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Re Jum) To rds Soprano Volume 3 A collection of songs from the musical stage, categorized by voice type. The selections are presented in their authentic settings, excerpted from the original vocal scores. ompiled and Edited by Richard Walters Mark Carlstein and Milton Granger, Assistant Editors ISBN O-b34-00974-5 JA 10. -Leonarn: ORPORATION nutans cena, range saaping acorsing 10 an ingame of opm Foreword ‘The lively and ongoing interest in musical theatre may appear to be ironic in an age seemingly ruled by the ‘media, The movie musical is dead (thank goodness for video and those classic movie channels!) show music is rarely ever broadcast on radio, and hoping to see any musica’ theatre on television—except for old movies—is usually’ like waiting for Godot. In such a world it takes alittle effort to acquire a taste for musical theatre and a knowledge of shows, though to the devoted conoscenti it hardly feels like effort, As Volume 3 of The Singer's Musical Theatre Anthology proves, there is an amazing heritage of theatre repertoire and a growing appetite for it among singers of all descriptions. Asin the first two volumes for each voice type of The Singer’s Musical Theatre Anthology, the editions of almost all the songs have been created from the piano/conducior score (or vocal score) of a show, allowing a more authentic rendition than standard piano/vocal sheet music. Original keys have been preserved whenever possible; occasionally either the original performing key is not known, or I chose to alter it for specific reasons. Common issues faced in cre- ating solo editions of theatre music are removing chorus parts, eliminating other characters’ lines, creating or deleting, repeats, wrestling with musical form, and finding appropriate beginnings and endings. My aim is to present a per~ formable excerpt from the show that stands alone musically, though is truc to its context. ‘Categorizing musical theatre selections by conventional voice type remains an unending challenge. I have tried to be conservative in my criteria, though I quickly point out to singers and teachers that there is no exact science to this. In comparison, opera fachs are far more definite. Many women have told me they use both the Soprano and ‘Mezzo-Soprano/Belter volumes, depending on the kind of singing they want to do. have revised the song contents for several of Volumes | and 2 of this series. The changes in most volumes are ‘minimal. However, after persuasive input from singers and teachers, the Mezzo-Soprana/Belter Volume | has been revised so that it's all in a belting range, Songs in that volume that were intended fora classically defined mezzo-sopra- no were replaced. These songs became “homeless” in the series but seemed perfectly appropriate for this Soprano Volume 3 (“One Life to Live,” “Stay Well.” “Trouble Man”). Upon reconsideration, 14 years after the first compila- tion, I decided that splitting Eliza Doolitle songs—sonie in soprano books, others in mezzo-soprano books—was ill- advised. After all, the same woman sings the songs! “Just You Wait” finds its place here, moving from the ‘Mezzo-Soprano/Belter Volume 1 ‘The Broadway revival of The Sound of Music made the stage version of the show more like the film, adding the songs written for the movie (Something Good” and "I Have Confidence”) and moving the original Maria songs from the narrow range of Mary Martin to the Julie Andrews-esque soprano range of Rebecca Luker. “My Favorite Things” is now officially a soprano theatre song as a result, and appears in this volume. As for “Unexpected Song” from Song and Dance, the huge range of the song presents a special challenge in voice categorization. I decided that as a song on its own, ignoring the rest ofthe role of Emma (stunningly performed by Bernadette Peters), it was better suited to a soprano, ‘The twelve solo volumes of The Singer's Musical Theatre Anthology now total nearly 500 songs! The three volumes for any voice type offer a huge number of choices. The soprano books have 132 songs to choose from! Happy hunting. Richard Walters, editor August, 2000 THE SINGER’S MUSICAL THEATRE ANTHOLOGY Soprano Volume 3 Contents ‘THE APPLE TREE 14 Feelings. BRIGADOON 16 Waitin’ for My Dearie CAMELOT. 28 Before I Gaze at You Again cmicaco, 23 A Lite Bit of Good CINDERELLA 32. In My Own Little Comer From Chopin to Country EVENING PRIMROSE 48 [Remember HELLO, DOLLY! 39. Ribbons Down My Back JACQUES BREL IS ALIVE AND WELL. AND LIVING IN PARIS. 52. Sons OF JEKYLL & HYDE. 61 Once Upon a Dream 64 In His Eyes THE KING AND 1 69 Getting to Know You KNICKERBOCKER HOLIDAY 72 WNever Was You LADY IN THE DARK 80 One Life o Live LES MISERABLES 84 In My Life LOST IN THE STARS 86 Stay Well 93 Trouble Man LOVE LIFE 100 Ms. Right MARRY ME A LITTL 112. The Girls of Summer MARTIN GUERRE 118. How Many Tears? ME AND MY GIRL. 107 Once You Lose Yous MY FAIR LADY 122. Wouldn't I Be Loverly 125 Just You Wait NAUGHTY MARIETTA 132. Ab! Sweet Mystery of Life 135 Italian Street Song 1, KAY! 142. Someone to Watch Over Me ON YOUR TOES 146 There's a Small Hotel THE PHANTOM OF THE OPERA. 153. Think of Me 160. Wishing You Were Somehow Here Again PIPE DREAM 164 Sweet Thursday PRINCESS IDA 173 Oh, Goddess Wise SATURDAY NIGHT 176 So Many People SONG AND DANCE 188. Unexpected Song. ‘SONGS FOR A NEW WORLD 181. Christmas Lullaby ‘THE SOUND OF MUSIC 192. Something Good 204 T Have Confidence 195 My Favorite Things TITANIC 28 Still WHERE'S CHARLEY? 212. The Woman in His Room WHISTLE DOWN THE WIND 14 Whistle Down the Wind ABOUT THE SHOWS The material in this section is by Stanley Green, Richard Walters, and Robert Viagas, ‘some of which was previously published elsewhere. ‘THE APPLE TREE MUSIC: Jeny Bosk LYRICS: Sheldon Hornick BOOK: Jerry Bock & Sheldon Harick, with Jerome Coopersnith DIRECTOR: Mike Nichols CHOREOGRAPHERS: Herbert Ros, Lee Theodore OPENED: 16/18/65, New York: a run of 463 performances ere was @ new concept for Broaday—one musical containing thee separate one-act musicals ike Pucin's Tritico ‘or Offenbach’ Tales of Hoffman. Though the stories in The Apple Tee have nothin in common and, in fact, could be played separately, they are ied together by intereelated musical themes and by the whimsical reference the color brown ‘Act Lis based on Mark Twain's “The Diary of Adam and Be," and deals with te dawn of humanity und innocence. Act Ht is based on Frank R, Stockton’s shor story, “The Lady or the Tiger.” in which a warriors fate, unresolved inthe story. is ‘determined bythe ehoie of door he enters, Act I is based on Jules Feifler's“Passinella” a uniguely American take on “Cinderella.” in which a female chimney sweep flills her dream of becoming a glamorous movie star. In che Diary of Adam ond Eve seetion, Eve sings “Feclings"—not th lounge hit, but Bock & Harick’s gently comic expression of how the fist woman fle when she realized she was a human being. when she realized she vas feeling love—and when she realized thatthe fist man wasn't reciprocating, Her conclusion? That flings ae in the last word ofthe song, “ell” BRIGADOON MUSIC: Frederick Loewe LYRICS AND BOOK: Alan Jay Lemor DIRECTOR: Robert Lewis CHOREOGRAPHER: Agnes de Mille OPENED: 3/13/47, New York, for arun of $81 performances “Two American tourists, Tommy Albright an Jeff Dovel, stable upon a mist-shrouded Scotsh town that, they eventa- ally discover, awakens only one day every hundred year. Tommy. who enjoys wandering through the heather on the ill With local las, Fiona MacLaren, returns to New York after leaning ofthe curse that has eaused the town's excessively Sompolent condition. Tue love. however. pulls him back tothe highlands. The tale was made believable not only through its evocative sere, but ako through de Mille'semoton-charge bales. Early inthe story, Fiona imagines what life wll be Tike when she finaly meets the oy of her dreams. in the song “Waitin for My Dean CAMELOT MUSIC: Frederick Loewe LYRICS AND BOOK: lan ay Lerner DIRECTOR: Moss Har CHOREOGRAPHER: Hanya Holm OPENED: 12/360, New York, fora run of 873 performances [Lemer and Loewe’ first Broadway production following their spectacular hit, My Fair Lad, was another musical based on ‘highly esteemed work of British fieton, TH. White's novel, The Once and Fusure King. Again, too they were joined by fair lady Julie Andrews and director Moss Hart for an opulently mounted retelling of the Arthurian legend, with ts highs ‘minded knights of the round table and its tragic romani range involving King Arthur, is queen Guenevere, and his trusted knight, Sir Lancelt. Helped by a huge advance ticker sale, Camelot easily surmounted a divided press to become something of @ Broadway legend tself—providing imagery (eventually all oo ap) for te administration of President John Kennedy who used 0 play the est album inthe White Hows. About tobe separated from Lancelot, Guenevere bids her ict lover a longing fares in “Before T Gaze at You Again CHICAGO MUSIC: Join Kander LYRICS: Fred Ebb BOOK: Fred Ebb and Bob Fosse DIRECTOR-CHOREOGRAPHER: Bob Fosse OPENED: 6/575, New York, foe a nin of 872 performances Based on Maureen Dallas Watkins’ 1926 play Rovle Hav this tough, Hin-hearted musical ells the story of Roxie (Given Verdon), a marred chorus gti who kills her faithless lover. Ske manages to win release from prison thrush the histrionic efrs of razzle-dazze lawyer Billy Flynn (Jerry Orbach), and ends up as a vaudeville headliner with another “seintllaing sinner Velma Kelly (Chita Rivera). This cahing indictment ofthe American legal system, poiialssstem, media and ‘morals may have been ahead of is time in its origin 1975 production (twas also overshadowed by the opening of A ‘Chorus Line the same season). But it came roaring back for astyish, Tony-winning 1996 revival tat has already run Jonger than te original. A “sob-sistr” reporter looking for an emotional story Falls forthe lawyer's ine of baloney’ and ‘arts publicizing Roxie's “plight.” assuring er readers that dsspite the fact hat Roxie di shoot a man in cold blood, there's always "A Lite Bit of Good” in everyone. CINDERELLA MUSIC: Richard Rodgers LYRICS AND BOOK: Osear Hammerstein I DIRECTOR: Raph Nelson CHOREOGRAPHER: Jonathan Lucas FIRST AIRED: 5/31/57 on CBS-TV ver the innovators, Rodgers & Hammerstein were among the first to explore the new medium of television with a fll- length orginal TV musical The original broadcast also was fnrtunae in securing the services of Julie Andrews, tres rom her triumph as the Cinderelalike heroine of My Fair Lady. Ik adapting the children’s fry tle, Hammerstein was care ott alter o update the familiar story about a young woman wha collaborates with her Fairy Godmother overcome the plots of her evil stepmother and sepssters so she cago to an open all and mect a handsome prince. Cinderella il Joses her magical glas slipper, andthe Prince tll proclaims athe will mary the pel whose foot isthe slipper. Because te orginal production was filmed live and could not be preserved except in black-and-white kinescope, new production ‘was captured on tae in 1965 Staring Lesley Ann Warren, this second version isthe one thats been sted numerous times and even released on video. A stage adaptation toured the US, and the musical finally made ite New York stage debut in 1093 at New York City Oper with Christa Moore as Cinderlia. When we frst moct Cinderela, she's hiding in her niche beside the fireplace. But its not so bad, she tells us in “In My Own Little Comme.” because her imagination can whisk her anywhere in the world ‘COWGIRLS MUSIC AND LYRICS: Mary Mustit BOOK: Betsic Howie DIRECTOR AND CHOREOGRAPHER: Eleanor Reiss OPENED: 4/1/96, New York fora run of 319 performances ‘This Of Broadway spoof recreates the calamitous night the dassical Coghill Tro gets booked o play tthe grand opening cof a county-westem music hall. It seems the manager miseal the name of ther sroup asthe “Cowgirls Trio” The three ladies are lett adapt their classical repertoire co te needs othe hootn’ "a holern’ clientele, an they Jo so con bri, ‘Thor plight is encapsulated neatly in “From Chopin © County. EVENING PRIMROSE MUSIC AND LYRICS: Stephen Sondheim ‘TELEPLAY: James Goldman DIRECTOR: Pas! Bogart, FIRST TELECAST: 11/1665 ‘The shor-ived ABC series Stage 67 presented original telephiys, mostly by theatre writers in New York, Based on a John Collier story, Evening Primrose isthe story of poot who ge the Bright idea: hel escape from the pressures and pro leas of the world by hiding ina big department store. He plas to come out only a ight to get what he need fr survival from the store's sheives. Much to his surprise, he find a whole colony of others who fd the same bright ide already i ing there. Among them isa young woman who has been rasa from early childhood inside the fore a as never been ‘outside. They fl in Tove and plot wo escape, The girl ges to sng one of Sondheim's most anthologized songs, the beaut ful and cere “I Remember” in which the girl stains io remember snow and sky and other ehildren—but can desrte them ‘nly in similes drain from her department store life (e.g. “nes like broken umbrells"), Mest ofthe music fro this show ‘was recorded by Bemadote Peters and Mandy Painkin on his Dress Casual album, HELLO, DOLLY! MUSIC AND LYRICS: Jesry Herman BOOK: Michie! Stewart DIRECTOR AND CHOREOGRAPHER: Gower Champion OPENED: 1/16/64, New York: a run of 2.844 performances Hello, Dit? tells the story of former life-ofshe-party Dolly Gallagher Lev, who emerges from mourning over the loss of| her husband with a determination a “rejoin the human rae” She plos to marry a wealthy man and use his wealth o bring xoung people together snd “help them grow” One of her matchmaking subjects is a petty milliner who sings of how she ‘wea a hat with "Ribbons Down My Back” to atract the attention of eligible swains, Under the expert diestion of Gower CChatpion, the stylish production, based on Thornton Wilde's Te Marctomater, proved no ony atrium Frits org star, Carol Channing, but a sucessful vehicle for a multiude of sctesses. Barbra Streisand starred inthe movie. Others Stared aross the country and around the work. Channing was succeeded by Ginger Rogers, Martha Ray, Betty Grable, Phils Diller, Peat Bailey (leading en all-black cast) and finally Ethel Merman, who had turned down the role when i was offered to her almost en years carer. The show returned o Broadway with Channing twice, 1978 and 1995, JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS MUSIC: Jacques Bret LYRICS: Jacques Brel, thers (in French); English Ires by sic Blau, Mor Shaman OPENED: 1968, New York ‘A long running inmate OF -Broadvay hit the revue is a collet of some 25 songs by Belgian songwriter Jacques Brel he wrote both amsic and Iris for some, iris ony fr other). The show is conceived fr Tour players eo men, 40 ‘women and the songs are fal of contrasts in subject matter om the draft, to Old age to bullghts, wo death, to love. A Fim version was seleased in 1975, Jacques Brel (1929-1978) became a cabaret star in Pais only after no one else would sing his materia. JEKYLL & HYDE MUSIC: Frank Wilzhora LYRICS AND BOOK: Leslie Brousse DIRECTOR: Robin Phillips CHOREOGRAPHER: Joey Pizzi OPENED: 12/97, New York: sll ronning 2s of 7/1/00, Based on Robert Lous Stevenson's 1886 novella, “De Jekyl nd Me. Hyde this show took nearly a decade (0 arive on Boadway, However, the fst full cove by pop composer Frank Wildhorn was already familiar to most loves of musical theatre from ovo widely circulated concept alums. These proved especially popular among professional skaters forthe background music of thei routines, A North American tout ap belped make the show familiar to most ofthe rest of America before arriving in New York. As in the Stevenson book, a well-meaning scientist, Dr. Henry Jekyll invents a potion that separates the noble side of man's nature from the ev best sie. Using himself as guinea pg, Jeky soon finds he has unlesshed an uncontrollable monster, Mr. Hyde, who cuts a murderous swath dough London. Two women his fe help emphasize this citference: Hyde's scarlet-woman lover, Lucy; and Jekyl's sweet innocent fiance, Emma, Unaware of how dangerous Jekyl's experiment has Become, Emma tres to calm and encourage him about ther foxy fucure in "Once Upon a Dream.” Later in Act I, both Lucy and Ema se their conflicting feelings about thei oubled men in In His Eyes”—not realizing theyre both singing sbout the same man. ‘THE KING ANDI MUSIC: Richard Rodgers LYRICS AND BOOK: Oscar Hammerstein I DIRECTOR: John van Draten CHOREOGRAPHER: Jerome Robbins OPENED: 3/29/51, New York: a run of 1.246 peeformances “The ide of turning Margaret Landon’ novel Arn and the King of Siam, ito a musical fist occured to Gertrude Lawrence, “vo saw ita a suitable vehicle for erreur to the Broadway stge. Based on theres ofan adventrous Englishwoman, the sory is stn Bangkok inthe carly 1860s. Anna Leonowens who hes aeceped the post of schoolteacher to the Siamese king’ ehilren as frequent clases withthe monarch, bu eventally comes 0 exer great influence on hin, particulary incre ating a more democratic society for his people. The show marked the ith collaboration between Richard Reders and Oscar Hammerstein I and thee tha to run over one thousand perfornances. Cast opposite Miss Lawrence (who died in 1952 dur ing the ran ofthe play) was the then lite-known Yul Bryer Alter the xginal producson Brynner vistualy made the King his personal proper, In 1956, he co-starred with Deborah Ker inthe Fox movie version. Twenty-seven year ate, by now solo-starred, Brynner began turing in «new stage preston which played New Yor in 1977 with Constance Towers as ‘Anna, and London in 1979 with Viginis McKenna as Anna, Brynner resumed ouring in 1981 and by the tie of his death, had ‘given more than 4,000 performances inthe oe. crscally acchimed new Brosdvay production opened in 1996, Mrs. Anna breaks the ie with her new pupil by lang the royal princes ak princesses in the Hiting“Getng to Know You." KNICKERBOCKER HOLIDAY MUSIC: Kor Weil LYRICS AND BOOK: Maxwell Anderson DIRECTOR: Joshua Logan OPENED: 10/19/38, New York a run of 168 performances In spite of its relatively short run, Knickerbocker Holiday is considered a significant milestone on Broadvay. In one of the first musicals use ahistorical subject comment on contemporary political problems, is antifascist theme pited democracy aginst totalitarianism in retelling the reign of Governor Stuyvesant in New Amsterdam in 1647. The story els how the governor intervenes on behalf of an independent and troublesome knife sharpener. Brom Broeck, who has been abitraily selected by the couneil to be executed on a trumped up charge, mainly because they had no one to hang. The ‘ical was one ofthe earliest Kurt Weil's shows writen in Amica aftr his own flight fom the totalitarianism of Nazi Germany. Despite the politcal themes, Weil and Anderson teok opportunities to explore tenderness, romance and wistful ess in “It Never Was You." LADY IN THE DARK. MUSIC: Kurt Weil LYRICS: [ea Gershwin BOOK: Moss Hart, DIRECTORS: Hassard Short and Moss Hart CHOREOGRAPHER: Albertina Rasch OPENED: 1/23/41, New York; 2 1un of 467 performances Although dreams had long been employed asa theatrical device, Moss Hart was the frst to ite a masa play dealing ‘ith thee psychoanalytic implications. An austere and businesslike Liza Eliot (Gertrude Lawrence). editor ofa suovessul fashion magazine, has een bothered by her dreams, and visi a psyehaunalyt. Her four haunting dreams revolve around {our men: Kendall Nesbit, her maried lover who aided her ise to editor: Randy Curis, a glamorous bt shallow Hollywood star; Rassll Paxton, the magazine's effeminate and zany photographer; and most importantly. Charlie Johnson, the magazine's crsty adversing manager. n relating her dreams, Liza finally comes to understand that al er decisions In life were made because of her father’s rejection. With the exception of “My Ship.” the musical numbers were sung only ‘during the elaborate dream sequences Liza describes to her doctor. Ginger Rogers and Ray Millan starred inthe 1954 ‘Paramount film version under the direction of Mitchell Leses, In a moment of inspiration. Liza impetwousy leaps out of her fimo, commanders «soapbox in New York's Columbus Cree, and egales the crowd with her ode to whoopee, “One Life to Live” LES MISERABLES MUSIC: Claude Michel Schinberz LYRICS: Herbert Kretzmer and Alain Boublil ORIGINAL FRENCH TEXT: Alain Boubil and Joan-Mar: Nate DIRECTORS: ‘Trevor Nunn and John Caisd CHOREOGRAPHER: Kate Fit OPENED: 9/80, Pari, aii an of 3 months 1v8/85, London: stil running as of 7/1/2000 01287 New Yorks sl running as of 7/1/2000 ‘This quasi-operatic pop epic was one ofthe defining musicals ofthe 1980s, distilling the drama from the 1,200 page Victor Hugo novel of social injustice and the plight ofthe downtrdien (the "miserable ones” ofthe tle). The riginal Parisian ‘version contained only afew songs; many more were added when the show opened in London, Ths, most of the show's ‘Songs were orginally writen in English The plot is too rchto encapsulate, but centers an Jean Valean, a prisoner sen {enced to years of hard labor for stealing & Toa of bread for his starving family. He escapes and wes to start new Le, but ‘soon finds himself pursued by the releiless policeman Javen. The pursuit continues for years, across a tapestry of early 10h century France that includes an armed uprising against he government, in which Valjean takes a here par. Along the way he acquires an adopted daughter. Cosette, who grows into womanhood and atracts the attention ofthe handsome revolutionary Marius, and the emnity’of a iva, Epanine. Th song “In My Life™ gives Valjean andthe young people 2 chance to wonder what each of them tuly mean to he othe. It begins as Cosete's sol before hecoming an ensemble LOST IN THE STARS MUSIC: Kuet Wail 'RICS AND BOOK: Maxwell Anderson DIRECPOR: Rouben Mamoulian OPENED: (0/30/49, New York, a nun of performances Kurt Weill’ final Broadway musical (his second in collabora with Maxwell Anderson) was writen to convey a mes sage of hope that people, cough personal approach, will solve whatever racial problems that exis.” Inthe idealistic Story, adapted trom Alan Patoa's Cp, the Beloved Country. the aston is set in and around Johannesburg, South Aca [Absalom Kumalo the errant son ofa black minister, Stephen Kumalo, accidentally kills @ white man i 2 eobbery attempt and is condemned to hang, The traged, however, leads ta sympatelic Bond between Stephen and James Jarvis, the dead ‘man’s father, which gives some indication that understanding tween the races canbe achieved in the nd of apartheid. A newer version, presented! by Ely Landaw’s American Film teat, was showin in 1974 with a east headed by Broek Peters and Melba Moor. Ii, the grt who is carying Absalom’ chit, sings Wo very different lve solloguis. In Act I she foresees serow in the stormy “Trouble Man” In Act H, with her man on wal for murder, she agrees to marry him whale er tho verdes, inthe limp, haunting "Stay Well LOVE LIFE, MUSIC: Kun Weill LYRICS AND BOOK: Alan Jy Lemer DIRECTOR: Blia Kszan (CHOREOGRAPHER: Michiel Kidd OPENED: 1KVT48, New York: ann of 282 performances ‘On hiatus frm his partnership with composer Frederick Loewe, Alan Jay Lemer collaborated with Kurt Weill on tis nisical allegory: Love Life, trmed by is authors as simply “a Vaudeville” chronicled the fluctuations ofthe archetypal Samm and Susan Cooper's mariage through 157 years of American history from 1791 to L948, The story shows how the rowing tensions of modern life make i nereasingl dificult forthe couple (o maintain thet matrimoaialequliyiam, This ambitious, sureal sory is tld theough Farin, blues, a madigal, a hallet, clog dancing. venloguism a minstrel shows, and even tightope walking. Fans have rganded he shows as sructurlly innovative and shead of ts time, “Mr, Right” is rueful reflection ona semingly hopeless quest MARRY MEA LITTLE MUSIC AND LYRICS: Stephen Sondheim DIRECTOR: Norman Rene CHOREOGRAPHER: Don Johanson ‘OPENED: 12/81, New York: a un of 96 performances “This litle OF-Of- Broadway revue (hich quickly moved wp t OFF-Broadway) took a pile of Stephen Sondheim trunk songs. orphaned when they were cat Tom his wellknosin show oF writen Tor shows never produced (plus other apoc- raphe. and gave them a narrative hone. In diector Norman Rene’s elegantly simple concept, aman anda waran who are living alone in separate apartments, but share the same stage spe, ala Alan AveKbourn, sing about the misfortunes of their ove lives tht have browsht them wo these lonely places. The implication is that if they Were to meet, they might find happiness, “The Girls of Summer” used in the 1956 N. Richard Nash play of the same name, sings ofthe moody dit dence ofthese young womtcn, MARTIN GUERRE IMUSIC: Claude-Michel Schonberg BOOK: Alain Boubli and Claude: Michel Schonberg LYRICS: Alain Boublil and Stephen Clark DIRECTOR: Conall Morison MUSICAL STAGING AND CHOREOGRAPHY: Dovid Bolger ‘OPENED: June, 1996, London: rn of ever 700 performances “There have been several major visions ofthe BoublilSchinberg musical since its inception in 1991. Besides the musical, the Uéth century legend inspired the books The Wife of Marti Guerre by Janet Lewis, and The Retr of Martin Guerre by Natalie Zemon Davis. The 1982 film The Retwm of Martin Guerre starving Gerard Depardieu is hased onthe Davis novel In 1560 the French Catholic mercenary Marin Guerre ls is fiend, Anaad du Thi, of his childhood in the village of Atiga, snd of his arranged marriage to Berrande di Rol. The villsinoas Guillaume, rebuffed by Bertrand, had con ined the superstitious villagers that Martin's failure to conccve an heir brousht on hei erop failures. Matin was exile, later to join the mercenary corps. Martin is stabbed while saving Art's ie. After Martin's seven year absence Bertande i under pressure to fake another husband in Guileume to praduice an heir, which the villagers somehow believe will end thee drought. In agony she sings “How Many Tears" Amaud travels to Amiga, where he is mysteriously believed ‘o be Martin Guerve. Bertrand falls in love with Arnaud even though she knows he is ot Martin. Guillaume. sill oping for Bervande, charges Amaud with fraud for impersonating Martin Guerre, Ata dramatic moment the real Mastin Guere turns and denounces Amat. Leaning ofthe tue love between Bertunde and Amau, inthe sprit of feendship Marin ecides co let them go, Protecting Matin from Guillaume's nife, aud is stabbed and des, ME AND MY GIRL MUSIC: Noe! Gay LYRICS: Varioos BOOK: L. Arthur Rose and Douglas Furber, revised by Sterhen ry OPENED: 1937, London: a run of 1.646 perirmances: New production /LO86, New York: 2 un of 1420 performances ‘The cockney character of Bll Sibson originated in 1935 in Twenty fo One, played by comedian Lupino Lane. The ator became so attached to the role that he initiated a new rusiel show bul sound Bill two years later, resulting in Me and [My Girl light social class song and dance show in which Blinds himself hee to an arsterati ile. Comedy results from the Friction betwen the proletarian Bill nd his hoity-tity new elation. Bil also has 0 decide whether to submit 19 an arranged match with a snobby blueblood,o¢ say tre to ks special gal fom back in Lambeth, Revivals care to [London in 1941, 1945 and 1949, but the major rediscovery othe show came in 1985 when Robert Lindsay reinvented the role in London. then in New York. Convinced tht er Bills gone forever, the homegir! sweetheart sighs the uel litle ‘music-box ballad, “Once You Lose Your Heart.” MY FAIR LADY MUSIC: Frederick Loewe LYRICS AND BOOK: Alun Jay Lemer DIRECTOR: Moss Hast CHOREOGRAPHER: Haya Holm OPENED: 3/15/55, New York, aeun of 2.717 performances “The mos celebrated musical ofthe 1950s hogan as an idea of Hungarian film producer Gabriel Pascal, who devoted the last two yeas of his life trying to find writers wo adapt Georg: Bernard Shaw's play, Pygmalion ino a stage musial. The team of Lemer and Loewe aso saw the possiblies, particularly when they realized that they could use mos of the orii- nal dialogue and simply expand the action wo include scenes atthe Ascot Raves and Embassy Ball, They were also scrape lous in maintaining the Shavian flavor in their songs, most agparent in such pieges as “Get Me tothe Church on Time,” ‘Why Can't the English?” “Show Me" and “Without You.” Shay was concerned that British society had hesome so stat= Sed and segregated that different classes had developed their own separate accents. His concem was dramatized in the story of Eliza Doolite (originated in the musical by Jie Amlrews), &seruy flower seer in London's Covent Garden, who takes speech lessons ftom Prof. Henry Higgins (Rex Harrison) so that she might qualify forthe position ofa Toss in x shop Eliza siceoeds so well tht she oulgrows her social station and-—in a developmen added by Ibretist Lerer——even ‘makes Higgins fallin love with her, My Fair Lady became th: longest uning prediction in Broadway history. and remained so for neasly seven years. Three major revivals have Been mounted in New York since then. In 1976, the musical fan for 377 performance with Ian Richardson and Christine Andreas as Higgins and Eliza, Harson returned in 1981 with [Nancy Ringham 3 his Fai Lady, Richard Chamberlain and Melissa Erric brought a racially redesigned version to Broadway in 1993. Harrison and Audrey Hepburn (hose singing was dubbed by Marni Nixon) were seen in the 1968 ‘Warner Bros. movie version, which was directed by George Cukor: In "Wouldn't It Be Lover,” Liza famasizes about ‘chieving some ofthe simple pleasures in life. Justa few scenes later she's boiling mad a he condescending Higgins, and Fantasizes again in “Tost You Wai” but this time about dhe miny ways she'd savor doing him in 10 NAUGHTY MARIETTA, MUSIC: Vitor Herbert LYRICS AND BOOK: Rida Johnson Young DIRECTOR: facques Coini OPENED: 11/7/10, New York: 8 in of 136 performances ‘Victor Herben’s crowning achievement came ino being because mounting debt had forced opera impresario Oscar Hammerstein (grandfather of lyricist Osear If} into the area of (9 mote commercial musical theatre. Hammerstein staged Herbert's opereta with al the lavish care of one of his Manhatn Opera productions. Two of his stars, Emma Trenin and Olle Harold, sang the leading roles of Marietta Alten ane Capt Dick Warrington, Naughty Marie kes place in 1780 New Orleans. where the showy, will-iled “Italian Stret Song” is somewhat incongruously sung. Marietta is here t0 escape from an unwanted marrage in France, and Cap, Dick isthere to lead his angers against a pirate gang fed by Bras Pigue. Though Mate is revealed a the pirate leader, she is pps to sing her romantic dts with Capt. Dick. She is. in Fact ute that he isthe man for ber because be sable to finish “Dream Melody” (better known as “Ah! Sweet Mystery of Life" that Marita recalls from het childhood. (The song wss memorably used for riba effect inthe Mel Brooks tovie Young Frankenstein) The film version of Nowghty Marita co-starred Jeanette MacDonald and Nelson aly. OH, KAY! MUSIC: George Gershwin LYRICS: Ira Gershwin BOOK: Guy Bolton and PG. Woushouse DIRECTOR: Jofn Harwood CHOREOGRAPHER: Sammy Lee OPENED: 11/8725, New York: a nun of 256 performances Following her Broadway appearances inthe Chavlor Revues, Gertrude Lawrence was besieged with offers to sari an ‘American musical comedy By accepting the leading role in Ok Kay’, Lawrence became the fist British actess to orgi- pate apart on Broadway before debuting tn London. The protuction reunited the Princess Theatre libretists Guy Bolton land PG. Wodehouse. whose book for Oh, Kay! retained sometting ofthe Anglo-American flavor oftheir previous Oh, ‘Boy! and Oh, Lady’ Lady" Ws suovess gave the Gershsns ther second-longest running show upto that time. The Pronibition-era sti takes place atthe home of Jimmy Winter i the imaginary town of Beachampton, Long Islan. Simmy is about to wed when be discovers that he has fallen in lve with Kay Denham, whois posing asa cookin his house 10 be near the hooch thither brother. tiled English bostlegger, has stased in Jimmy's cella, Thovgh Kay and Fimry make their festngs clear to each other, and Kay plantely pleads for “Someone ro Watch Over Me.” the couple rust survive obstacles, both legal and matrimonial, before setting own to a life of musical-comedy Biss. A revival of Oh Kay, somewhat revised, wa produced O1F-Broadvay in 1960. David Merrick revived the musica with an all-black ast in the mid- 1990s, ‘ON YOUR TOES MUSIC: Richard Rodgers LYRICS: Lorenz Hart BOOK: George Abbot, Richart Rodgers and Lorenz Hart DIRECTOR: Worthington Miner and George Abbost (uncredited) CHOREOGRAPHER: George Balanchine OPENED: 4/11/36, New York: arun of 315 performances (On Your Toes scored a major theatrical breakthrough the first Broadway’ entertainment 9 combine musical comedy and hulle. Junioe Dotan, an ex-vaudevilian now a music teacher in New York, persuades a classical ballet company to perform 2 modem work, “Slaughter on Tenth Avenue,” and then assumes the Teading male role himself. Because he has also become involved with the company’s chief ballerina, Vera Barrova, Vera's jealous lover and dancing parter hires two thugs to kill Junior during a performance ofthe ballet. To avoid bein a target, Junior Keeps dancing ater the ballets over When the police finally ares the guimen, Junior collapses, exhausted to the flor. The musical offered Ray Bolger his fist major role. und ic lso marked the fist time that ballet choreographer George Balanchine was engaged to create dances fora book musical Rovers and Hart originally conceived the musical asa sereen vehicle for Fred Astaire, but the dancer turned it down reportedly because it id no give him the chance to wear a top bat, white Ge and tails. Though George Abbott, the book's ‘Co-author, was to have dtected the production, repeated delays forced him ro withdraw. He did, however, rum to the Show when it was having problems during the Boston tryout. On Your Toes has had two major Broadway revivals. In 1954, "Nbbott and Balanchine pt together a production staring Bobby Van, Vera Zorina and Elaine Stitch, whieh ran 6§ per formances. A more suecessful revival (50S performances) was mounted in 1983, agin with Abbot directing. Donald Saddler and Peter Martens based thee chorsography on Balanchine's orignal work. Natalia Makarova and Lara Teeter headed the cast,On Tour Toes was filmed by Warer Bros. a 1939 with Eddie Albert and Vera Zorina, but the score was sed only as background. The romantie couple imagines honeymoon bis in one of the show's best-known standards, “There's a Small Hote” 1" ‘THE PHANTOM OF THE OPERA MUSIC: Andrew Lloyd Webber LYRICS: Charles Han, Richard Stlgoe BOOK: Richa Stlgoe, Andrew Lloyd Webber DIRECTOR: Harols Prince CHOREOGRAPHER: Gillian Lyone OPENED: 1/268, New York: till running as of 02/01/00, ‘The mos financially successful musical in history is based o1 the French novel Le Fantome de l"Opera, published in 1911 W's the story of a disfigured musical genius who haunts the tekless catacombs beneath the Pais Opera, The world’s revulsion at his outer ugliness tists the artist within, He conceives a passion fra lovely young singer, Christine Daze 1nd hypnotizes her into becoming his student and wershippet. Calling him her Angel of Music. se is willing to do any ‘hing fr him, The Phantoms spel is broken with the aval of young man who vies with the Phantom for Christine's stfectioas, That's when the Phantom turns murderous. The production's most famous element sa chandoie hat als fom above the audience and crashes onto the stage, The misieal opened in London in 1986 prior fo its debut on Broadway some two years later. “Think of Me" is sung a the top ofthe show to show off Christine's voice. I builds from « prety ‘melody sung at an auction, to the fll operitic treatment on Christine's opening night, “Wishing You Were Somehow Here ‘Again is Cistine's pea, attr the Phantoms threat gins to gro: fora ied she can rely on, PIPE DREAM MUSIC: Richard Rodgers LYRICS AND BOOK: Oscar Hammerstein It DIRECTOR: Harold Clarman CHOREOGRAPHER: Boris Runanin OPENED: 11/30/55, New York: & run of 246 performances ‘A Rodgers and Hammerscin musical se in brothel? Sounds crazy, no? Bu in John Steinbeck’ le village of Cannery Row, they created a collection of sft-centered sinners and sent them about hci busines in this leisurely paced musical ith litle confit, Pipe Dream vas adapted from John Sleinaeck’s Sivet Thursday, and took a sympaetclook athe inhabitants of skid row in California's Monterey peninsula, The pot is mostly about Dos, a mane biologist, whose romance with a petty vagrant named Suzy i abetted by Fauna, the warmhearted madatn of local brothel. The song “Sweet Thursday” resto explain what happens tat day to rake it always so much sweeter than the her. PRINCESS IDA MUSIC: Antur Solivan LIBRETTO: WS. Gilbert OPENED: January 5, 1884, London, ‘This “respectul operatic perversion” takes aim at he inepient feminism ofits day. King Gama and his sons arrive at the ‘castle of King Hildebrand to infoum him that Gama’s daughter 1d, betrothed Hildebrand’ son Hilarion, doesnot intend to go through with the wedding. She has renounced men conpletely and established a university for young women at ‘Castle Adamant. When fist we meet her thre, she prays to Minerva for wisdom in guiding er students in "Oh, Goddess Wise” Shortly thereafter, Hilarion and two friends steal into he easle gardens and disguise themselves as postlants. No Sooner has Princess Ida found them out and locked them up than King Hikabrand aves with an aemy and an limatum ‘marrage or combat. She chooses the later, bu er ladies are unwilling o do batle. Her father urges he o let er brothers fight it ou with Hilarion and his friend. She detets the thought of being fought over by men, bat finally agrees. Hilarion prevails, and Princess, ber philosophy in vis, concedes hat peshaps she had heen mistaken about men, SATURDAY NIGHT MUSIC AND LYRICS: Stephen Sondheim BOOK: Julius. Epstein, based on the play Front Por in Fladush by Julius J. Epstein and Philip G. Epstein DIRECTOR AND CHOREOGRAPHER: Kathleen Marstall OPENED: 2/1400, New York: sll running a of 2/15/2000 Saturday Night goes down in musical theatre history as havirg had one of the longest gestation periods on record: 46 year. The story of a group of buddies tying to get dates (and make ter fortune) in 1920s Brooklyn, was writen by Sondheim in 1954 when the composer wa just 24. When the original producer Lemuel Ayers did, x0 did plans for 3 Broadway production, and the manuscript sit in Sondheim’s rank fr Tour decades, dismissed (hy the composer) as we nals, Over the years, several of the songs surfaced in Sondheim anthologies, including “Sondheim: Celebration” Vatese Saraande’s Unsung Sondheim album recorded most ofthe sere forthe fist time. Following a 1996 reading that pleased Sondheim. the show hai a successful London production at Bridewell Theatre in 1997. Chicago's Pegasus Players gave the show its U.S. premiere in spring 1999. An Off-Broadvay praniere was finally aranged at Second Stage on Valentine's Day, 2000. “So Many People" is simple leve song, with Sondheimian twist. Inthe fst fash of love, a young couple express sorow that most ofthe poor henighed human race vill never experience a love as sweet and special as theirs 2 SONG AND DANCE MUSIC: Andrew Lloyd Webbe LYRICS: Don Black, Richard Maltby J, ADAPTATION: Richard Maltby Je DIRECTOR: Richard Maliby Je (CHOREOGRAPHER: Peter Marins OPENED: 9/18/85, New York a run of 474 performances ‘The Dance ofthe title originated in 1979 when Andrew Lloyd Webber composed ase of variations on Paganin's minor Capriccio that seemed to him to he perfect fora ballet. The Song originated a year late with 2 one-woman television show: Tall Me on a Suny, which consisted entirely of musical pieces. Two yeas after tht, both works were presented together jn London as fall evening's entertainment, nove comectd wits a bit of pt, In New Yor, this unconventional package ‘Won high praise for Beraete Peters, whose task in Act | was 0 create, without dialogue or ther actors, the character of 2 free-spirited English gel who has daliances in America with ‘our mea. Inthe soaring. melodic “Unexpected Song” (one of Lloyd Webber's mos frequently performed tes) she marl at love's ability to overpower he. SONGS FOR ANEW WORLD, MUSIC AND LYRICS: Jason Robert Brown DIRECTOR: Daisy Prince CHOREOGRAPHER: Michiel Amold OPENED: 10/2695, New York: 2 run of 27 performances In 1994, Daisy Prince, daughter of Broadway legend Harold Prince, went to hear 2 24-year-old Greenwich Village coffee- house pianist tamed Jason Robert Brown play some of his orignal compositions. When she heard fe was working om a ‘concert evening of songs that played lke offbeat short sores, collaboration and a friendship were bor, Titled Songs for ‘4 New World, the piece was developed a a summer festival Livent Inc, sponsored in Toronto, and the piece made its Of- Broadway bow October 25, 1995. Musically distinctive and precocious, the songs looked at contemporary life from highly unusual anges. The eof the song “Christmas Lullaby" is ceinly ironic. 1s actually a parody of Kurt Weil's abaya Jonnie" —but performed by Mis, Sania Claas 3 if she were Marlene Dietrich or Late Lenya. She spends the comic song biter repoaching “Nick” for leaving her alone exery Christmas Eve. Not ba for 2 composer who had just fumed 25, Brown's aext project, avade, was dicted by Prine per on Broadway in 1998, and won him the 1999 Tony ‘Award for Best Score a ae 29. ‘THE SOUND OF MUSIC MUSIC: Richard Rodgers LYRICS: Oscar Hammerstein Ih BOOK: Howard Lindsay and Russel Croose DIRECTORS: Vincent J. Donehue, Richard Rodgers and Oscar Hammerstein I CHOREOGRAPHER: Jo: Layton OPENED: 11/16/59, New Yor: a run of 1443 performances For many youngsters grossing up in the 1960s, The Sound of Masie was the frst musical they ever sa, ether via the Tong running 1959 Broadway version (the thi-longest run for Rodgers and Hammerstein) with Mary Martin, of via the Oscar- ‘winning 1965 film version with Iulie Andrews. The later became, fom 1966 to 1969, the top grossing film ever in North “America Alot of major theatre carers atthe dawn ofthe 2Tst entry started withthe song "Do Re Mi" The Sound of ‘Mase was adapted from Maria Von Trapp'sautbiographical Tue Trapp Family Singers and the German film version. which Mary Martin was convinced would provid her with an fel stage vchile, Her husband, Richard Halliday, and pro ducer Leland Hayward secured the rights and, initially they planned to ese ony che mesic associated withthe famed ‘ingng Family plus one additional song by Rodgers and Hammerstein. Evenualy the songwriters were asked to contribute the entire sore, and they joined Halliday and Hayward as prodacer, The ply is set in Austria in 1938, Maria Rainier (Manin, ste-spirited postulant at Nonniurg Abbey takes a position as governess tothe seven children ofthe widowed and autocratic Capt, Georg Von Trapp. She loosens things up around the hovse, which has been sun ike ahatleship since ‘the death ofthe children’s mother. Mara teaches the children sing and play, and thereby melts the Captain's hear. After Maria and the Captain fll in love and mary, their happiness is quickly shattered by the Nazi invasion whic forces the family to flee over the Alps to Switzerland catalog of warm. homey images, “My Favorite Things” sung inthe sage show by Marit and the Mother Abbess to give Maria courage—simiar ina way t "I Whistle a Happy’ Tune” from The King and J In The Sourd of Musi im, Maria Sings the tune tthe children to comfort them during a thunderstorm. After Hammerstein's death fom cancer, Rodgers wrote both music an iris for vo songs that were aed to the fim: "T Have Confidence” a whistle insthe-dark song for Marinas she heads for her frst day on the new job, and "Something Good,” an intimate love song for the Captain and Maria once they accepe fir feclings for one another. Bosh were added 1 the 1998 Broadway revival. The stage score written forthe modest range of Mary Martin, was transposed up ino a soprano range, reflecting the movie's influence on te life of the show. 13 ‘TITANIC MUSIC AND LYRICS: Maury Yeston BOOK: Pier Sone DIRECTOR: Richard Jones (CHOREOGRAPHER: Lyane Taylor Combest ‘OPENED: 423/97, New York, for arun of 804 performances ‘The whole ides of a musical about the sinking of the lxury liner Titanic was unseting to many Broadwayits, Few Thought Yeston, Stone and company could pall it off. And reports of technological glitches during the etly previews threst- {ened to tun the whole project ato joke, And yet, when thes finished counting the Tony balls in 1997, Thaie won for Best Musial. Credit the strength of Yeston's score hat explored the emotional nuances of a whole tapesey’of characters ‘and situations, The music takes theatregoers inside the head cf the captain, the shipbuilder, the millnaires, the social Climbers and the iterate immigrans—each with thei rears and worries that ae tered forever by that actu journey In one of the show's best-emembored scones, Ida Staus, wile of department stoe magnate Iidor Savs, is orered a place in one of the few lifeboats. But she refuses to leave his side, choosing to share bis fate Tor Helter or worse a she aways Jas, In “Stl they marvel that when it comes right down to they realy have loved each other WHERE'S CHARLEY? MUSIC AND LYRICS: Frank Locsser BOOK AND DIRECTION: Goorge Abbot CHOREOGRAPHY: Googe Balanchine OPENED: 0/11/48, Now York run of 792 pesformances Where's Charley was based on Brandon Thomas’ 1892 London hit, Charles's Aum, one of the most durable fares in the English language. The musical also boasted the frst complete Broadway score by Frank Loesser, who would £0 00 10 ‘write Guys and Dolls and other shows. Oxford undergraduates Charley Wykeham (Ray Bolger nd Jack Chesney (Byron Palmer) wish to entertain their lady frends Amy Spetigue an Kity Verdun. But to do so, Charley must play chaperone by disguising himself as his own aunt ("From Brazil where the auts come fom"). Further complications arise when the ges auardian, Mr, Spttgue, becomes smitten withthe “aunt” anc proposes marrage. Just when things cat seem Yo get any ‘worse, the real unt makes an unexpected appearance. The misicel was a perfect vehicle for dancing star Ray Bolger, who ly invited audiences to jin with him in singing "Once ia Love With Amy" Bolger again played Charley, and Allyn MeLerie was again his Amy, in the 1952 Warner Bro, movie version, directed by David Butler, The adored Amy wants 0 believe thebestof Charley but inthe song “The Woman in His Room,” she jst cant get over a photograph she has seen of his table—of another woman, in hts! WHISTLE DOWN THE WIND Andrew Lloyd Webber itm Steinman BOOK: Patrisia Knop, Gale Edwards and Andrew Lloyd Webber DIRECTOR: Gale Edwanls CHOREOGRAPHER: Anthony Van Last, OPENED: 7/1/98, London sil playing as of 7/1/2000 “Thre religous ehikien discover an emacited bearded stranger sleeping in their barn, When they awaken hin demanding to know who be is, he wearily exclaims, "Fesus” and sinks bark ino a coma. To the children, tis means only one ting: ‘The Second Coming i at hand, and right in their back yard! in adapting this simple tale ofthe redemptive power of fith, AAndtew Lloyd Webber and Meat Loaf composer Jim Steinman changed the location from the noth of England in Mary Hayley Bell's novel to she bayou county of Louisiana in the late 1950s, They also made the children slightly older, and the stranger (actually an escaped convict) more sinister. The cental character, the now-teenaged Swallow still goes on a jour- ney of awakening—to the prejudice and double-dealing of adults, and to the tre power of faith and love. Asserting that an ‘American subject deserved an American tryout, Lloyd Webber gave the musial its February 1997 world premiere atthe National Theat in Washington, D.C., wher it got mixed reviews and cancelled its announced Browdvay opening —mak: ing ithe frst and only Andrew Lloyd Webber musica o closeout of town. A revamped version opened in London's West End in summer 1998. Swallow's father first sings the tte sorg of Whistle Down he Wind othe children, vet them know that whenever they cal, someone who cares fo them will answer, Other characters also sng the song, 7 FEELINGS from The Apple Tree Words and Music by JERRY BOCK ‘and SHELDON HARNICK Moderately Repeat adi. —FH ——— 1 [7 Feel ings are tum = bling 0 = ver feel - ings, Feel - ings the Tam the fist to face. this.—prob - lem, 2 ani go not un = der - stand. ‘more than slight ly first wave this dream. hhar = ness his at — ‘That they of hand, Some - times they teem? am oL suf How can es Copyright © 1966 by Apple Music Company Copy Renswes an phe Admitted by Ale Music Cop. Iozenationl Copia Secured AL Rights Reserved ‘ied by Peision 15 hnap-pen in my stom-ach, Some-timesthey hap- pen on my — skin What isthe fi-cient-ly at - wac-tive? Should 1 do some-thing with my hair? Is. there some wee - 7 ee ame of this con - di - tion That 1 em in? If Tm ob - tid bit that will please him? What should I wear? What is the roy jective and ob - serv- ant, can Keep ane - ven keel, TH be the souree of this con - g must. learn to rise a= bove? Is there a : pel? first to pin a name to What I'm the ver-y_ first (© feel name for this con-di-tion? Yes there's a rpame and itis “hell” : WAITIN’ FOR MY DEARIE from Brigadoon Music by FREDERICK LOEWE, Lyrics by ALAN JAY LERNER Allegrtiy__—____ TS = ya las sie as ev. “ry-one knows “Try to be mar- tied be - fore twen-ty-five fia a So she'lla-gree tomost an - y pro-po-sal, All hemus'be is a man an’ alive, FF 1 hold a dream an’ there's no com-pro-missin'; 1 know there's one cer-tain. ad - die for me. © 1947 Mapawed 1975) by Word Rights Assigned fo BM UCATALDG, INC. A igs Re "WARNER BROS. PUBLICATIONS US, NC, Print) Permission One Fool - ish Wait = in’ P atempo hold my day he'll come walk-in. o'er ye may for the hor-i-20n heart till he comes stroll - in’ by But should he not then an fold maid Fl be 18 he comes, my dear - ie the dear - ie T've been want - in? ‘Though Pt for-ty lives Ti he day he arrives [ll nxt ev - er, ev - er grieve. nf animando hopes will be high That he'll come stollin’ by; For ye see, there's poco rit Pia mosso What do ye do while ye're waitin’ asound For your lad t come your way’ Well, when nf dolce no one is lock-in’ ye kneel on the ground An’ ye pray an’ pray an’ pray! But when, 20 fear the night have men Oh, how long. when the —ad’s be - comes not dim, e rit the night. right But 21 Dreamin’ of my — dear - ie how TH ev - er stay ‘Though Ill live for=ty lives Till the sanimande day he ar-rives, To not ev er, ev = er ptieve, For my _ t 22 will be high That he'll come stroll-in’ by: For it a tempo P atempo A LITTLE BIT OF GOOD 2 from Chicago Words by FRED EBB Music by JOHN KANDER Adib, MARY: E Bmaj7 ome a When T was 2 ti- ny tor Of ED can Fim Ftmimaj7) Fam? Bn may-be two or three, T can still re-mem-ber what my moth-er said to me: chm Fa Fem7B BdiwB7 | C#m? FAT rose col-ored glasses on your nose and you will see the rOb-ins, not the Copyright © 1875 by Unihaprel Music Ine and Kander Ebb, Ine ‘Aihts Administered by Unicel Msi Inirational Copyright scired AN Rights Reserves 24 B) Fm? Gtm 7 E Ema? ET cH9 For inthis tense and tan-gled web our weary lives can weave, You're Fam Gin ca care ch FaG Gt ge ‘That here's a so much better off if you be - lieve Db pbs Dbmaj7 pbs Dbmaj7 litle bit of ev = ty- one, ev = “ty one Ebm? a7 Ebm you'll ey = er know. Yes, there's adit = tle bit 25 Ebm? Ebm6 Ebm? a7 Db man -y times pb? Go ob takes the tak « time with one an - oth er, — i—— Bb? bo Eb? GbmiEb For un - der ev = ‘ry mean ve ~ ner is some-one warm and Gb/Eb AbT AbISAb7#S DB Fc AbmorB dear, keep look - ing For that 26 Rubato - (moving) Ab Ebm9 AbTO) Ab? Abmolr The ones we call Bb7 Ebm7 EbmT/Ab Ab9 Db that lit-tle bit of good lic = tle, it~ tle bit Em? a9 cma, ABT Ebm? Abs someone warm and dear, Keep look - ing > ee be ar Rubato (quasi operetta) bb Fv Abmeich Bb7 3 EbmvvAb ABI you — meet Abmoich BOT Ebmr(add4 Abs m Db DWC Bbm_— bab ob Ebm7 Db 28 BEFORE I GAZE AT YOU AGAIN from Camelot Words by ALAN JAY LERNER Music by FREDERICK LOEWE, Moderato Be. fore 1 gaze at you a- gain TH need a time for Bare - ly wake and ‘Tempo 2 t mp dolce ual, find gaze 1 you Till the mo - ment a —S poco rit. like new 22 IN MY OWN LITTLE CORNER from Cinderella Lyrics by OSCAR HAMMERSTEIN II Ben moderato May RICHARD RODGERS ee CINDERELLA: a Tm as mild and as meck as a a But 1 know of @ spot in my poco animato lit + tle chair, fo» pen its arms young Nor - we - gian prin cessor had her silk of silk- worms in Ja coo! and con - fis dent kind of ai, —______ Just as long as 1 stayin my own little cor - ner, lone in my own, lit ~ tle chair, a —_— tf? Plt F ar. bunt ~ ress dang ‘rous type of sport. and ex AF seek my quar bring my gun. 38 in the jun - gle Alla - lone pe back in _my own its tle cor RIBBONS DOWN MY BACK from Hello, Dolly! Music and Lyric by JERRY HERMAN Slowly, in 2 —. —. —— rib-bons down my ack stream-ing in the yel a N 1 PL Communestins ns 40 —— special comes my way, Rubato He might oo ly me eas sis ert find me In the 4 44 stillness of, ly Because a breeze might stir a rain-bow up beshind me That might P) In Tempo ——S take me by the hand, This sum) mer, call how love- ly 42 And so will proud - ly Opt. cut 10 rib bons dowa my : shin-ing in my hair, he might is a 2 “Tt no-tice me. 43 (80a) == will proud = ly wear Va NN rib = bons down my shin-ing in my hair, That he might 2 =! 2 (opt. cut here) Slowly, in 4 44 FROM CHOPIN TO COUNTRY from Cowgirls Written by MARY MURFITT Enhanced by FREDERIC CHOPIN Quickly % Bb Bb From Cho ~ pin. to coun- sy in one sin - gle day. chor = ales to corrals, who'd ev - er have thought. Cho = pin. to coun- ty, it happened = so. fast Cho to coun - wy, this tick er's fone way pray = ing to God that we don’t get caught. hope = Tm a-~ sleep and this-—night’ - mare. won't last, r Brand = en - burg in cms hope you don’t. —kill_ us. this some - how. round up some do- gies slop a sow f Copyright 6199, 1986 Prada Pbshing(ASCAP) 200 West Stat Street, Sue 1008, New York, New York 1B019 "atsnaional Copyigt Seaued” AU Rite Reserved 45 Bhsus Bb BB could have in Het - det berg by could have in Ligch-ten- stein by could have in Dus- sel- dorf by Bb FIA I hear just play Gm fat cue FT Bb? . ‘a rempo To Coda (). Cm? F Bb BA EGE just ketch-up, Tt? DS. al Coda copa (take 2nd ending) So o ve From a temp a7 Bb Baim cm dim tick - led Bbsus Bb, Bbsus Bb, could have been in Hei - del- berg, have been in Liech-ten-stein, Fast Bhsus Bb, NC. Eb Bb could have Dus - sel - dort 48 I REMEMBER from the TV production Evening Primrose Words and Music by Slowly STEPHEN SONDHEIM AmiC =. BmTbSF Dave E mp z Quite slowly and expressively Am Dmo Gaus Gm? G9 Caim? 1 resmem= ber sky It wasblue as c Amo Dm? asus Amt Or atleast 1 think 1 remem-ber sky 1 re-mem-ber A, Dmg Gsus Gm7 G9 Gas Gm? G9 Gsus Gm? G9 Soft as feath - ers, Sharp as thumb tacks, Coming down like — ————— “Copsit © 1986 by Buren suse Company. ne Copyright Renewed ‘a tgs Admniteret by Chappel & Co. InwrationalCopyigt Secred AI RightsReserved 49 aim? c Amada) Dm? And it made you squint When the wind would i ve J r DmnG GT pm GT DMG GT pmG. a like vi-nyl, the streets pmviG Gm? DetG GmtiC Fini? DbiF as silver, White as sheets, like strings and Chang - ing things Like F Amd) Dm sus Gm7 G9 I remember leaves, Green as spear-mint, Gaus Gm7 G9 Amo mo Gsus Gm? Go Crisp as pa - per 1 re-mem ber trees, Bare as coat ~ racks, — Gsus Gm7 G9 Gaus GT Gsus Gt Dmg mo spread like bro - ken umn ~ brel-las, ‘And parks a DminG GT DmtiG Gm7 DmtiG Gmc Cm ~ dy faces, Mud - dy shoes, Light and noise and Grau Gmo Gisus Gm9 maj and boys, and days. 1 reemem = ber 51 Crmajr#Lt cwus coc Ami BbIC Amc C Or Teast 1 But as years go Gr Dm Gosus Amo Dmo ‘They're a sort of haze, ‘And the blu - est Cerreeey), Gaus Gm? G9 Cain? © Amo(adlt) And attimes 1 think Fai? m9 Gsus Gm? Gr c _ Twould glad-ly die ral. e dim, 52. SONS OF (ils De) from Jacques Brel Is Alive and Well and Living in Paris French Words by JACQUES BREL. English Words by MORT SHUMAN and ERIC BLAU Music by GERARD JOUANNEST Andante (4 = 108) Fema cof the thief, imp Both hands 8va Fémaj? FHGICe Femgj9 Faoce of the saint, is the child Gtm7 ce Gtmt CHIsus = plain? of the great, cHiGe cy CH7sus were chil opi © 1868 by Unehappal Music ne Copyright Renee International Copyeght Scared” Al RightsReserved 53 Famaj? FRICe Ftmaj7 Feoct Femai7 FHoce Fémaj? FH The cries B cmb of the great i T Gand crt “4 I FRCH Di ad ib Famaj7 Fee NC. Fidim FE cola voce Moderato Ne. Fedim FR Fama Fact But Sons a As written Femaj7 FeOICe mai9 FqOce of the farms, of their chil - dren simile 4m? cH Gem? CHTsus Thm fields 85 choice ce CHIsus Fh All of their chil == dren van - ished 100 PRICE Famaj9 Fasica Femaj7 FHOICE "ring waves, in walls 7 twem ling with death; emmbs: FRICH Di Gtm7Dt comet of the farms, All oftheir chil = dren ran 56 ad tib Femai7 FH6 NC. cee FE Poco a poco accel. NC. > Amaj9 AGE Jong a0, But sons of your sons or colla voce |I pp legato Amaj? AGE Amsjo AGE Bm? pass-ing by, dren we ET Bm? E7sus Bm6 of ue love 57 9 Bin6 E?sus Amaj7 AGE Amaj? AGE Aaj? AGE Amai? ar D Dam7bs AE of your sons, pass-ing 58 rr Bmore EGE Amaj7 by, Chil - dren we ast in Wl a loco cad Ui, calla voce Allegro con brio (3. =72, can speed up to d. = 80) Braid BOr# the thief, Bam Bore Bmajo Bore of the saint, isthe child Chm Bima Bmaj? 58 com = plaint? Feo CAm? Fe7sus un = known, Bore Bmaj7 Bore smiles, Bore Bmaj7 Bre The night Emaj9 BoB 6 Fibs night F Bmnsj9VF$ oo Chm FATIAt like your own, Like your own, 61 ONCE UPON A DREAM from Jekyll & Hyde Words by LESLIE BRICUSSe Must by PRANK WILDHORN Moderately NC. P legato (add2) A Fam? NG. EMMA: When this all be - gan, knew there'd be NC. A BA Bsus E Once up-on 2 dream, T was lost in love's nd ‘Copyiht © 1890195 Stage & Screen Musi Lid (BMD, Chetty Lane Music Publishing Company. ne. (ASCAP), ‘ream Work Songs (ASEAP) Les Eos De a Mungue(ASCAP) and Searamanga Muse ne (ASCAP) "Wortimae fights or tage & Sreen Most. Admunstred by Chery River Music Co. Woodwide Right for Dreamlerke Songs bes Bales De La Muigue sn Searamanga Muse, nc. “Adiunstered by Chery Lane WtePubehng Company he International Cony Seured Al Rights Reseed There I found . once up-on a dream. E Atadd2) Biadd2) E ‘Once there was like no oth = er time besfore, —. 4, Hope was still : ‘once up-on BA A BIA. A BIA A BIA Twas un-sfiaid, the dream was so @x-citing! But now T see It fade and amhere a - I 63 A Tempo Bick Gb Cbeaua2 Dbice Once upon vyou were heav Gbsus ob Cocada2) Db BoD Was it nev 2 er meant Are you just Ebm(adé2) AMT Abm? Could we be = gin Slowly NC. Gb(add2) Dbice co Ghiaaaay fonceup-on a dream? 64 N HIS EYES from Jekyll & Hyde Words by LESLIE BRICUSSE. Rubato Musi by FRANK WILDHORN cn chen T sitand watch the rain and see my tears run down the window pane. cm Gbm sit andwatchthe sky, and I canhear itheave a sigh bo SS |S Gm Dm 2 Bb ¥ how we And when I think of him, then Tre - wo “o BoE Fr Br Bb(add2) Cm This is an ensemble piece in the show = Copy © 1035 stage & Seren Musi, Lx. (MD, Clery Lane Music Pushing Company, ne, (ASCAP) ‘BronmWorks Songs SCAN) Lee Eos De a Mique [ASCAP) and Searamangs Sta Ine ASCAP) "Workin hts or Stage & Sreen Musi Li Adinsered by Cherry fiver Muse Co. Wort igs for Dreamers Songs, Les Eales Oe a Menus Scaramangs Misi, "minted by Cnet Lane Me Pabst Company ne International Copyigt Secured Al RightsReserved 65 cm7bsBb Bb(add2) EbIBb FIA Bb(add2) Gin see my heart Gm Gor Ebmaj9 cms Bb(add2VF EbOF his eyes, 1 see a tts glow; and that's cm7bsiF Gm GmiF —Em7bs 3_Ebmai7 in his arms, BA __ Bo(ada2) Gm Ebmaj? ous bE lose_ 10 his heart; Dut don’t know quite where to star Feb Bb(add2) BIG cm Ebmaj7 his eyes, will T see be-yond Baus? bE Bb Bb(add2) FIG. Gm By look-ing his eyes, will T see be - yond Ebma Bsus F Eb(add2) Bbsus2/D Bb that I feel? Will his eyes re - veal to me Eb(add2) Bbsus27D Eb(add2) Dm? BhD_ Cat CmTbSiF F? promis - ¢s or lies? But he can't con-ceal from me the love er Gmibs Gbmaj? ono eyes! They're like an 0-pen book. know their ev-"ry_ look, and most of all the look that EDF FT EbIF CmiliF FIBE Bb(add2) BG Gm(add2) Tm wise, a tempo Ebmaj9 Feus(add2) cmv PBB Bb(ad2) lad ——— But sadly, Pm not wise les FIG Gm(ada2) Ebmaj9 ous F hard to talk a- way that you prize! 68 Eb(add2) Bb(add2yD BoD Eb(add2) Bb(add2yD. Eb(add2) Dml_Bb/D Love is worth for- giv-ing for! Ev-"ry-thing worth liv cmt bE Gm BIC CT Eb(add2) Dm? BbD there in his eyes! Love is worth for - giv-ing for! ‘tempo. ; Eb(adu2) Bb(add2yD Eb(add2) Dm? cm? EDF F(add2) Now 1 re - al ize, Ev-‘ry-thing worth liveing for is ‘motto rit Fast ; : Bb Bbsus20D eb Bbsus2D Eb(add2) Ebr Bb ee 2 = 6 GETTING TO KNOW YOU from The King and I Lyrics by OSCAR HAMMERSTEIN If ‘Music by RICHARD RODGERS Moderato d = 113 ANNA: (rather spoken) Ws a very an-cient say-ing, but 2 tue and hon- est thought, That if g z (oung) By your pu - pils you'll be taught, teach - er I've been : (You'llfor- give me if Toa And Pye tae (spoken) : now be-come an ex-pert, nthe sub-ject I like most: Getting to know you. “Getting to Cony © 191 by Rare Reger an scr Hamers I yng Renewed LO MLC own paso a id iis ought te werd Ieternstonal Copy secired AT IMS 70 Graceful and not fast J = 120 getting to know al ‘getting to hope you Putsing it my way, but nice Getting 10 Getting to You are pre - 5 Getting to ca] Getting to feel free and eas - When Tam with > + we 7 Getting to know what 10 say Hav-en’t you no - iced? — Suddenly 'mbright and 3 Th Tier : ip ie be-cause of all the beautiful and new things = 'm 3 learing a-bout you 72 IT NEVER WAS YOU from the musical play Knickerbocker Holiday Words by MAXWELL ANDERSON Music by KURT WEILL. Alllegro moderato con espressione ma 6, oa TINA: ve been hunt-ing through woods, Te been fish-ing 0 - ver va —— For one certain boy I This duet has been adapted as a solo for this edition ‘TRO-©Copyrght 1888 Renewed) Hampshire House Publishing Corp, New Yorkand ‘Chappl & co, Ure Angele, CA International Copii Secured Al RightsReserved ineuaing Pb Perfomance For Prt Used by Permission 73 Who's certain father’s son; ve been follow - ing ails, mos = Tye been staring af-ter ships, For a certain pair of eyes And acer-tain pair of lips Yes, [looked ev-"ry-where aif CREF You can look without wings And [found a great va = ri = 74 (Of in-tersesting things. ——____ never was you Se never was an-y- where you! foc = ca sion-al sun = set re mo = ed me, Or a flow'r grow-ing high on a = lip wee, en low in the West, Or a break call from the mead- ow lark’s nest Made me = —— 7 found him in the star, the blue!” I ro never was you, never was an - y- where you, — a r anywhere, an = y= where you Al 76 Pye been run-ning through rains ‘And the winds that fol-low fre cer = And an un-for=gotten. laugh Pvebeen follow - ing | “crcl ter “certirter signs Irve been search-ing through the lands is =a For acer iin pair = tain pair of hands. Oh, Tied a kiss And I tied a kiss For when you're out in oy “The boys and girls will = © grow-irg high 79 o ‘mead-ow lark’s nest Made me think 7 “May-be it's true hhim inthe star, I 12 (77) j-~ oS mr ee never was an - y~ where =o = bh I Medi ede you! a ONE LIFE TO LIVE from the musical production Lady in the Dark Words by IRA GERSHWIN Music by KURT WEILL Allegro animato (4 =144) = a ~~ LIZA: ‘There are man-y minds in cir-cu = la ~ tion, Be = fiev-ing in re-in- ear - slower a tempo . nation, In me you see One who does-n't a- gree Chal-eng-ing pos-si- ble af at fronts I be-liee Til only live once And I want to make the most of it Tihere’s a par - ty T want to be the host of its Wihere’s a haunt ~ e Twant to be the ghost of it; tm in town T want to be the | toast of ik 1 say to me ev = "ty mom - ing, You'veon-Iy one Ife 10 Tsay to me ev: y mom > ing Youvean-Is one life 10 - maa Sowhy bedone in? Let's let thesun in Andgloom can jumpin the civ’! Sowhy_bedone in? Let's tet thesun in Andgloom can jump in the ti" ae No use 10 beat on the dol Let's be imag 7 - na What you col-lect at the grind - Be- comes a millstone in = _. - | tive, Each day Is numbered, No good when slum-bered Withon - ly one life 1 | time. This is. mythes - is Why'go 10 pieces? Step out whileyeu're in your ~\ let the gob - ins up - set you? One smite and see — how they prime, You may say Tm_ an es * cap -ist But oT would ra > ther by e ying net you? @ ted - tape ist And what does wor - Be that than be— o All this maysound kind of hack - Just aught “old! man re ~ pres ito have fu straight to the_ ba of Soon comes De-cem-ber, So please re-mem- ber ‘Then you're the win- ner " eee Pim” off to din- ner one life to live, one fe 10 Noth-ing! Lead me. The thing speed me But it's the best 1 can Andsend him in- to ob - You've on-lyone life 10 Tye on-lyone life to 84 N MY LIFE from Les Misérables . Music by CLAUDE-MICHEL SCHONBERG Lyrics by HERBERT KRETZMER Original Text by ALAIN BOUBLIL and JEAN-MARC NATEL Moderato (4 = 100) >A Ac Bm Dia Ey EB Bb itt) tity 5 Hele iu COSETTE cn sop - 7 In my life there are so man-y ques-tions and an-swers that some how seem om Em Em/D ac a7 2 & ty = eo —— ee F o =o wrong Inmy life ‘There are umes when Teatehin the silence he sigh of a far a-way 5 — oo = = =F oie SS aS es ee se See Msc and Lyric Copyright© 198 by Etlons Muscles Alain Bout {Engin Lies Copyaht © 1886>y Alain Bull Muse Lid (ASCAP) ‘Mechanical an Peston pts or the USA seminstered by Aun Boubll Mule id. ASCAP) fo Stephen Tenatsuth& Co. Ine 1173 Brose Sue Tt NewYork, NY 1018, Tez) 2467204 Fax (22) 246-7217 International Copeightsiured, A Rights Reserva) The mates capylght. Photocopying sega SuPertomance igs Restricts, 85 ATsus, cu - Doeshe know.I'm a-live?. Do I know if he’s FIC cu 7 real? Does he see what I saw?. Does he feel__ what 1 3 D pice Bm? 3 DIA + Inmy life Tm no lon-ger a - lone Now the love of my life Isso Find me STAY WELL from the musical production Lost in the Stars ‘Words by MAXWELL ANDERSON Music by KURT WEILL Sostenuto Andantino IRINA: 1 tell truth Grief is your erie’ a = lone, Wild pas-sion at mid = J > —_ “TRO © Caprigh 1949 (Rene Hap Ht abi Cap, Ne Yok nd Copel & Co. Lan gees CA ih Rescigno Prat Yet when you're weep. vow gone. — — Stay well, —_______ 88 luck = est simile Since un - to we —— And since with you Though you bring fear — —— Come well to my door. 7 os — Andantino ip When you have fled from me. come back at mid = comeback at dawn. that you're Piu mosso, though wild the 1 = through dark-sn-ing days, — — my luck - iest star, 3 mf =the tuck-i = est ee oh eo col as | : TR lone bark be dri . Though my _eyes_ache 2. Uk UPS 93 TROUBLE MAN from the musical production Lost in the Stars Words by MAXWELL ANDERSON Music by KURT WEILL ‘Tranquillo “Moderato (with urging expression) TRINA: P Since you came “TRO- Copyright 1949 Renewed) Hampshire House Pushing Corp. New York and Chappell & Co, Los Angeles International Capit Secured Rpts Resort Incloing ube Perlormance For Prot ‘Used by Permission ‘There's. trouble in your ‘There's trou-ble in your dim. P And tou = ble af Since you were expr 95 ——$— —e af 1 love your dark Love your bright laugh 3 twou-ble you bring r Moderato assai (ben rinnico) = ble man since you've been gone, __________Some-how - inghere a Tone, All day — long you don’t eatch 5 Bur oh, Ged, help me when it comes time CFtpTtst When it eomes time sleep - ing here ” | 7 an, . walking out strange town, God knows ‘erese, poco @ poco where May-be in a strange place, hurerying and my bones, 88 b= »h?, talk = ing, Listen to the blood ins myhands- and feet, Ling you strange street, Find-ing the foot - prints out where you ran, Ask = ing, “Aren't youcom —- ing home, trou = ble rman?" Trou-ble man Trou-ble man! Trou-ble 9 man! - “Al day long you don’t eatch me weep But, oh, God help _me when it comes time for sleep - ing, When it comes sleep = ing here —— Trou - ble man! 100 MR. RIGHT from the musical production Love Life Words by ALAN JAY LERNER Music by KURT WEILL, Assai moderato cE Dédim7 Dm? Brb Ce Daim? Dm? Gtaim7 io nn nn yt tae act sts Pema And when 1 make little mistakes Am Dm? ems, 102, DIA Gédim7 Am = Em7 BF Cedim?_sDm G7 |" newt only be — amused Yes, that's Mr. Righe My darling Mr. Right! He will bea per = feet dream of man ~ hood, Ob, the mo - ment that we meet ru tum — ble, he'll be ev - ‘ty - thing and more a man should, Ah, Tu see him and TM start wo crum - ble. Gedim? Ten - der asa flow’r, he'll look like Ty = one Power that's He = will say “Hel - 10” and boom, in - side Tl know at 103 Am DT Dmg a7 cE wee se all T want of Mis ter Right The year we wed. he'll make a mil-tion last I've found my Mister Right. He'll ake my and bing! my ev - ‘ry "ao 2 Dédim7 == and we'll lead a life of thought my heat will give a F Dnt Dmvbs _—<= - o> v ae mad de sie. He'll be pan of me, Til be pan of he, Zing and shat er. Bells will Stat wring, ting a fing — a Hing { : ta —— ——~ oo = C= = Right He'll fe = ther me mistake. moth and sis. = terme and broth = er me And in his arms he'll crush me and al ‘ways could, Not ev - er sweet or at - y. but ‘mind 1 spend strong and Bo gun - y. une took Til fel Pm im a Dédim7 105 7 my my ‘yearn ~ ings. mak - ef Dm? Dmves Dm7iG or ee cS : a . = * eee 1 will ve for he And we will live ev “ty ae when 1 have found Mis-ter 106 2 Pia Dore Dm? He'll have no match! — So on him 1 tatch Dm? Dm7bs ca cut = Sg ae han - dy dan = dy, — dream - y, scream - y ONCE YOU LOSE YOUR HEART ~ from Me and My Girl Words and Music by NOEL GAY Once some-bod-y takes it From the place it rest-ed Th be - fore a = Once some-bod- y wakes it, then it isn't yourheart {i - y more, 108 go that way tempo how you must pur-sue it for - ev-er and a day, Once you lose your heart, | Once some-bod- y takes it, ‘There's one ting cer-tain from the start, {youll find for accel. e crese: You've got t0 fol - low 109 pit mosso SSS SS oa = saya gil should nev - er be with - out love, 4 all the jay that love a-lone can bring cr learnt a tells me i's a ver-y — funny thing. when your heart ~ cy = free, You hope some man will choose it, 110 poco rll ‘oh the spin you find you're in, The ver rmo-ment that you lose poco ral ‘Tempo Primo ‘Once you lose your heart, Once some-bod-y takes it, From the place it rest E = —__. ——: 4 6 ——— SS = SS fore Once you lose your hear Once somebody takes it ee isn't your heart % - ¥ ——s Its 1 ral ever go that way, ‘And now you must pur-sue ev-e and a day. ral, e dim. | ‘Tempo Primo ‘Once you lose your eart, Once some-bod- y takes it, ‘There's one thing cer-tain from the a —— poco accel ral. ‘You've gor to fol rll al fine —_—— fs THE GIRLS OF SUMMER from Marry Me a Little Words and Music by STEPHEN SONDHEIM Languid, but rhythmie (J. = 100) The girls of sum~ mer 113 They start the = concerned — Plus atouch of the moon. — Get feoled,_. “Cause soon the sum = mer. 115 Poot rae po re sil Is "7 of sum = mer. Were bound to se, ‘The girls of sum - mer Have val tempo a 1 have noth-ing but blues. el colla vece Ja tempo 118 HOW MANY TEARS? from Martin Guerre Music by CLAUDE-MICHEL SCHONBERG Lyties by ALAIN BOUBLIL and STEPHEN CLARK Slee eee 4 Lp slp : | ll oi +—+ re = F Pin Mosso Rall. mn co 1 Admit forthe US.A. by Alin Bea Msc Li ASCA fe Supe nema & Cte. Hada Sl 709 New a 01, Te 12) 2467208, Fn 2) 867217 tel Giprtiome athe TMs See cup a nur ih ec 119 ¢ Gently cedex a == Sere How — ma-ny tears thoughthe years can 1 ery? How ma-ny prayers to the tod must 1 cB OFIA crs 67 c ty? Sillthe pain teasat_my —bro-ken hear. Some-times 1 feel 1 was. cursed from the str ee 1 could hol, 120 day reach-ing out e-fore there's no thing, 0 or . ‘Molto Rit. lose as if you ne-ver saw me a c i 7 ae ~~ cB FIA os How many tears through the years can Lexy? How many tears un ti ar ¢ a OB my heart runs dry, through the fights that ail reeds 10 fight 7 121 FIA ce 67 c What she fees must be righ. ? Some - times 1 won = der IF some-one hears, Why must 1 lve through Sf 122 WOULDN'T IT BE LOVERLY from My Fair Lady Words by ALAN JAY LERNER Music by FREDERICK LOEWE Moderato Se = ee oe “te lS S= = E — PP lesgiero ELIZA: want is room some - where; With one € - nor-mous chair; oh, would = n't it’ be lov-er-Iy? Lots of choc’ late far me to eat Lots of coal ma-kin" ere ly? 123 Warm face, warm bands, warm feet, oh, would ©h, © ov-er-ly sit - tin’ ab - so-bloom - in’ it stil! yw o- ver me win ~ dersill Some - one’s head rest - in? A t Pe nf dolce Lover ly! Lov-er- ly! Lov-er- ly! fii ral Pesante JUST YOU WAIT from My Fair Lady 125 Words by ALAN JAY LERNER Music by FREDERICK LOEWE, Just you dl z a7 oe fe of > \ | : apa == ae = Seto SSS = t S| = SSS — % SSS oa SS wat! You'llbe sor - ry.but yourtears="ll be too late You'll be SSS = SS 2 ———— > f P pie = Copyright ©1956 by Aan ‘ected Al fights Reserved throughout the word 128 SSS And you -. es - oe ie ea seream to fetch a doc-tordoub-le - quick! I'll be off a see-ond later, And go ———— = _——— =e = — = G see i a= = | tothe the-a-tre! Oh, ho ho, “en=1y ‘ig-gins just you wat = Qo00000h, < ry “igegins! Just you wait 127 E - = = al ouens = = = SS r =a sea! Qo00000h, ‘en = ry ‘ig-gins And you cas = 7 = == Go fe J Seat TH get dressed and go totown! Oh, ho, ho, "en = Fy “ig-gins! Oh, ho, Pp pocori. be 128 Amabile be fam - ous! TH be and prim! legato Saint James so of - ten Twill call ie Saint Jim. One. the King will say,” za, old thing, want all of Eng - land your prais - es tosing Next week, on thetwen-ti- eth of, 129 1 pro - claim Li-za Doo - lit-tle Day! brate the glo you wish and want will do” “Thanks a = ner well- bred; 130 poco rit. Poco pid mosso the King, “with a stroke, and bring inthe _ bloke!” ‘Then they'll Allegro marziale as ig gins, tthe walk 131 will tel me: “Li - za, sound the ~All to; their si = fles high - er, I'M shout: - gins! Down you'll AH! SWEET MYSTERY OF LIFE from Naughty Marietta Lyries by RIDA JOHNSON YOUNG Music by VICTOR HERBERT Moderato seo af Andante Ah! sweetmys = tery offi, at last I've found thee, An oT —— a Wa a — f—— _— poolla | voce know atlast these = cretof it alls All the long ~ ing, seek - ing, striv-ing, wait-ing, — oa copyright © 2000 by HAL LEONARD CORPORATION introns Copyright Scored Al RightsReserved 133 ‘The bum - ing hopes, the joy = dle tears that And and love the world is bove, and love that ean’ —— “Tis the an - swer, us theend and all is ~~ allargando a <— ff love a-lone that rules for aye! For “tis love, and love - alone, the world is as a a A answer, tis theend andall of liv = ing! For it is love a lone that rules aye! Brae tig hh |e tS o ITALIAN STREET SONG . from Naughty Marietta Lyries by RIDA JOHNSON YOUNG ‘Music by VICTOR HERBERT. Allegretto Ah! omy — heart is 198 com - plete! 137 ‘molto rit Allegro moderato legro moderate f On! P Zing, zing, izzy, zia-zy,zing, zing. boom, boom, Allegro moderato Pf via-z2y, ziz-zy.zing, zing, Man - do-li - nas gay “Optional obligaro 10 be sung 2nd time only on a vowel of choice. 138 tin-zy, riz-zy, zing, zing, Boom. boom, 139 La ly a la, Zia-2y, aiz-y, zing, zing, zing, 140 Zinezy,zie-zy, zing, zing, zing. SP pp crese ziz-2y, 2i2-2y, zing, zing, Boom, | aye. Zing, zing, ziz-zy, ziz-zy, zing, zing, Man - do-li- nas gay. 141 izzy, tia-zy,zing, zing, Boom,— zing, zing, 14 * SOMEONE TO WATCH OVER ME from Oh, Kay! fro b RAY" sass and Lyrics by GEORGE GERSHWIN ‘and IRA GERSHWIN Scherzando F6 pm Gr AME Dm? a “Ett ca aa Fea Moderato Pe oo. CT maj? Am DL, cmaj? ‘There's a say--ing old Says that love is blind, Still we're oF - ten told “Seek and ye shall find P atempo G GB Cc CHdim Dm7bs ar Dm? Tm going 0 seek Acer-tainlad I've had c Cait ©. ct Fmaz Am Dy Look-ing ev - ‘ry-where, Have-n't found him yet; He's the big affair I cannot forget. = © 1926 WHALSIC CORP. (Renewed) ‘A ght Reserved Used by Permission Dm? DmuG Ge G3 ev - erThink of with re c F ret add his ini - alto my mon - 0 - gram ci Em? Am? Dr where isthe shep-herd for arempo c ce, 6 Fim? ‘There's a some-bod-y T'm long-ing P atempo sun poco ral. G F un poco vail ce Dédim? T hope that he Em om ‘Turns out B19 a heim? 143. 144 Dm ATE DmvF Fémtbs —_Dmt/GG7 c Tes F a Some - one who'll wateh c cue Fs Flim? CE Dim? = GID Caio bbe good Tm a lit tle Zamb who's lost inthe wood. Always Dm AWE Dm/F FémbS — DmuGGT Coc? Fo? c op ce cc To one who'll watch eee * F ce man some of 145 B? ET EDD ACH ar br oo my heart cup cue Po Fain? CH Dédim? Won't you tell him please to put on some speed, Fol-low my lead, com Chaim? Dm ANE Dm/F _Fédimt PmviG G7 THERE’S A SMALL HOTEL from On Your Toes Words by LORENZ HART Music by RICHARD RODGERS Freely in 4 FRANKIE: Td ike 10 . : Somewhere a - lone a* tempo Iecould be oh, v, Junior! You need alaugh or — ‘A cer-tain place Copyright ©1996 by Wilamson Mac an the Estate Ot Lorenz Hart nthe United States CopyriantRenewed ALRighs on bea The Estate Ot Lens Hat Amiistezed by WB Musle Corp. international Copyright Seid.” A Rights Reserved a7 Where fun ny peo-ple can have fun That's where we two Ind ‘Meno (ohytheically strict) 0, Dar-ting Be- fore you can count up one, two, “Alllegretto, in 2 (d = 56) For small ho = tel wish - ing well; 1 wish that le were there TOs 148 bri = dat suite: Look-ing through the win-dow you can vie. 7 Teil. dis tant stee - ple: d of peo - ple, stee - ple bell Pret - ty win - dow cur-tains 149 ‘Tempo I night, sleep well,” We'll thank the small ho ~ made of chntz— Tn our make believe land, 150 On the wall cheer = fal prints — Grant and Grov - er Cleve-and, = down in-to the par-lor feast your eyes — *- Peechaps you'd like to play moose - head on the the 151 ‘They tune i ev = “ryoth = er fall ‘The gar-den will be like |" they get what is known as mar = riage trade!__ Oh, 182 ‘Tempo (Slower) ——— sleep well, y = oy small ho = te" Wet creep in Ind molto ral ‘And we will thank the small THINK OF ME - from The Phantom of the Opera Music by ANDREW LLOYD WEBBER Lyrles by CHARLES HART. Additional Lyries by RICHARD STILGOE (CHRISTINE: Allegretto legre : ‘Think of me, think of me fond we've said mem-ber_me prom = ise me you'll © conynigh 1985 Te Rolly seul Group i. al Rphsor the United States and Canada dmunstorec by Universal -Patyram Internationa Publis, Ttemaional Copyright Seered Al Rights Reserved 184 ‘On that day, that not so dis-tant day Whenyou are thought 156 think a bout things poco rit a been. Think of me, think of me wak = - ing poco rit 187 lent and cE ine me, uy-ing too hard ‘Think of me please say you'll think of me ———what-ev - er There will nev ser be 158 poco pi: mosso I won't think ° you. the fruits of —sum-mer fade, they have their 159 but please. prom-ise_ me cadena 16 ‘ WISHING YOU WERE SOMEHOW HERE AGAIN from The Phantom of the Opera Muete by ANDREW LLOYD WEBBER CHARLES Hi Slowly CHRISTINE: Adaltional Lyte by RICHARD STILGOE F > You were once my one companion, you were all that a | mat - tered. You were once friend and fa- ther, then my world was is E Moderately mp shat = tered Wishing you were some - how here a - gain, = g 7 f —I— wish-ing you were some - how near: some-times it seemed —— {© Comyn 1988 Te eal Ue Group Lia Rights foe the ated stats and Canute Adounstere by UnvesaPalyram ftematinal Pushing, oe International Copyright Setred A Rights Rsereed if 1 just dreamed, a voice a gain, ‘dream - ing of — could, someshow you would be here. know-ing that I nev - 7 Jad 4 won't help me Pass - ing bells Wishing I could hear your mi: all that you dreamed 1 and sculpt ed an-gels, PP] 162 seem for you the wrong com-pan-ions: rit atenpo youwere warm and gen-tle PP atempo Too man-y yeas fighting bck ars, wy cathe past jst a 4 Wish-ing_ you were some - here a-gain; vir 163 ee —— pitiii ft y= gid dt mu Tt OO ELL aid be |r a 7 bt oT teach me t0 live, give me the stength 10 uy No more molto ral ten. ten > > a tempo se ten £ ’ £ tempo years, Helpme say good-bye! Help me or 7 SWEET THURSDAY from Pipe Dream Lyries by OSCAR HAMMERSTEIN IL “Music by RICHARD RODGERS, Moderate Fox Trot tempo (in two) the sun flew in ‘crept in bed with knew that this would bea sweet. Thurs = day. When the wind got con - fi = den - tial And whis-pered through Copyright ©1955 by Rchard Rodgers and Oscar Hammerstein ‘Copsrig Renewee WILLIAMSON MUSIC owner of pableaton an sed ight throughout the wor International Copyright Scored Al RightsReserved 165 knew that this would bea sweet Thurs - head was up in the clouds, My heart was flap - ping its 1 looked at the sky And want-ed to ty todo. im-pos ~ si-ble it’s been for dream ing 168 dreams have all come true, And if one 1 kept for you tums out — to be sweet Thurs - day sweet Thurs - day Bright March tempo 167 ~ lowed me 1 played 1 knew 1 could-n't go A. bright 169 170 Meno Moderato, primo tempo —— day? the that this would be____ a sweet Thurs = day. —______ the 171 wind got con - fi - den = tial And —_ whis-pered through a knew that this would be sweet Thurs - day, My head was up — in the My — heart was flap — ping its looked at the sky And to do im-pos = si-ble things. What a day it’s been for 172 ‘dream - ing, My dreams have all come true, And if one for Doc and fey eer going © be sweet Thurs - day night — for "going 10 be a sweet Thurs - day ——————— nigh 173 OH, GODDESS WISE from Princess Ida Words by W'S. GILBERT Music by ARTHUR SULLIVAN Andante espressive FRINCESS) Oh, god ess wise est with sight id = nmin'd eyes. vent few Have come to woo that from thee Copyright © 1996 HAL LEONARD CORPORATION tneintional Coppi Secured A Rigs Reserved 174 that from, thee fall — light, — vent words That lov- est light, vent thoughts be : = - * Zt ——= Sie! eo tnd fer + venthoushs be smine, That may lead them to thy sa 7 cred a “A Shine 1 may___—lead-—them = to thy sa-= cred shrine, thy 176 SO MANY PEOPLE from Saturday Night Music and Lyries by STEPHEN SONDHEIM T sid the man for Rabato a ee fis | p sostenuto sm spre * Miusthave a cast = ‘A man of means And then met a a P Whohsdn't an - yy With-out For so much less than What 1 had planned from all the mag-a - zines. T should be = — —_———— z if i r , ie i =I 178 What am 1 ‘Than the = % many They hop py fort i: peo-ple in the nev- er know love T guess the 179 crese mf aim, ts : my love for you Soman-y peo ple laugh At what they don’t know-- Well, i that'stheir con - cer. If just a few, say half a mil-lion or 50, Could vi a tempo Know what they've missed, —___ & YL tr FT FP rR 180 = ‘And if they tellus Is "a thingwe'll out - grow, They've voce 2 ioco —— ral atempo jeal-ous as they canbe. That with so man-y peo-ple in the world You love re mp — 181 CHRISTMAS LULLABY from Songs for a New World eee JASON ROBERT BROWN ‘Simply and serenely c m7 FSC FSB) c Dm7 FIC FS/Bb WOMAN I: p the power to con tol c bm 3 Bb conquer half the world, or claim the sun; Copyiht © 1886 by sor Robert Brown (ASCAP) "igs Rerern Used by Permission 182 © Dm? I BIC FS/Bb never be the kind. who sim-ply waves Dm? Caddy Fo OBSG C mp GB = a car + as a mil - lion peo - ple th: things I wish. Td done. But inthe eyes_ imp poco accel a i ‘Warmly, poco rubato Am EmG F ce Dsus D ofHeay - en, rr oc ‘Ami(adaa) Dsus D Gmajo BIGH SF se carry with me Heav-en’s grand. de sign. 183 Am 1G F CE D7 —— P a! Twill sng the name_of the Lord, and He will Fsadd2) CIE Dsus OF Ce Dm? mp GTsus will be = Steadily c Coadd9yE Bb DmtKadd) like Moth-er Mar = yy with a Messing im my soul, — Am G5(add2) F FIG c = give the world.my eyes so_. they can And 7 will be ike Mother Mar 184 DmM(adaa) Caddo, Bb Am? Gsus csr - ry — with a blessing in_ my soul, and the fu-ture of. the world, c Dm? SIC FSBb Ctadd9) bring out; yrically Dm? Fladd9) Gisus BG# Amada) EmiG nf | Inthe eyes — of Heavy - en, my ich and warm Be oe Dsus D Cradd2yvG AmTsus Am < with. me Heaven's grand. 185 Dsus D Gmajo EIGH Am = cratarya a Cr OE Diadds) c CSF CE Disus CE CE Dm? sing the name. of the Lord, and He will make me_ shine calla voce FIG. Gtsus c Dm7iadd4) CE And Twill be— like Mother Mar = y_____ bless.ing poco allarg. more steadily Bb Am? Gstadd2) 3 will give the world. my eyes so. they. can 186 CG Dmiadds) or will be like Mother Mar. y__ bless.ing in my soul. Bb AmMiaddd) Gaus coe BG cs(adas) =a andthe future of the wold. in - FSIG c Dm? oS will be Tike Mother Mar with the pow-er with passion| PSIBb Am? 5G F to be- lieve in all__ “he things. Tye 187 cm Bb(add2yD_ c Dm7 oS and TH suffer an - y pain Moth-er Mary And 1 will be like allel Rubato AmT Gaus cor AmT Gus « For the fu = ture. of the world {(simply;|poco accel.) CoP Ami(add) Gus cor Gisus c Dm? FSBY UNEXPECTED SONG from Song & Dance Music by ANDREW LLOYD WEBBER, Lyties by DON BLACK Em/D AID ——— * 7 SS 1 have nev - er felt like this, for once I'm lost for I don’t know what's go-ing on can't work it out_at cod : 7 Bm Bm/A AGG Gi words, your smile has real- I thrown me. all what - ev = er made you choose me? onl Pb, 189 Em/D AD se = = —— = SS S555 = SSS Thi snot tke me at al Tee = & thought rd H just can't be leve my eyes you Wok ames 2 = Bm Bm/A know the though you bear "to Now no mat-ter where 1am, pear - ing love you've shown mel no mat-ter what I an_un~ex-pect- ed do, I see your face ap - song, an_un-ex-pect -ed 190 song that on-ly we are ‘hear - ing. G Am/G DIG Em Em/D have nev-er felt like this. For once I'm lost for words, your smile has real- ly pe c cD G Am/G biG ‘thrown me i 1 nev - er thought Pa know the kind of love you've shown me. no matter where 1 nomatterwhat 1 do, I seeyourface ap - pear - ing like an un-ex-pect-ed - an un-ex-pect-ed song that on-ly we are hear - ing. Like an un-ex-pected song, an unex-pect-ed song that on-ly we are 7 G Am/G G ff ja tempo SOMETHING GOOD from The Sound of Music Lyrics and Music by. RICHARD RODGERS: Moderato Abie » BbIC Bbavc a MARIA: FE. F6 BE child x legato =o tr fr DdimiF GF F6 oo cr Per = haps 1 ohad amis - "re some-where in my wick opr © 186 ard Roser \ILUANSON ML ne opin and ald gs hoot he wort International Copprigt Seauree AI Rigs 193, you are, somewhere in my youth chile 194 ae BIC a F must have done c7eb Am? FIA Gm? Gmbs Noth - ing comes from Noth - ing BIC BbIC cr some-where in my FIC BC o F must have done 195 MY FAVORITE THINGS from The Sound of Music Lyries by OSCAR HAMMERSTEIN IL Music by RICHARD RODGERS. Con moto e Raindrops on ro=ses and whis-kers kit - tens, Bright cop - per > ket - tles and warm wool- en — mit - tens, Brown pa-per pack - 2 * tied up with strings, These are afew of) my fa - wor - ite ‘WLLAMSON MUSt yer of wen ps apn he wor e comp ays ple stru-dels, Door-bells and sleigh-bells and schnitzel with “wll ~ ~ ~¥K ~ ~ wooly I ase tat Hy th he ton on thir wis = These are things. rr 197 Girls in white dress - es with Snow-flukes that stay on my nse and eye Sil- ver white = win = ters that melt in - to springs, =e +s Peek [et Poco marcato When the dog 198 When I'm feel - 199 Rain - drops and whis - kers = Bright cop - per kettles and warm wool = en pack - ag - es tied up with strings, These are fa - vor = ite col ~ ored 200 oftsp up-ple stru-dels, Door-bells and sleigh-bells and shite with poodles, Wild geese that fly with the moun un their wings, Girls in white dress-es with blue sat - in 201 = Snow-flakes that stay on my nose and eye - i Sil - ver win - ters that melt in - to springs, These are a Ta - vor - ite things. Vhen the dug bites, +08, . Be When the bee stings, Tm feel - ing 202 = oe ——— _ 1 sim-ply re - mem-ter my eae ae se = | = When the dog bites, When the bee stings, | When Im feel - ing a : 208 mem-ber my fa-sur-ite things and then [dot fecl____ 204 I HAVE CONFIDENCE from The Sound of Music Music and Lyrics by RICHARD RODGERS Moderato (Rubato) MARIA: What will this day be Uke? To won-deF— What will my fu cure =—200 Pit mosso be? Twonder. Tt could be 90 - 6 to be out in the world, t9 be free My heart should be wild - ly 1 = joie - ing Oh, what's the matter with Copy © 1968, 195 by Richard Rodgers Copyriaht Raed \WILUAMSON MUSIC owe of pubeaion and alerts throughout the works International Coppi Secured” AT Rights Rested 205 Bright2 ‘erese. poco a poco = ways longed for ad - ven cerese. poco a|poco things I've nev-er dared, __ Now here Pm Slower Poco agitato, in 4 why ceap-tain with sev en Faster |" chitsren, what's so fear- some about that? Oh, T_——_must stop these doubts, all these wor-ries. IF I 206 ‘Meno | don’t, 1 just know Pll turn back. T must dream of the things I am seek - ing. T am ———————— Deliberato poco a poco eresc. e accel seek-ing the courage ‘The courage to serve them with re - Ii - ance, poco a poco crese. e accel my mis-takes with - out de - fiance, Show them I'mwor-thy and while T show them I a = poco rall mf poco rll top 207 r 7 con = fidence they'll put me to the test, But Til make them seo Tshave confidence in me, Some-how Twill be firm but And all those chil - den, 208 heavy - en bless them, They will ook up With each step 1 ammore cer = tain Ev = ‘ry = thing will turn out T have con-fi-dence the worldcan all be mine, They'll = fine 208 Con moto T have con-fidence in sun ~ shine, — 1 have ccon-fi-dence in rain 1 spring will come a - gain Be-sides which, you see, T have con-fi-dence in me. Strength does - n't lie Strength does = n't 210 wealth Strength lies nights of peace = ful slum = bers, When you wake up, wake up! trust 1 leave my heart —— ‘must be-comes my rit, ein con - fi-dence in con fi-dence a rit edn. an Meno (building) Spoken: Oh, help! Sung: | have con- fi-denee incon fl-dence a - (Bain? arp.) Atempo sempre crese Be - sides which, you see, 1 have con sempre erese A : dence in me. Conn. an 212 THE WOMAN IN HIS ROOM from Where’s Charley? By FRANK LOESSER Freely Slowly AMY: : Charley's a nice boy, a dear boy, a sweet boy, and through, Charley's a Waltz tempo nice boy, a sweet boy, a fine boy, good boy, So lay = al Freely Tamhis one girl, the one girl, the © 198 Renews) FRANK MUSIC CORP fights Reserved 213 Waltz tempo A fone girl, the one girl, No. oth- er —— —Sowhen my aid Char = ley's farfrom me Tm con - tent Just to close ilk mosso And pic = me his face, (Sung) (Spoken) pie-sre. Pretre- That Picture, that picture, that pic-ure of that woman, That 214 pic = ure of that wom - an on the pia = no in his room? picture, that pic- ture, that pic - ture of that wom - an wear ing tights, And a vul= gar os ~ trich plume! ‘That wom-an, that that hus- sy of 215 woman, That wom-an inthe pe-ture, That woman his tempo shock of it that wom an, Spoken: Of course, of course, Tm such a fool won- der if he's kiss’ her, 1 won- der if he’s kiss’d her, ‘She's 216 Slowly arempo sis - ter, Jus a pho = 10 - graph tempo tec = ri = ble mis - take Freely made! Charley's @ fine boy, though and through, Chariey’s a 217 Waltz tempo a fine boy, a good boy, So rit Freely Lambis one gitl, the one girl, the Spoken: ‘No other? fone gitl, The one git! no oth -er e (Spoken) No oth = er liv ing rel - a-tive. thatsex = act - ly what he said. No 218 (sung) oth = er liv ing rel a-tive Spoken: He has no sister! the rest are (Spoken) ‘Then ex (Sung) (a tempo) that wom-an, that pic - ture, (a tempo) wom-an in the pic - ture on te 219 that woman. T have no doubt, Is drenched hid - cous French per atempo fume! ‘That woman, That wom-an, That guad=y, bawd - y f arempo Venus, ‘That woman's come be-tween us, That woman in his 220 Freely tempo the gall of Fim! That wom-an, that woman, For Spoken: Oh, why amt 1 so suspicious? this he'll have to an - swer, this he'll have to an - swer Sung: She's Slowly ‘tempo accel, prob - a - bly some dane - er, la = dy omy Char = ley does = n't 221 tempo e- ven know, Just the cov-er of the prosgramme of some Lon-don show. Charley's a Freely nice boy, a dear boy, a sweetboy, a fine boy, good boy. through — and 7 shall be patient - ly wait-ing when Char-ley returns from that Spoken: A French word. ve seen it in @ novel Rendezvous- meaning oo ‘Sung: ‘That 222 tempo | wom - an, hat wom = an, 1 know he's with that wom ~ an, rm atempo sure he's with that woman onthe pia - no | wom an, That mon- ster of a woman Casta spell o- ver 228 my in- tend = ed groom. Ws end - ed, all They're up there, sweet - . T thought love ten Had just be - gun to . the shame of Dirge-tike th WHISTLE DOWN THE WIND from Whistle Down the Wind ‘Music by ANDREW LLOYD WEBBER Lyries by JIM STEINMAN Moderato con moto D Daj? D6 be D Whis-tle down the wind Let your voices car - Dmaj7 D6 AnD & ——— ——_ + & ¢ a+ SSS == Drown out all the rain Light a patch of dark ness each = er 225 Ds D Dmaj? D6 D Howl at the stars —____ Whis-per when you're sleep - - —— J. 4 ee, a TIL be there to hold SS + fe Make it Giada) Dirt Em <— the whole 226 pire Fim G DIA Bm ry sigcnal that you send un - til the ver-y end Twill not aban - don Em al Des D DmajT/A Dova ‘you my prec-ious friend So try andstem the tide —=, D DmajiA DBA, AID ‘Then you'll raise a ban ~ ner Senda flare up in the sky Try to bum atoreh and s De D EmD AND try to build a bon = fire Ev-'ry sigemal that you send un - til the ver-y end Tm 207 T D AID So whis-tle down the wind for have al-waysbeen ight D6 D maj? D6 D Danaj? Ds Amp De D Dmaj7? DT |. AMD D whis-tle down the wind for ave al-ways heen right 228 STILL from Titanic Music and Lyties by "MAURY YESTON Slowly J= 63 With a sense of wonder 8 B DETsusA/at lives in my ter all of the years we've been to - fo to s s This song is sung as a duet in the show: this is the composer's solo edition. 229 Bet Fitsust FH Gtm PHA o eth er hold 7 ing ? Gtrsust Dém7bs The way you ° ° i = —y Gt tsus4 oh Cm Cima Tels as it FAVAE Etm7bs when you first — be- came mine whis- pered the I 230 BFE FeTsust FHT B cinct = hr oRF Birt FE BFH prt Fitsusd HT loved you. then. L | and 1 dove you $l! = ae! ~ ye 3 4 ee No ‘one else could . oor = : DiSsuss Démict Badd? attts a ply your 231 Dim Git Atm Git Atmct roof PM OOF i D#sust bt Gtadaa Adm7bs Ditws2 =D oe Pr ODT Gtoust Gis arty Gtr D>adé2 pb learn from, Through for - tune’ tempo moto rt mp o o FrsusiC A Bbmadd2 Bbmadaasab chang = oh ef abab oe oe nf rR fot of of f oF

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