwood Music Ltd April Showers Blueberry Hill Bye Bye Blackbird Charleston For Me and My Gal If You Were The Only Girl In The World I'm Forever Blowing Bubbles I'm Looking Over a Four Leaf Qover Isle of Capri Lover, Come Back to Me One Alone Red Sails in the Sunset Tea for Two Till We Meet Again When Day Is Done

255

Reader's Digest All-Time Favourites Songbook .. was compiled by The Reader's Digest Association Limited 25 Berkeley Square, London WIX 6AB Copyright © 1985 The Reader's Digest Association Limited Copyright© 1985 The Reader's Digest Association Far East Limited All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise without permission in writing from the publishers

® READER'S DIGEST is a registered trademark of The Reader's Digest Association, Inc. of Pleasantville, New York, U. S.A Printed in Great Britain

Printing by Mackays of Chatham Ltd Binding by Dorstel Press Ltd

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