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Soprano Volume 5
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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. MAW?'
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Compiled and Edited by Richard Walters lSBN-13: 978*1·4234·4698-9 ISBN-10: 1-4234-4698-4 Copyright © 2008 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved
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For all works contained herein: Unauthorized copying. arranging. adapting. recording or public performance is an infringement 01 copyright Infringers are liable under the law Visit Hal Leonard Online a\
Foreword Volume 5 of The Sillger'~ MI/sical 71Jeatre Anthology applies the approach of all past volumes in the series, the first of which were published in 1987 These books represent extensive research of available material, always juggling a mixture of objectives and aims Those aims are: ell
To provide an interesting variety oj lIlusical theatre literature {or aft asmrtment a/tastes and talents,
Individual and editorial tastes admittedly and inescapably playa part in the compilations, but we deliberately attempt to consider the broader preferences and needs of the thousands of singers, actors and teachers who use these books. What are the needs of the 17-year-old studying voice? Or the 25-year-old female or male ingenue? Or the 40-ycm-old moving beyond ingenue roles? What about someone looking for pop/rock style theatre music? We try to consider the character actor-singer as well as the handsome-voiced leading man; those with expansive vocal gifts, and those with limited singing voices; comic songs, charm songs, and dramatic songs; young tastes, as well as more mature tastes; singers who are sophisticated musicians, and those who are less musically advanced The singers who use these volumes range in age from teens to senior citizens We ny to imagine as many of them as possible in choosing songs 0.
To
deliberate~y
represent songs from various eras and styles.
While it is important to stay CUrrent and mine songs from contemporary shows, it is equally important to continue to delve deeper into our shared heritage of theatre music We have sometimes encountered young musical theatre enthusiasts who only know the latest shows, and have never hemd of Carol/sel or The lvlo51 Happy Fella We are equally perplexed when speaking with voice teachers or singers whose knowledge of musical theatre seems to end with Hello, Dolly.' Both perspectives are obviously limited.,
• Beyond the most prominent songs, also to present intriguing songs that are not often encollntered ill other collections, and may Itot be available elsewhere in prillt Only by working tluough entire scores of musicals, usually also studying cast albums as well, do we discover less obvious songs which otherwise might not have made it onto the contents lists A song is not worthy of attention solely because it is obscure, of course. But finding valuable songs that may have been forgotten by most, or never known, is one of the riches of the series " 1'0 present the mllsic ill a responsible, faithful edition
Standard piano/vocal (OJ' piano/vocal/guitar) sheet music has long been the general format fOJ' theatre music, and is an important way for songs to be available fOi the widest possible uses, including millions of amateur pianists But these sheet music editionssimplified, often transposed, and usually with the melody in the piano part-are often not the best soulce for a singing actor In this series we attempt to present the music as it was originally performed in the first theatrical production, in the Original keys, allowing for necessary and pmctical adjustments in creating Un edition of the song We also provide succinct infonnation about the show, and enough plot synopsis to inform comprehension of the song
" To categorize sOllgs by poice type for pra(.'{icaluse. Musical theatre is often not composed with traditional voice types in mind It is sometimes tricky business deciding whether any given song belongs in the soprano or beller volume, or in the tenor or baritonelbass volume The vocal range of a song only tells parl of the story What is the predominant area of the voice (called the tessitura) in the song? What is the vocallimbre that the song seems to require? What type of voice is on the original cast recording? Categorizing songs sung by sopranos who also belt is one of the most challenging aspects of the ttlsk This is a different voice type from the naturally lowel, more sultry voice that predominantly belts; or a voice of more limited wnge; or the brassier timbre that has little usable head voice It is common for a musical theatre role to call for both soprano singing and belting, often times with
Overall,. to cOlltinue to I'alue mllsical theatre as a bo{~y of vocal literature
Musical theatle is a respectable body of' literature that desel yes the same consideration as novels, poetry, plays, symphonies, operas, any composed and deliberately conceived work
Or
And, by the way, beyond being a wealth of literature deserving having Some fun with the songs in this collection
high~mjnded
study, musical theatre is .:1\so fun, of course Here's to
A four-volume selies can't be done alone I thank Chris Ruck and Joel Boyd for their aid in prcpming the music pages for publication Michael Dansickel was always rcady with ideas and musical sources, and I thank him for his interest and help Some of thc composers were gracious in their accommodations Most of aU, I would like to thank assistant editor Brian Dean for his enthusiastic work on ':Volume 5" Without him. you would not be holding [his book in your hands
Richard Walters Editor January, 2008
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THE SINGER'S MUSICAL THEATRE ANTHOLOGY Soprano Volume 5 Contents THE APPLE TREE What Makes Me Love Him? 18 BARNUM 15 Love Makes Such Fools of Us All
MARY POPPINS 146 154
MR. PRESIDENT
166 CANDIDE Glitter and Be Gay 22 DIRTY ROTTEN SCOUNDRELS 44 Nothing Is Too Wonderful to Be True DOREMI Cry Like the Wind 50
Practically Perfect Anything Can Happen
The Secret Service
MYTHS AND HYMNS 170 How Can I Lose You? OKLAHOMA! 176 People Will Say We're in Love ON THE TWENTIETH CENTURY 180
Never
THE DROWSY CHAPERONE 35
Bride's Lament
FIDDLER ON THE ROOF 54
Matchmaker
FUNNY FACE 62 He Loves and She Loves GREY GARDENS
66 76 81
Daddy's Girl Will You? Around the World
90
Another Winter in a Summel Town
JUBILEE 97 Begin the Beguine KISMET 104 Baubles, Bangles and Beads LADY, BE GOOD! 108 113
Fascinating Rhythm The Man I Love
THE LIFE 118 I'm Leaving You THE LIGHT IN THE PIAZZA 121 128
PETER PAN Who Am I? 186 My House 189
The Beauty Is Fable
LITTLE WOMEN 139 Some Things Ale Meant to Be
ROSALIE How Long Has This Been Going On? 161 SHE LOVES ME 192
No More Candy
1600 PENNSYLVANLA AVENUE 194
Take Care of This House
SONGS FOR A NEW WORLD 198 The Flagmaker, 1775 SPRING AWAKENING 208
Whispering
STRIKE UP THE BAND I've Got a Crush on You 214 SUNSET BOULEVARD Too Much in Love to Care 240 WEST SIDE STORY 219 226
I Feel Pretty Somewhere
WICKED 238
229 110t
Let Us Be Glad Thank Goodness
{rom a
146
~how:
The Gill in l..j.G
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ABOUT THE SHOWS
THE APPLE TREE MUSIC: Jerry Bock LYRICS: Sheldon Hllrnick BOOK: Jerry Bock, Sheldon Harnick, with Jerome Coopersmith DIRECTOR: Mike Nichols CHOREOGRAPHERS: Herbert Ross, Lee Theodore OPENED: October 18, 1966, New York; a run of 463 performances Here was a new concept for Broadway-one musical containing three separate one-act musicals. like Puccini's Jl Tlittico or Offenbach's Tales of Hoffmann Though the stories in The Apple Tree have nothing in common and, in fact, could be played separately, they
BARNUM MUSIC: Cy Coleman LYRICS: Michael Stewart BOOK: Mark Bramble DIRECTOR AND CHOREOGRAPHER: Joe Layton OPENED: April 30, 1980, New York; a run of 854 performances Tbis version of the story of America's "Prince of Humbug," Phineas Taylor Barnum, doesn't focus on biograpby or characterization as much as it offers a circus concept musical The original production had the cast constantly in motion as they tumbled, clowned. marched, twirled, or flew thlOugh the air Jim Dale was the original Barnum on Broadway, and Glenn Close was his wife Charity (Cbairy) Barnum defines "humbug" as simply the puffing up of the truth The show otTers a tour of the highlightS' of Barnum's career from 1835 to 1880 Along the way various aclS appear: Tom Thumb, Jumbo the elephant, and Swedish nightingale Jenny Lind, an opera star Barnum presents in her first American concert, whose feature number is "Love Makes Such Fools of Us AIL" Barnum has a dalliance with her and tours with Jenny, leaving his wife for n time He tires of the demanding divn .1nd returns to Chairy_ who is continually trying to convince her husband to settle down to a more normal life away from show business Barnum does for a time, until Chairy dies He realizes that a conventional life is not for him. and makes the deal with James A Bailey to create "Tbe Greatest Show on Earth" (which ane!' a laler merger became Ringling Bros, Barnum & Bailey Circus)
TI!e~e JI()te~ are principally by the editO/; with oamiollal IVI iring hI' SWI11ey Gleen excel pled ji-Olll Broadway Musicals Show by Show. pllbli~/wJ by Hal Leonard
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CANDIDE MUSIC: Leonard Bernstein LYRICS: Richard Wilbur, John La Touche, Dorothy Parker; additional lyrics by Stephen Sondhcim BOOK: Lillian Hellman; revised by Hugh Wheeler
DIRECTOR: Tyrone Guthrie CHOREOGRAPHER: Anna Sokolow OPENED: December 1. 1956, New York; a run of 73 performances Based on the nove! by Voltaire, Calldide has hud a long history, with various versions of the show emerging The original version of the show was withdrawn by the writers Subsequently there was the 1973 Chelsea Version. the 1982 New York City Opera Version, the 1988 Scottish Opera Version (recorded, with Bernstein conducting), and a couple of others along the way The complex plot is somewhat different in each version Starting in Westphalia, Germany, described as the "best of all possible worlds," we meet Doctor Pangloss, philosopher and tutor to the virginal royal daughter Cunegonde Thunder*len" Tronck (originally played by Barbara Cook), her beautiful brother Maxmimilan, the baron's bastard nephew Candide, and willing servant Paquette Candide is thrown out of Westphalia, juslns it is sacked and burned by the Bulgarian anny They kill all but the gradually promiscuous Cunegonde, who is to be their concubine in order to survive and save herself She escapes, hones her profession, and through a time"shnre agreement becomes the ornamented mistress of two rich and powerful men In Act I Cuncgonde has developed a strong taste for the lUXUry given to her by her benefactors, apparent in this witty spin on the operatic uadition of a "jewel song" in "Glitter and Be Gay." As she undresses for the evening she comments on her "fallen state'· while removing her finery and jewelry with the help of her maid servant Candide, who believed her dead, nnds her there Their reunion is short-lived as Cnndide inadvertently kills Cunegonde·s two masters The lovers flea to South America, where they come across Paquette and Maximilian, thought to be dead, but are slaves to the Governor of Buenos Aires Maximilian is happy to hear from Candide that Cunegonde is alive (though at present she has been captured by pirntes), but is still enraged by bastard Candide's interest in bis sister To escape arrest for an accidental crime, Candide escapes and stumbles on the gold city Eldorado After a time he tires of its riches, and leaves to search for Cunegonde, who has become enslaved as a courtesan to a Turk; Maximilian is also enslaved there Candide buys them, and they seek out Doctor Pang loss, who states that his new philosophy is to abandon the illusion of true perfection, and to work hard and live in rustic simplicity
DIRTY ROTTEN SCOUNDRELS MUSIC AND LYRICS: David Yazbek BOOK: Jeffrey Lane DIRECTOR: Jaek O'Brien CHOREOGR"-PHER: Jerry Mitchell OPENED: March 3. 2005. New York; a run of 627 performances David Yazbel(s follo\V¥up to The FlIll A10my on Broadway (2000) was also based on a notable movie Dirty Rotten 5coundreh takes its name and plot from the 1988 film starring Michael Caine and Steve Martin, which itself was a remake of the 1964 movie Bedtime Story, starring David Niven, Marlon Branda and Shirley Jones The essential story remains the same Two con men nre initially at their game separately, preying upon lonely, wealthy women vacationing on the French Riviera The suave, British L.awrence Jameson (John Lithgow in the original cast) wines and dines women out of their money. posing as 11 rich, deposed prince needing funds to light revolutionaries Crass American Freddy Benson (Norbert Leo Butz in the original cast) tries to usurp the female fortune through a sob story When the two grifters meet, they decide that the small town on the French Riviera isn't big enough for both of them They choose a mark, Christine Colgate (Sherie Rene Scott in the original cast), the "American Soap Queen ,. Whoever gets to her money nrSI will get to remain in town In the end, after many double·crosses, the two scoundrels learn that they're not the only schemers on the Flench Riviera. Christine swindles them both "Nothing Is Too Wonderful to Be True" is sung nenr the end of Act I, after Freddy tells Christine [hnt he has lost the llse of his legs and his only hope is $50,000 treatment from Dr Emil ShUffilnusen in Vienna Christine is !Duelled (or she pretends she is) and promises to help him Freddy can't believe it, and she sings to assure him Cluisline sings the "straight" version of the song, then Freddy adds n more wisecracking version before they brie!ly sing together at the end The song has been adapted ns a solo for Christine in this edition This role includes both belting and soprano singing; Clllislinc's song "Here I Am" appears in Tile 5illgel '5lvlloical Theatre Alllhology. Me:zo"SoprmwIBeirer Volume 5
DO REM! MUSIC: lule Slyne LYRICS: Betty Comden and Adolph Green BOOK: Garson Kanin DIRECTOR: Garson Kanin CHOREOGRAPHERS: Marc Breaux, Dcedee Wood OPENED: December 26. 1960. New York; a run of 400 performances A wild sal ire on [he underworld muscling in on the jukebox business, Do Re Mi was adapted by Garson Kanin Irom his own novel Hubie Cram, a former gangster, is trying to go legit with a scheme to make a fortune in the jukebox and music pfOmotion business G:mgsters come back into his life, causing chaos Hubie makes a success of Tilda Mullen. an ovedy earnest young singer with a flair for melodrama Tilda Mullen sings "Cry Lil{c the Wind" near the middle of Act I Re!lecting her character. the song is ml'lve. empty and excessively moody With characters reminiscent of the wftish denizens of GIIY~ fWd 00111'. the show offered two of Broadway's top clowns of the era: Phil Silvers as a fast-talking would"be big shol. and Nancy Walker as his !ong*suffcring spouse The s[and·out ballad in the show is 'Make Someone Happy" Nathan Lune and Randy Graff starred in a 1999 ·"Encores!" revival (recorded by ORO)
6 THE DROWSY CHAPERONE MUSIC AND LYRICS: Lisa Lambert, Greg Morrison BOOK: Bob Martin, Don McKellar DIRECTOR AND CHOREOGRAPHER: Casey Nicholaw OPENED: May 1, 2006, New York This show~within·a~show features a rather sour character simply called the Man in Chair, who escapes his deplcssion by obsessively playing an old recording of a 1928 musical, The DrolV5Y Chaperone Its story is of' an actress, Junet Van De Granff (Sulton Foster in the original cast), indulgent in vanity, engaged to a mUn she has only recently met. The show, characters, story and songs are an affectionate send-up of slage and screen cliches Through it all the Man in Chair gets swept up in the action, and comments to tbe audience As the introduction to "Bride's Lament," Man in Chair states: "Act II of The Droll'5Y Chaperone begins with this, a haunting lament from a very depressed bride Now, when you're listening to this, try to ignore the lyrics I know it will be difficult, but block them out They're not the best But the tune is beautiful, and it tnlly communicntes the bride's state of mind Just ignore the lyrics ,. It's a wacky number Beyond its emphaSis on the lost monkey, she refers to Robert. her fiance This song and role is for a soprano who can also bell
FIDDLER ON THE ROOF MUSIC: Jerry Bock LYRICS: Sheldon Barnick BOOK: Joseph Swini
DIRECTOR AND CHOREOGRAPHER: Jerome Robhins OPENED: September 22, 1964, New York; a run of 3,242 performances An undeniable classic of the Broudway theatre, Fiddler 011 the Roof takes a compassionate view of a Jewish community in Czarist Russia, where the people struggle to maintain their identity in the face of persecution Bused on tales by Shalom Aleichem, including ''Tevye's Daughters." the theme struck such a universal response that the fiddler was perched plecariously on his roof for a BlOadway recOid for its lime of over seven years, nine months The plot is set in the village of Anatevl.:;a in 1905. and te!ls of the efforts of Tevye, his wife Golde. and their five daughters to cope with their harsh existence. "Matchmaker" comes neal' the top of the show Hodel and her sister Chava excitedly sing with another sister, Tzeitei, about finding a husband After hearing Tzeitel's Icply as she poses as the matchmaker, Yente, the girls realize that a marriage match might not be a happy one, and they backpedal on their wishes in the second verse. Tevye is deeply tlevoted to Jewish customs, and suffers as his daughters test this with their romances and marriage plans, disregarding the traditional role of the matchmaker At tbe play's end, when a Cossack pogrom has forced everyone out of the village, fevye and what is left of his family look forward to a new life in America An acclaimed film version was released in 1971 or the four Broadway revivals to date. the most successful opened in 2004 and ran for neady two years
FUNNY FACE MUSIC: George Gershwin LYRICS: Ira Gershwin BOOK: Fred Thompson. Paul Gerard Smith DIRECTOR: Edgar MacGregor
CHOREOGRAPHER: Bobby Connolly OPENED: December 22, 1927, New York; a run of 244 performances Before becoming a movie star Fred Astaire was a renowned stage performer in vaudeville and on Broadway, part of a team with his sister Adele Astaire FlIllny Face was the second musical George and Ira Gershwin wrote for the brother/sister team L ike Lady. BL' Good!, the tilsl Gershwin show for the ASlailes, it was a light and breezy slip of a musical with timeless classic songs and plenty of opportunities for dance Frankie Wynne (Adele) is the ward of the protective Jimmie Reeve (Fred) She persuades aviato!' Peter Thurston to steal her incriminating diary from Jimmie's safe Peter steals a bracelet by accident instead. launching a comic chase to various locales. winding up in Atlantic City "He Loves and She Loves" is a romantic duct for Frankie and Peter near the beginning of Act II . Though her voice is unknown today, Adele Astairc's light theatre soprano introduced several famolls Gershwin standards to the world in the 1920s Fred Astaire starred with Audrey Hepburn in the 1957 film FlIlIlIY Face. which retained four original songs, including "He loves and She Laves," but used a completely different story 1 his song and five others from FllnllY Face were incorporated into the 1983 musical iHy Dlle and Dilly, which had a new book
THE GIRL IN 14G not from a 5//0\1' MUSIC: Jeanine "[esori LYRICS: Dick Scanlon Though not from a show, "The Girl in UGH is by theatre songwriters, the te;]m who created the stage music;]1 Thoroughly iHodem lvlille It is a dwracter song, theatrical in nature Its indusion in this collection seems weU-justified The song is signmure literature for Kristen Chenoweth, recorded on her 200 I solo CD 1 et YOIme!j Go
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GREY GARDENS MUSIC: Scott Frankel
LYRICS: Michael .Korie BOOK: Doug Wright DIRECTOR: Michael Greif CHOREOGRAPHER: Jeff Calhoun OPENED: November 2, 2006, New York; a run of 308 performances Grey Gardem, the musical, is based on Grey Gardens. tbe 1975 film documentary, about nn eccentric mother and her
equally eccentric daughter who remain for decades in a crumbling mansion on Long Island in East Hampton, New York After a Prologue, Act I afthe musical speculates on the past of the principal charactcis as they were in July, 1941: 47-year-old mother Edith Bouvier Beale, aunt to Jacqueline Bouvier (later Kennedy Onassis), and her 21-yeur-old daughter Edith "L-HIle Edict! Bouvier Beale Their mansion home is refined and cultivated Little Edie is in a relationship with Joseph Kennedy, Jr (older brother of the president). but her mother sabotages the engagement L inle Edie sings "Daddy's Girl" to Joe, trying in vain to distance herself from her mother'S attacks on her character, attempting to convince Joe that he should still marry her This is the kind of song that is sung by a soprano who mixes "head voice" and belting The engagement is off, though tbe guests are assembled for the party The mother Edith, a singer, glosses over any trouble, instead taking center stage and performing "one of our all·time favorites," the wistful "Will You?" In Act II of the musical. set in 1973 and most closely based on the documentary, the 79~yeal'~01d Edith, and her 56-year-Old unmarried daughter Little Edie are faded aristocrats Jiving in filth and ruin, isolated from the world. drifting in time Their relationship is complex and co-dependent In "Around the World" Edie rages about living in her mother's house. but she escapes into make believe with her mementos and memorabilia; the contrasting sections of music reflect the shift from anger!O nostalgic retreat Later, as Edie is once again on the verge of leaving. she reluctantly stays and dreads "Another Winter in a Summer Town." Christine Ebersole, the original performer of Edith in Act I and Litlle Edie in Act II, is clearly a sopmno. though the range of the Act II songs is modest and they call for some belt mix Ebersole won a Tony Award for Best Actress in a Musical
JUBILEE MUSIC AND LYRICS: Cule Porter BOOK: Moss Hart DIRECTOR: Hassard Short CHOREOGRAPHER: Albertina Rasch OPENED: October 12, 1935, New York; a nm of 169 performances
1 his Cole PonerfIVloss Hart show takes place in a fictional European country The royal family is threatened with revoitllion, and in response they give up on ruling the country and instead take individual paths of making their longheld personal dreams come true Of course, thc royals find new romances, who teach them some lessons in humanity from the perspective of the common folk The Prince meets singer Karen 0' Kane. who beguiles him as she is perfbnning the song "Begin the Beguine" at their first acquaintance The revolution turns out to be a hoax The now wiser lOyals return to their court with their romances intact '"Begin the Beguinc" became a classic, recorded by many anists The song appemed as a lavish number in the film Broadway Melody of 1938. danced by Ele:mor Powell and Fred Astaire, in a 1943 Deanna Durbin picture Hel ~ rv Hold, and in the highly Hollywoodized 1946 Cole Porter biopic Night alld Day.
KISMET MUSIC AND LYRICS: Robert Wright, George Forrest (based on music by Alexander Borodin) BOOK: Charles Lederer. Luther Davis DIRECTOR: Albert Marre CHOREOGRAPHER: Jack Cole OPENED: December 3. 1953, New York; a run of 583 performances The story of KiHllet was adapted from Edwilid Knoblock's play. lirst presented in New York in 1911 as a vehicle for Otis Skinner The music of Kin1let was adapted from themes by Alexander Borodin in such works as the "'Po!ovetzian Dances" from the Oper[l Prince IgOl: The action of the musical occurs within a 24 hour period, jn and around ancient Baghdad A poor, scheming, gypsy~like Public Poet assumes the identity of Hajj the beggar and gets into ail SOrts of Arabian Nights adventures His conniving gets him elevated to the position of emir of Baghdad. and as a result, his beautiful daughte! Marsinah weds the handsome young Caliph In the lead up to "Baubles, Bangles and Beads" in Act L Marsinah has previously b~en sent by her t~1ther to steal orilnges for their breakfast from stall merchants in the bazaar The fruit venom victim of' her theft pursues her. and her father steps in JUSt in time to give the vendor some money just craftily acquired The Poet gives Marsinah some cash, and she strolls the bazaar, looking at the jewehy and singing '"'Baubles. Bangles and vel sian was Beads:' accompanied by ensemble The dashing Caliph first spots her as she sings the number The di!ected by Vincente Minnelli was released in 1955. with soprano Ann Blyth as Marsinah
film
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LADY, BE GOOD! MUSIC: George GCIshwin LYRICS: Ira Gershwin
BOOK: Guy Bo·hon, Fred Thompson DIRECTOR: Felix. Edwardes CHOREOGRAPHER: Sammy Lee OPENED: December I, ! 924, New York; a run of 330 performances
Fred Astaire, teamed with his sister Adele, were vaudeville headliners and minor players in revues on Broadway before the Gershwin brothers featured them in the light and breezy musical Lady, Be Good! and made them stars This was the first of 14 musicals George and Ira Gershwin wrote for Broadway Originally titled Black Eyed Swall, Lady, Be Good!, written specifically for the Astaires. has a simple story about Dick Trevor (Fred) and his sister Susie (Astele), a carefree vaudeville
team, orphans living in New England. Dick is in love with well-off Shirley, but can't ask her to marry him because he's broke The brother and sister are evicted, which was actually encouraged by the wealthy Jo Vanderwater, in love with Dick. who wanted him to hit bottom and realize tbe advantages of marrying a woman with money For the time being Dick and Susie are on the street They go to Jo's party, mainly for the free food "Fascinating Rhythm," from Act 1. is perfonned as an entertainment at the party by Susie and Dick Considering his financial situation, Dick reluctantly agrees to an engagement to Jo. which makes Susie furious and breaks Shirley's heart A supposed bum Susie met on the street turns out to have inherited a fortune After lots of shenanigans, Susie is engaged to him, and her prospects allow Dick to break his engagement with 10 and go back to Shirley for the happy ending "The Man I Love," originally sung by Adele Astaire. was cut from the show during out of town ttyouts For a time the song was included in the score of the 1928 Gershwin musical ROJalie. sung by Marilyn Miller. but it was cut before Broadway The third strike was in the 1930 Gershwin show Strike Up rhe Band. sung by Vivian Hart, but it was cut during pre-Broadway tryouts (The song was later put into a version of Strike Up the Band sometimes performed) It seems an unlikely beginning for what became one of the biggest torch songs of the 20th century Though her voice is unknown today, Adele Astaire's light theatre soprano introduced several famous Gershwin standards to the world in the 19205 The 1941 film l.ady. Be Good (without nn exclamation point) bears little resemblance to the st::lge musical: it includes "Fascinating Rhythm:' but only one other Gershwin song
THEUFE MUSIC: Cy Coleman LYRICS: Ira GUsman BOOK: David Newman, Ira Gasman. Cy Coleman DIRECTOR: Michael Blakemore CHOREOGRAPHER: Joey McKneely OPENED: April 26, 1997, New York; a fUll of 466 performances
The Life is set on and around 42nd Street of New York City in the 1980s, when the area-before its dramatic revitalization-was still the seedy but lively domain of pimps. hookers and topless bars Among several principal characters. Queen is one of the hookets on the street. tllele to eam money to support her man, Fleetwood, a direction less Vietnam veteran pimp After saving money with plans to leave "the life," Queen discovers that Fleetwood has spent half of it on drugs Queen later finds out that Fleetwood has been sleeping with a newcomer to the street, Mary, and ends their bond. singing "I'm Leaving Youl! to him Queen l::Iter finds herself hopelessly trapped in service to another pimp. Memphis She shOalS him after he kills Fleetwood One of her sueet sisters, Sonja. says that she wi!! take the rap for Memphis' murder. portraying it as self-defense. allowing Queen to board a bus and get Out of town, finally finding her freedom from ·'the life ,.
THE LIGHT IN THE PIAZZA MUSIC AND LYRICS: Adam Guette! BOOK: CJaig Lucas. based on the novella of the same name by Elizabeth Spencer DIRECTOR: Bartlett Siler CHOREOGRAPHER: Jonatlmn Buttere!! OPENED: April 18.2005, New YOlk; a run of 504 performances
Finding inspiration in the Silme country as his grandfather Richard Rodgers' Do J Hec/ra WlI/r.::? Adam Guettel's Tlte Light ill the Pio'::'::lI follows Americal1s abroad in Italy The story. nne! a novella by Elizabeth Spencer. concclllS a wealthy North CalOlinian mother. Margillet 10hl1sol1 (2005 Tony Awald winner Vkw['ia Clark in the original cast). and her beautiful, childlike 26-yetu-old daughter Clara (Kelli O'Hilla in the original cast) on extended vacation in Florence and Rome in the summer of 1953 Soon aftet their arrival in Florence. through a chance encounter Clara meets Fabrizio. a 20-year-old hal ian man who speaks nulc English Though there is a spark between them. iVlmgare\ protectively lakes Clara away As Clara stroHs among the great an in the Uffizi Gallery the paintings !ipenk to her about herself. Italy. and her romantic yearnings as she sings "The Beauty Is," Fabrizio is determined. and wilh the http of his !:lIher. finally is able to spend time with Clara. though Mal'gmct continues to attempt to discourage the romance Margaret finaUy reveals the leason for he! concern: due to being kicked in the head as a child by a pony. Chua has hau arrested mental and emotional development Margaret takes CI:1!
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LITTLE WOMEN MUSIC: Jason HO\vland LYRICS: Mindi Dickstein BOOK: Allan Knee DIRECTOR: Susan H Schulman
CHOREOGRAPHER: Michaell ichtcfeld OPENED: January 23. 2005, New York; a run of 137 performances The musical is based on the f!lmous 19th century American novel by Louisa May Alcott about the close"knit March family of Concord, Massachusetts, during the Civil War. Four sisters (10, Meg, Amy nnd Beth) and their mother (Mannee) make the best they can of their lives while the pi.lU'iarch of the household is serving in the U S Army as a chaplain Among several plot twists involving various sisters, Jo lands in New Ymk, where she is nn aspiring writer She returns to Massachusetts when she hears that Beth, always weak. has contracted scarlet fever As 10 attends to her dying little sister. a still cheerful and peaceful Beth sings IISome Things Are Meant to Be" with her, eventually asldng Jo to "let me go now" Though devastated, the family carries on after Beth's death Amy marries Laurie, la's one time best~friend who surprised her with a proposal she turned down, Jo matures as a young woman and a writer, and has a loving relationship with the older Professor Bhaer Tbe story ends with tbe announcement tbat la's book, liffle Women. about her life with her sisters. has found a publisher. There have been several non~musical films made of the story The most often encountered are the 1933 film staning Katlmf'ine Hepburn, the 1949 film starring June Alyson and Elizabeth Taylor, and the 1994 film starring Winona Ryder, Susan Sarandon and Christian Bale as Laurie
MARY POPPINS MUSIC AND LYRICS: Richard M Shennan and Robert B Sherman. with new songs and additional music and lyrics by George Stiles and Anthony Drewe nOOK: Julian Fellowes DIRECTOR: Richard Eyre CHOREOGRAPHER: Matthew Bourne OPENED: September 18, 2004, London; November 16, 2006. New York The magical and prickly character of the British nnnny Mary Poppins was created by author PL Travers in eight books published from 1934 to 1988 Mary mysteriously arrives, blown by the wind, at 17 Cherry Tree Lane in London to care for the children of the Banks family Though stern, Mary Poppins creates fantastical adventures and lessons for the children, often with the company of he!' chimney sweep friend Bert Through Mary Poppins' influence, each member of the dysfunctional and disconnected Banks home gets set on tbe right path, though she leaves for a time to teach them a lesson Julie Andrews stan'ed in the 1964 Disney film musical, with songs by Richard and Robert Shennan The stage musical, based on the movie and books, first opened in London in 2004 Nine songs from the movie were incorporated into the stage score, with the addition of seven new songs, including "Anything Can Happen" and "'Plactically Perfect" Soon aftel her arrival at the Banks household. Mary immodestly cites her credentials and describes herself to Jane and Michael in "Practically Perfect," and promises that after a time under her care, the children also will meet the same standafds Near the end of the show. after father George Banks has been suspended without pay from the bank of bis employment for supposedly making the wrong choice about investments with a client, he learns that his choice actually has made the bank a fortune and all is well Mary looks on with the children, teaching them that "Anything Can Happen" if you let it With aU hnppy and in order. Mary Poppins realizes that the Banks no longer need her, and she leaves them
MR PRESIDENT MUSIC AND LYRICS: Irving Bedin BOOK: Howard Lindsay and Russel Crouse DIRECTOR: Joshua Logan CHOREOGRAPHER: Peter Gennaro OPENED: October 20. 1962. New York; a run of 265 performances hving Berlin's last Broadway score was M,: Pre~idellf. a story about a fictional American president and his family during their last days ill the White House Present Henderson has lost Ie-election after a politically disastrous visit to the USSR After retiring to civilian life, be is bored and decides to run for the US senate In Act I the president's young adult daughter. Leslie. complains of the constraints on her life und her lack of privacy in "The Secret Service." The show wns considered old-fnshioned by critics and audiences of 1962. a year when the Kennedys were the more captivating and glamorous occupants of the rcal White House
10
MYTHS AND HYMNS MUSIC, LYRICS AND BOOK: Adam Gueuel DIRECTOR: Tina Landau OPENED: Mnrch 31,1998, New York; a rUIl of 16 performances The source material for Guettel's MytlH and HYIllI15 is just that-mythological ligures such as Icarus, Pegasus and Sisyphus, and old texts from a Presbyterian hymnal of 1886 that Guettel found in a used book store The composer stated, "I used these dissimilar cosmologies as points of departure and discovered as I went along that they have a lot in common-a desire to transcend earthly bounds, to bond with something or someone greater" The song cycle for the theatre premiered Off-Broadway under the name Sal!trn Refilms, but was later changed to the present title Tina Landau, director of Guettel's Floyd Collins. helped conceive this night of music, a staged concert which focuses on tbe divine and profane in everyday life and uses musical language from straight~up pop to lush theatrical writing The final version of the score was recorded on a cast album by the composer (a tenor) with various artists
OKLAHOMA! MUSIC: Richard Rodgers LYRICS AND BOOK: Oscar }'lammerstein II DIRECTOR: Rouben Mamoulian CHOREOGRAPHER: Agnes de Mille OPENED: March 31, 1943. New York; a nm of 2,212 performances Oklallol/w l . based on the lynn Riggs play Greel! Groll' (he Lilacs, is a recognized landmark in the history of American musical theatre. The initial Richard Rodgers and Oscar Hammerstein II collaboration, it not only expertly fused the major elements in the production-story, songs and dances-it also utilized clream ballets to reveal hidden desires and fears of the principals Oklahoma' captured the Americana values of the U S during World War II, a distinct change from the urbane, edgy wit of the musicals of the 1930$ Set in Indian Territory soon afwr the turn of the century, Oklahoma' spins a simple mle mostly concerned with whether the decent COWboy Curly Or the menacing farm hllnd led gets to take farm girl Lamey to the box social Though she accepts Jud's invitation in a fit of pique, Laurey really loves Curly When he finds out that Lamey is going to the social with lud, Curly tries to convince her to change her mind Not yet able to fully confess their feelings. they exchange a flirtatious warning in "People Will Say We're in Love" Each sings a verse; this solo velsion for soprano present lamey's lyrics only At the social Jud lashes out at Laurey when she doesn't return his feelings She tires him; he threatens her She turns to Curly for comfort and they finally admit their feelings for one another At their wedding they join in celebrating Oklahomn's impending statehood, then-after Jud is accidentally killed in n fight with Curly-the couple rides off in their surrey with the fringe on top With its Broadway run of five years, nine months, Oklahollla! established a long~!Un record that it held for 15 years. until being overtaken by My Fair Lady. None of the three revivals to d,1te of Oklahomal on Broadway hnvc enjoyed long runs The movie version. the first film mnde in the Todtl~AO process, was re!ensed in 1955, starring Gordon MacRne nnd Shirley Jones
ON THE TWENTIETH CENTURY MUSIC: Cy Coleman LYRICS AND BOOK: Beny Comden, Adolph Green DIRECTOR: Harold Prince CHOREOGRAPHER: Larry Fuller OPENED: February 19. 1978, New York; a run of 449 performances Based on the 1932 Ben Hecht piny 7iI'f!ntietl! Ceflwry and the 1934 Howard Hawkes film orthe same title, the musical 011 the Twentieth Cenwry takes place on a train traveling fwm Chicago to New York in the early 1930s On board is an nrray of characters. ench with a predicnmem The show. in the spirit or the nostalgia craze of the 1970s. is a screwball comedy that also lampoons operetta at limes Oscar hl'ree (John Cul!um in the original Brolldway CHSt) is :1 megalomaniac theatlc producer out of cash after a string of nops He ducks out of Chicago to avoid paying bills and actors for a failed production and books a ticket on the 1\ventieth CeOlury Limited to gain access to Iilm star lily Garland, traveling with her annoyingly jealous and se!f~absorbed movie actor boytiiend, to persuade her to return to the stnge lily detests the idea of returning to her former Svengali, and makes her reply to Jaffe's cronies who deliver the offer in "Never:'" But the battle between Oscar and Lily goes on all the way to New York The role of Lily was originally played by Madeline Kahn, taken over after two months by Judy Kaye Other notables in the cast: Kevin Kline (Lily's boyfriend Bnlce Gmnil). and Imogene Coca as a wealthy religious fanatic. who actually is discovered to be an escaped mental patient
11
PETER PAN MUSIC AND LYRICS: Leonard Bernstein
PLAY: J M Barrie DIRECTOR: John Burrell OPENED: April 24. 1950, New York; a run of 321 performances J M Barrie's play first appeared in London in 1904. and in New York the following year Peter Pall was revived five times
on Broadway between 1906 and 1928 In 1950 veteran film and stage actress Jean Arthur played Peter'on Broadway to Boris Karloff's Captain Hook Leonard Bernstein and director/choreographer Were initially asked to make a musical of Peter Pall. but plans chnnged when it was discovered that slar Jean Arthur couldn't sing Instead. incidental music and Bernstein songs wefe added to the Barrie play, but the result was not a musical, Wendy, oldest of the children in the Darling family, sings "Who Am IT' early in the play before going to bed. She discovers Peter Pan, a fairy-like "boy who wouldn't grow up" After he teaches Wendy and her two brothers to fly, he takes them to Neverhmd, land of the lost boys Wendy is blown out of the air by a cannon, and Peter and the boys offer to build a house for her, the sole girl there, for recuperation She describes her dream abode in "My House.!! A full~fledged musical, with a score by Jule Sync and others, opened on Broadway in 1954
ROSALIE MUSIC: George Gershwin. Sigmund Romberg LYRICS: PG Wodehouse, Irn Gershwin BOOK: William Anthony McGuire, Guy Bolton DIRECTOR: William Anthony McGuire
CHOREOGRAPHER: Seymour Felix OPENED: January 10, 1928, New York; a run of 335 performances Sigmund Romberg was busy writing The New Moon as well as Rosalie. so George and Ira GershWin, just finishing the musical FlInny Face. were asked to add songs to the incomplete Romberg score The story was "inspired" by recent news events: lindbergh"s solo Ilight to Paris, and tbe U S visit of Rumania's Queen Marie and her princess daughter In the musical, after West Point ace Richard Fay has flown to the mythical kingdom of Romanza to be near the Princess Rosalie, the royal family goes on a state visit to the U S They encounter the pluck)' Mary O'Brien (the second female lead). who shows tbe royals New York Her character had the one song from the show that survived to become a standard, "How Long Hns This Been GOing On?," sung to a friend whom she suddenly realizes is her true romance The velse of the song refels to kissing bootbs at bazaars, a common charity fundraiser of the period A 1937 movie, starring Eleanor Powell and Nelson Eddy, retained the basic story but had a completely new score by Cole Porter
SHE LOVES ME MUSIC: Jerry Bock LYRICS: Sheldon Hurnick BOOK: Joe Matsteroff DIRECTOR: Humid Prince
CHOREOGRAPHER: Carol Haney OPENED: April 23, 1963. New York; a run of 302 performances The closely integrated, melody drenched score of She LoveI ll'le is cenainly one of the best ever written fOl u musical comedy It was based on a Hungarian play, Parfumerie. by Miklos Laszlo, that had already been used as the basis for two films. The Shop Around the COrller (1940), and, adapted to an Amel1can setting, In the Good Old Summertime (1949) Set in the 1930s in what could only be Budapest, the tale is of the people who work in Marnczek"s Parfumerie To demonstrate her sales skHls, the job-seeking" quick·thinking Amalia Balash (originally played by Barbara Cook) successfully uses an OIiginal approach with a music box, instead portraying it as an elaborate candy box with a gentle musical warning about over indulgence As the music box plays (the piano accompaniment), Amalia sings "No More Candy" to a customer and makes a handsome sale The store owner is very impressed and hires her Amalia and Georg, the senior clerk, ale soon squabbling regularly They don't realize that they are actually nnonymous, amorous pen pals who met in a Landy Hearts newspaper ad A few months later Amalia and Georg agree to i'neet one night at the Cafe Imperiale, though neither knows tbe other's identity That evening Georg realizes that it is Amalia who is wailing for him at the restaurant. but he doesn't Jet on She is so dishenrtcned over being stood up that she calls in sick the next day Georg brings her ice cream and is especially gentle to her, while also planting doubts about her "dear ffiend" pen pal Could he be bald, or nIt. or old? Amalia suddenly realizes that Georg isn't so bad. despite their arguments" and when Georg reveals his true identity as her correspondent the two let down their guard and embrace romance She Love5 Me, which would have starred Julie Andrews had she not been tilming Milry Poppim. was one of Bmbara Cook"s most magical portrayals A Broadway revival opened in 1993 The same basic story was adapted fO!' the 1998 film YOII've Got Mail
12 1600 PENNSYLVANIA AVENUE MUSIC: Leonard Bernstein LYRICS AND BOOK: Alan Jay Lerner DIRECTORS AND CHOREOGRAPHERS: Gilbert Moses, GeOige Faison OPENED: May 4, 1976, New York; a run of 7 performances The address of the title is of the White House The musical foclised on the building and its inhabitants, including presidents, first ladies, staff and servants, assaults on the White House in its early years, as well as exploring class and racial issues through the eyes of servants From Act I, "Take Care of This House," the stand-out ballad from the score, Was sung by first Jady Abigail Adams as the term of her husband ends and Thomas Jefferson's presidency begins 1600 Pe11lHy/vQJ/ia Avenue was Leonard Bernstein's last Broadway musical Although it was not a success. and he withdrew the work frOln his canon, he remained fond of the score and used some of its themes in later works A one¥hour concert version. A White liOlm: Calltaf[/, was created after Bernstein's death
SONGS FOR NEW WORLD MUSIC AND LYRICS: Jason Robert Brown DIRECTOR: Daisy Prince CHOREOGRAPHER: Michael Arnold OPENED: October 26, 1995, New York; a run of 17 performances In 1994. Daisy Prince, daughter of Broadway legend Harold Prince. went to hear a 24~year~old Greenwich Village <.:offeehouse pianist named Jason Robert Brown play some of his original compositions A collaboration and a friendship were born when she heard he was working on a concert evening of songs that played like offbeat short stories Originally conceived as a straight-forward collection of Brown's theatre and cabaret songs, a more theatrical concept for SOllgs for (/ New World began to take shape, though it still was without a conventional plot The piece was developed at a summer festival in Toronlo It played Off*Broadway in 1995 on a unit set reminiscent of both a ship and a playground Though its run was brief, the show has gained a fervent foilowing in musical theatre circles Musically distinctive and precocious, the songs look at life from unusual angles In the New York production "The Flagrnakcr, 1775" was performed before a large American flag hanging above the stage The song portrays the worry and dread of a wife and mother sewing the flag during wartime
SPRING AWAKENING MUSIC: Duncan Sheik LYRICS AND BOOK: Steven Sater DIRECTOR: Michael M,1yel CHOREOGRAPHER: Bill T Jones OPENED: December 10, 2006 This rock musical, 2007 Tony Award winner of Best Musical. is based on the 1891 German play by Frank Wedekind, which W
13
STRIKE UP THE BAND MUSIC: George Gershwin LYRICS: Ira Gersh,win BOOK: Morrie Ryskind (based on a libretto by George S Kaufman) DIRECTOR: Alexander Leftwich
CHOREOGRAPHER: George Hale OPENED: January 14. 1930. New York; a run of 191 performances Strike Up the Band was first scheduled for a 1927 Brondway opening, but the original George S Kaufman book was so uncompromisingly grim in its antiwar sentiment that the show closed on the road, Morrie Ryskind then rewrote the story, putting most of the action in a dream, and lightened up the tone The revised script is set in and around the Horace J Fletcher Chocolate Works company, with scenes also in Switzerland The story deals with a war between the United States and Switzerland over the issue of tariffs on imported Swiss chocolate, with plenty of room for barbs aimed at jingoists, politicians, and White House advisors This was the tirst of a number of shows of the 1930s that, influenced by the Depression and the growing threat of another World War, were emboldened to make satirical observations But there is also light romance In Act II, the characters Anne Draper and Timothy Harper sing "Pvc Got n Crush on You"" Though the original performance style was gently rhythmic, from the 1950s on the performance tradition of this standard became slow and earnest Such love songs were less sentimentally performed in the 1920s and 19305 Doris Carson, the original performer of the role of Anne Diaper. later starred as Frankie Frayne in 011 YOllr Toe~i The 1940 Busby BerkeJey/Judy GarlandflvIickey Rooney movie Strike Up Ihe Band is a completely different story; only the show title and title song of the Gershwin stage musical were retained
SUNSET BOULEVARD MUSIC: Andrew Lloyd Webber LYRICS AND BOOK: Don Black, Christopher Hampton DIRECTOR: Trevor Nunn
CHOREOGRAl'HER: Bob Avian OPENED: July 12. 1993, London; a run of 1,529 performances; November 17, 1994, New York; a run of 977 performances Based on the 1950 Billy Wilder film which starred Gloria Swanson and William Holden. Sunset Boulevard provided London's West End and Broadway with a great diva vehicle, In 1950 Hollywood, Norma Desmond is a demented. aging and forgotten movie star of the silent era. living in eerie isolation in a mansion on Sunset Boulevard Young screenwriter Joe Gillis stumbles into Norma·s life and she falls in love with him; he reluctantly accepts her lavish attention Norma has a pathetic plan to return to the screen with ber own hopelessly overwritten script adaptation of Salome, which she wants Joe to edit She thriUs when the studio calls her, but she's then crushed to learn they don't want her-they want her vintage car as an amique prop Joe despises himself for playing gigolo to Norma He has a budding romance with Betty Schaefer (first played on Broadway by Judy Kuhn), a young woman his own age interested in him and his writing At first Betty helps Joe by editing a script he·s written Trying to bide his life with Norma, he does not reveal much to Betty, who becomes confused She is engaged to Artie, but Joe's kiss changes her feelings She is "Too Much in Love to Care," a duet with Joe adapted as n solo for this edition Joe finally tells Betty the truth When he tries to move Ollt of Norma·s house and liFe. the smr's sanity quickly fnlls apart She shoots and kills him When the police come to take her away, Norma is so deluded that she believes the media crowd gathered is a movie crew, Hnd ullers the famous line, "Mr DeMil!e, I'm ready fol' my close-up"
WEST SIDE STORY MUSIC: Leonard Bernstein LYRICS: Stephen Sondheim BOOK: Arthur L aurents DIRECTOR AND CHOREOGRAPHER: Jerome Robbins OPENED: September 26. 1957. New York; a run of 732 performances
WeII Side Story is loosely based on William Shakespeare·s Romeo and iuliet Gangs rule the streets of the west side of New York City in the 1950s, before the area was revitalized with the construction of L inco!n Cente!' in the 1960s The Jets arc tough Americans. in hate-filled rivalry with the Sharks, tough Puerto Ricans Tony (LaITY Kert in the original cast). a former Jet trying to go S1raight with a regular job, meets Maria (Carol L nwrence in the original cast). sister to one of the Sharks, at a dance held at a gym They instantly fall in love, drawing anger from Maria's brother, Bemmdo. leader of the Shnrks Riff. leader of the Jets, challenges the Sharks to a rumble Tony later secretly visits Maria's fire escape balcony, where they confirm their love, uniting as one the next day. after business hours, in the bridal shop where Marin works That evening Tony goes to the rumble to try to slOp ii, but when Bernardo stabs Riff, Tony instinctively stabs and kills Bemardo As this is happening. before she knows of Bernardo's death. in her bedroom Maria confesses to her friends he!' emotions at being in love in "I Fccl Plctt)'," which opens Act II 1\·Iaria learns from Chino, n Shark, that Tony has killed Bernardo just before Tony steals into her bedroom First enraged nnd bitter. she settles down in Tanis embrace. and fhey dream of a safe and peaceful place away from the gang~ridden existence in the city After a ballet representing this dream a character simply called A Girl sings "SomewheIeo" Chino later shoots and kills Tony. and Maria grieves over his body The 1961 lilm version retained most of the score, but made significant shifts in ':iong and scene order At this writing the musical 11,15 had two hlirly shon·Jived revivals on Broadway. in 196-! and in 1980 The London production opened in 19j8
14
WICKED MUSIC AND LYRICS: Stephen Schwartz BOOK: Winnie Holzman, based on the novel Wicked The llJe and Time~ of the Wicked Witch oj rhe H'br by Gregory Maguire DIRECTOR: Joe Mantello CHOREOGRAPHER: Wayne Cilento OPENED: October 30, 2003. New York Stephen Schwartz's return to Broadway came with the hit musical Wicked Based on Gregory Maguire's 1995 book, the musical chronicles the backstory of the Wicked Witch of the West, Elpbaba, and Good Witch of the North, Olinda (Galinda), before their story threads are picked up in L Frank Baum's The Wonderful Wi::ard oj 0;. As the musical begins, the citizens of Oz celebrate the death of tile Wicked Witch of the West, led by Olinda singing "Let Us Be Glad,." A
flashback begins that tells the story of the complex relationship between the misunderstood Elphaba Thropp (the Wicked Witch of the West) and the ambitious Oalinda Uphmd (Olinda, the Good Witch of the North), Near the beginning of Act II Glinda and Madame Morrible hold a press conference to announce Olinda's engagement to Fiycro Tiggu!ar, a Winke Prince, in the song HThank Goodness," Olinda and Elphaba form a friendship in secret and unite against the duplicitous Wizard Fiyero winds up with Elphaba. whose staged death at being mehed is actually a hoax The original cast included Kristin Chenoweth as Glinda, Idina Menzel as Eiphaba, Norbert Leo BUIZ as Fiyero, and Joel Orey as the Wizard
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154
ANYl'HING CAN HAPPEN from Mary POppillS Music by GEORGE STILES Lyrics by ANTHONY DREW Moderate 2
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e
155
1\" OJ
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if
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you
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stars,
the
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get
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the
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stars,
but
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81
AROUND THE WORLD from Grey Gardens scon
Music by FRANKEL Lyrics by MICHAEL KORIE
Furioso
f
.
COil
pedale
dim
3
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mp
mlll
:
....
moth-er's house,
my
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mIll
rl J
L..LJ
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my
name,
and you
m1ll
rl J
L..LJ
L..LJ
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can't
beat
moth - Cr
mOlh-cr's game
at
'ellz she
likes
the
pea - pie
who
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and
don't
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Copyright <1) 200!i, Z()Oi by Staunch 1>·luslc and Korle Music
Publishing anti Allied Hlghts Administered by Williamson Music throughout the world
International Copyright Secured All Rights Reserved
ill t
-
,-
82
--
,
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moth-er's way
.",
re - rnind-ing me
if
moth- CI,
off
live
you
you
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that moth - er
think
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and I'm
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I'm
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104
BAUBLES, BANGLES AND BEADS from Kismet Words and Music by ROBERT WRIGHT and GEORGE FORREST (Music Based on Themes of A. BORODIN) Allegretto moderato
Moderato ()
MARSINAH :
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Bau 1\
u ,,~
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r ---------r , Hear
how
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they
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sing - a - ling - a
r--1
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IHar.sillah is joined by the
,
< ChOlIlI ill
the
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<
adapred here as a solo
<
ball
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CopyrighllD 1953 Frank Music Corp Copyright Renewed and Assigned to Schclle! MUsic Corp New York NY
All Rlghls Controlled by Schelle! Music Corp All Rights Reserved Used by Permission
I
bles
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span
Gr
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i
heart
qp'
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My
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kIes,
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Piu mosso
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tel
and
8va ----------
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gleam
Make
lall
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l=-=,~J: "-..u-y I :1
so
rEi ~ J_f'~ _1":
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-
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a tempo
OJ
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some
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That
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he
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a tempo
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tir
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am
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where
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97
BEGIN THE BEGUINE from Jubilee
Words and Music by
COLE PORTER Moderato ()
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my
clutch-es
tune
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liv~
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And
heart,
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there
gf' we
arc,
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Y IF
swear-ing
to love
for - ev
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er,
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pmrn - is - ing
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nev
er
-
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er
part
to
What
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decrerc
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what
rno-ments di - vine,
P
.
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a - long to
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And
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the chance that was wast 3
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now when I hear peo- pie CLJrse
v
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the joys we had
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dis - perse
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know but too
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let them be - gin
-
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Be - guine,
the
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Let
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the
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a - fire
love that was once
-
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an
re-main
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em
.
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Let it
ber;
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sleep like the dead
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de - sire
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Be
the
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yes,
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let them be ~ gin the Be - guine,
v
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make
irl irl i r l f.\'~
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Till the
irl irl irl
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play
them
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be - fore
stars that were there
re-turn
iY-l iYi
JJ
I
.
a
1
~
Till you
..
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you,
bove
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to
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whis-per
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once
me
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.
"Dar-l;ng, I
more,
V
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3
love
<>-
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YOu!"
And we
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what heav-en we're in,
know
sud-den -ly
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When they be - gin
the
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Betell
7 L 7 J~'r rir tell.
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35
BRIDE'S LAMENT from The Drowsy Chaperone
Words and Music by LISA LAMBERT and GREG MORRISON
Moderately slow
/f
tl <>- •
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,
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.
, : JA NET
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mon - key
a
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p :
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a
on
ped~es
JJI
}
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- tal
and tried to ~,,~
f'
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R.H.
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a tempo
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rit.
u
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5ff.
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,
•
v
make
that
mon
.
slay
key
he
And
did,
for
1>"
~
a
time,
but
'
r
he
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ri
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need - ed
10
climb,
and
wilh
oth
.
er
mon - keys
play
> q-&
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10 '6
",
e
r
r
r
r
,
it'
'l
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far
a - way
Jallet i5 joined by lv/all in Chair and chorlls ill tfte show, adapted here as a 5010 Copyright 6 1999 Lisa lambert and Omorr Inc All Rights Heserved Used by Permission
'1
left
"'"
hiS
ft\ ri(
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v.g
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36 fl "-
-
jack
el
that
on
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ped-es - tal
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be - side his
rust - y
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and
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, elc
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strength to
the
got
r r
qt?
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a tempo
t!
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,
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g J
ai-ways save that ped-es-tal
q I"-
lit
---
nf,£l~.
l@fd il
.qI
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h
:'::':
:;ot
But I'll
you broke my heart in two
vr
~
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I
h I
Oh
-<'
:;ot
mon-key, mon-key, mon-key,
up
pick them
-u
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for
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Come, my lit - tIe mon-key,
you
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come, my lit - tie man - key,
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colla voce --0
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do
Oh
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two
==
ped - es - tal
for
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Tit
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al - ways save that
.
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in
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hy
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broke my heart
J J
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you
mon - key, man - key, mon - key,
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you
Come, my
~
t
lit - tie
come, my
mon- key,
mon - key,
lit - tie
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v~
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a tempo
..
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r
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ril
colla voce
h~-e.-_
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Moderately
1\
-OJ'
do
Wait' /'m Janet Van De OWl![f! I
1\ OJ
I ..,.
P [olell/po] :
.
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I do,,"' need allyone!
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What do I care abow rhe
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,
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A
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38 fl Q)
love of
I==<
1\
when I'm adored by million s?
IIlCIIl
I
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,
-'if-
olle
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--------
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b':J b~~ :J ~ :J ~:
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Do
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b-
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b:;;i: be
No,
so gloom" y?
I
, I
no,
p.,.
so
[
I
h" I
I
-.;-
I could rule the world if
no
I
I
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,
1\
.
v chose
hJ
fl
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Sig"mund Freud sends flow-ers
I
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to
me
ev
-
'ry
show;
q -
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r
q~
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bf
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39 Faster, in 4
.
I
Oer-trude Stein, she hand-ed me
a
I'm
rose
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P'T ~tutO y
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., Jan - et
Jan - et,
"""
Van_
De Graaff
Ain't
nail
no
,..----, "'
"""
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"""
that
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tt
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I
ham
can't
.
Why
mer
give up
life
a
of glam
.
or,
,
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!
(site's havil1g a complete
menta I b rea I((,OWIl) I .
life
of
glam
.
life
or,
of
glum
.
or[
No! >
.
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40 r -3 - - ,
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b'it CI - enl walt-mg
I'm an
ac . H~
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pen
.,
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to
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s~ow
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I don't wan - nn
.
-
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, --..
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,
(ilL
no
more,
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I don't wan - na spread
off
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mirth
no
more,
bJ
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r
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-
be the great-est on
V '-J
9
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I don't wan-nn
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3
..
or
..
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I wan - na
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.
0
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I
do
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I don't Wan-ou
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.
.
J J
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rnOl'e
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no
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41
Slower f\
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I don't wan-na show
do
off!
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"""
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>
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think
I
Jan - et,
sure,
sure,
Jl v ..
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.
" And
:;j: :;j: :;j:
Jan - et,
I
v
~
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se
is
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Jan -
cure,
Cl,
q:;l
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e
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f'u - ture
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e
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mil-lions
just
will do
:;I
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HJS.I]EJ But an - y
flne
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bi
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:;;J: :;;J: :;;J:
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H<5' fu ture w
q-
I eouid ev
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er care to
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shape
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tim- in' cad who drives me
..
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42
, ape!
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W." .• I
.,uc,."..
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malta rall
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iii
- -
iii
biii
iii
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Spok.en (melodramatically) OII, Robert!
fl
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{
atempo o.
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I know now that [love
q~
q~
D
What a fool I've beell l A hopeleH fooll
yOIl,
.,.
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Is love
r:1
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fl
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That', the
ever enough?
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sto
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/5 love enough?
I love YOll, monkey'
that I've throll'1l if all away-'
4-
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43
<>-
mon
•
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key
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gone
n
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stray
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the
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stars
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ask
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CRY LIKE THE WIND from Do Re Mi
11 II
Words by BETTY CaMDEN and ADOLPH GREEN Music by JULE STYNE
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DADDY'S GIRL from Grey Gardens
Music by SCOTT FRANKEL Lyrics by MICHAEL KaRlE
With agitation ()
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•
She and Dad - dy don't
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lu
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128
FABLE from The Light in the Piazza Words and Music by ADAM GUETTEL Icy, with intention (subtle accellt,s) >
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129
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108
FASCINATING RHYfHM from Lady, Be Good!
Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN
,
Moderato
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@
1924 (Renewed) WB MUSIC CORP
AI! R!ghts Reserved
Used by Permission
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(Start
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To
find
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GLITTER AND BE GAY from Candide Music by LEONARD BERNSTEIN Lyrics by RICHARD WILBUR
Tempo di Valse Lente
(d=J) >
ru bata
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@Copyright 1957 by Amberson Holdings He Copyright Renewed Leonard Bernstein r. . luslc Publishing Company 1.[.C. PubHsher Boosey & Hawkes, Inc .. Sole Print Licensee AIII~lghts Reserved International CopyrIght Secured
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Tempo primo ( b) ""- so S
Meno mosso (she continues removing her jewelry)
-
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(parlando) Pearls and ruby rings.
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Meno mosso (colla voce)
rail.
Tempo primo I
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Can they compensate For my fallen state,
Take the place of Honor lost?
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my eyes to shame? Can tbe brightest brooch Shield me from reproach? Can the purest diamond purify my
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colla voce
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18: 18:
b~ 18: Ii: ~ ~ jg:
Ii: 18:
.llitii iii
ff
J~':h"/ J i,\,
!1 ~
"I
>
~~
>
~~
~-u~
.,
.,
~~
=
~
lunga 152
fi2.
.,
~~t
(breaks into wild laughter)
(,) Presto
.i>.---------(J>ha
;;:;
hal _ _ _ _ _ _ __
ha
Presto ~
colla voce
>
>
>
ff
-:;;.
> >
156
>
>
>
>
>
>
Bva·································'·····l
> >
~ j'p
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(/
ifI
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p
62
HE LOVES AND SHE LOVES
II
from Funny Face
I
d
!l
Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN
Ii I ,
i
I
II
Moderato
FRANKIE:
-
i
i
Now
i , II ,
I~'
I
H
1
"If
I
q-e-
r~r :
~
rail
;
a
~
:
have
I
that
[elllt
~
r
71
I
~
,
I
rJ
•
I
found
I
1
~ :
,
'I
you
must hang
a - round
I
r
~
I
-iii
r
you,
I
r
~
,
gr
l
<
r
l
<
'it
~
r
'it
~
105-
-I
-IThough
-0- ,
you
may
re
- fuse
I
~
You
me,
will
nev
or
!
~
r-
I
~~
OJ
v
I
r
l
<
r
~
r
~
r
v
Originally a duet for Frankie alld Peter Thunton, adapted here Q5 a wlo
"
l:t 4-
-
~-
,~
I
63 fl ,
,
,
v
lose
me
If
I
I
1). , V
~
r
~
f
-
,
~
hu
the
~
man
race
I
I
Dr
~
"IS
Vi
~
I
~r
~
Vi
~
:
,
I
, full Il
v
of
hap
0
py
rae
,
\1
i
es,
It's
,
1
1
r
~
I
<
0
~
T
i
<
"
~e
'~.
T
0
cause
they
Hq~
'liT
,
:
,
1\ ,
'"
.
,
j
"
~,
all
That
love
won - drous
. j)
r qf I
:
love
call
..
y
c 19-
jI
~
______:dJF
mil e dim
I
I~
l
,
-<'
I
" Il
they
1
r
T-q:g:
thing
------
~
I
1
I
'<
Slowly (with seltlimem)
,
v
and
He
loves
j p
~
r
<~
,
v
she
loves
and
they
love,
~o
why
'iii"
~
>
'3
r
3
'$
can't
Il OJ
,
,
j
:
'e
r
I
<
I
<"i-t-
.ry
::
~
t;
64 ~
0
OJ-
love
you
I
and
too?
love
;.
---v~
~
~
"
fl:
I:J
:
f;
.F.l,~
;.
;herzalldo ~
'"
:;;
~
~
I
<
,
~
I
Il
,
OJ
,
~
Birds
love
and
~
i'i
:J
bees
love
'"
~
v
and
whis
~
per
-
" mg
1\ , OJ
,
-:
Il OJ
~
'"
~
-
r
<
r
<
I
<
I
<
I
c
,"'"
,
we
should
both
Oh,
do
I,v-----.
1\
..,.
p~
~
:!'t
:J
~
B
'i,V
....
;J
T
4-
, I
a1
-
ways
knew,
some
Il OJ
V
"
"'"
""
you'd come
<
r
<
I
<
..
~r=
~.
-
a
±~
-
h
., I
....
-
long;
-
<>~rl~r '$-
I~I
!-=:-
~
I
,
day
I '~
..
V
4
~~.;.
•
=I)
I
that's what
"iJ-
F
:1:)
c
I
And
ijq
"
~
love,
trees
~
$
~
<
.."
--
65
[fermarm 2nd time]
We'll
make
a
two
some
that
just
can't
go
wrong,
[r:"\1
[r:"\1
hear
me:
---<
r
love
•
me
-q
as
love
you _ _ _ _ _ _ _ __
"'--
r
170
HOW CAN I LOSE YOU? from Myths and Hymlls
Supple Jazz Waltz
•
Music and Lyrics by
ADAM GUETTEL
(J = 144) ,
:J.
:J.
can I lose you? You're all
How
that I know
• •
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:
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•
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iIiI
1\
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iIiI
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What
will I
u
-,#
do now?
will I
Where
~cllJ
~
I
I
go?
w
We
w
were to - geth - er
.h~J
now
'-,#
" h)1.)
'/
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'---"
we
r~
through
g1l"
~
'/ 111l J ,
r
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I'
-.T am I w
.
los
ing
you?
,,
•
'-,#
t
Why_
•
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w
are
,
..,.
~..,.
,
.
v
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w
11"11"
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way,
me this
leave
leave
me to
miss you
:
:
• :
7if
can you leave me,
How
1i
1i
'/ jJJ I
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'/ P-J
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,.,. :
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CopyrighL@I!l99byWILLIAMSONMUSICandJl.'IATIHEWMUSIC AI! Rights Adminlstered by Will [AMSON MUSIC throughout the world International Copyright Secured All Rights Reserved
'/
.h~J
171 ~
•
9<> day
af - ter
:i..
V I
day?
v
you're what I
look a - round now,
see
~
~¥
~ilI-
¥
~jLJ
'I -lo-}-,
'-.J
ill-
~ ~.,b.J
I
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I
f~ ~
1if
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ffr'
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•
v' 71 Pic - tures of you Icav-ing me
I
-~
I
I
-
No one should 01
ways lose
,...., r1
~
I
I
I
~;J
oj
'I
I
1\
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,
'J-
LtlJ
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,t.J:U
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r'
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,....-,, I
I
Can't I
.~
:c: -.J~*"
1if 9'"
7l!l'jJ
~ }~~
:
:';:01:
(g); ;
,-
I
,
, ,
some
tind_
~
I
kind
, 'J
r -
No
peace?
bod - y
owns
the
,
I
oj
of
I
, ,
,
gP-d
'J
:
g!-d
'J
g!-d
'J
gd'Ld
~
-
'I -
-
,
,
- (l-~,
~l-d-
gl-d
, ~
•
9* blues,
•
but
I
have a
long_ term
f
lease
,
,
:
•
7J
:
,
'11,Jl~
'II,
,
~~
'I
p~
'I
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p~
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,
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172 ~
II
I
.,
-
:if
V
oJ
nev
-
why,_
er know
" ~
-
nev
I
er know
when
~ - ing a - iong,_
I'm go
~
" ill ill
~
"/ 1\
:
ill ill
ill ill
~ .b-J
"/ ]lJ
I
r
I
~,
~~
91 I
#;;t ;;t
~IIJ:U
~eJ:U
~
r'
I
I
lu
II v
~
w
hap
-
~'"
w
-d I
pens a - gain
have a
w
blind spot
for - ly miles
wide
II
( ~
:
(
.,;
9'" '"
9- -
"/ Q}-)
"' ~)l)
I
I
:r-
'-.J
"' .b-J
"' A-J
I '
I '
-.J
f;,;+
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"'ell"
ffr '
I
...
II
- ..
,
,
-u have a
I
9~ ~
;,;+
ler - r; - bie
I
That's
weak - ness rn - side!
how I
-.J
lose you
II ----<'
''';
:
I
r-f
'-.J
-.J
"/ .b-J
"/
r'
r.
f
07
.b-~
"/ II
h...1
~
~
#" "I
...
-
-
"/
I
-
-r
r.-
r
~r'
>1- -?} -'
II
f-~E
•
-;j how
That's
I
lose
you
\-G- II
)
v
~ "/
~; I
1\
::
~~.
I , I
"/ I
1\
e
II'
I
I
I
.~ "/ I
1\
I
173
Violin SoJo #
=
t::>
,
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,
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(
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~
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h.
9-"/QlL;
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•
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HllJ.
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r
I~LJJ.J I
~~ 111
#;t ;;
q~~
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"/
i
I
.
-~
, I
was
an - oth
-
er
I
I
I
llli' jJ oJ "J
-
"J
lL;
I
-.L
I
lu
J
r
jay - aus
girl,
"/ lu
"/ JJ. j
I
I
I &f She
,
I .
v
I
and
, hap - py
and
,
-'
,
:
-".
~
I
I
oj
~ _'.L
-
,
c0c--r. oj
f.,
I"" -.19"
J. P : 11f' was
per
a
"J
q}-J
JI
"J
q~d
;d.
pear I.
feet
,
,
, -tJ--
I
:
q.P-J
"J
q}-J
. "'
qJ-J
,q}-J ,
"/ bP-J :
"/I,P-rJ
174
,
!I
, .-
•
when
did
she
in
turn
-
-
me?
to
1I
•
,
d:
}-; -
~
:
jL;
'/
:"
JLJ
'/
~
'/
:"
I
I
1I
,
"
:;j How H
can I
lose
:;j
you?
that I
You're all
had
What
did I
-I
-.I
w
say, now?
1I
(
•
iI
!~l:j;
iI
iI
'/ t\
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-
I
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-i/ iI
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#~ ~
'/ )l~
1I'r
g~$ $
'/ LI:LJ
,,"lu
~
I' '
I
I
JlJ
r~1 was I
How ~
9&
-u
bad?
Who
u
can I
turn
:fI:
W
Where will
to?
I
go?
1I
, ~.O"
oJ
~f,
g<>
?J
.if>'
'-.I
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r~
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11
I
,~-
'/ )lj
'/ "JlJ
ffr '
I '
g1l' 11'
~
I
1I
"
•
u
,j
can I
How
IIII
u
live now,
w
:;j mlS
~
,j
sing you
so?
•
u
How
can you
leave
1I
Ii
::il*~-H--<' ?f .".
•
!I
,
I'
}' :
,
:
-"1=1= -
'/ ]l~
'/ ]lJ
I' '
~
me?
You're
, H-
r~ '/ll ~IJ
'
h.J
'-.I
11'11'
~
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.".
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'/ )l~
'/
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r'
r'
p~~
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I
175 Stowel; rubato
r-i"
,
tl
-i:-----<'
•
.........,
~
~.
"
d all
1
I
that
knowl
Oh!
That's
'd~
q'd
how
1
I
lost
you!
"
•
r~
~
~~
'd
~ ,,~. I
:
llf"
7P
4"
-<]'-
~
_4"
"
-.
,
--=-
1
That's
'"=
I
how
al - ways lost
you
1
;......,J
That's
how I'll
al - ways lose
you
-
"
-.
~
'd
~
:;J
q'd
: 4" '--
_4"
4" '--
~
~.
In tempo Violin Solo
~~!i-
=
,
~
..--
,
,
----
~
Oh
-.
" -V
if
iI
ar~~
-'d
iI
~~
"
"
1\
iI
iI "
1
iI
}~~
,
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f
f
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if "
jl~J
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,
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,
161
HOW LONG HAS THIS BEEN GOING ON? from Rosalie
Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN
f)
I
..r-=i
OJ
<
I
'"if
t 1
:
r-;
I
r-; h.J.
I
,.
I
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1
,
'I
Ii
Ii
I
I
<
•
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,
<
,
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1
~
1
~
1
~
1
MARY O'BRIEN: p',...-...,
f)
I
<
::i
<
]
,-..-..
OJ
'Neath
~11 poco rrit : -
I~
i
T
1
~
bn - zunI'S
at
of - len I've
had
ell -
[0
r--'9
I
,
the stars
4:
....
j'i
"li-
P a tempo
,
:J
,
:;t
-<
ress
Five
men,
fl OJ
4:
dol
- lars
"-'-fi<>I=
"
-~
LLLd:
[en
~
!
$
or
'"
->-: ~
+i
:;t
-d
, -,II
•
then
I'd
col - lect
-
from all
those
yes
+i~
~
" ,
"
men
,
f)
-
-
...
Originally a dllelfor a woman and a lIlalI,
Ih;~
editioll
adapt~
q"'" •l if as a solo There
-
~
~I I
i~
,
...
a d!tJerelJt male verse /lot included hell!
@ 1927 (,Renewed) WB i'I-1USIC COHP All Rights Reserved Used by PermIssIon
162
~.
j ~
Don't
be sad,
=fg fl
g must
I
s
p add
that
~.
~
they meant
~ I~
J
no more
61 -
than chess
=- I
--....
men
,..-....",
-- -
-'0)- 1>-tY
l::f
: w
I
I
H$
W'..,
..,.
-,#
.~
~
I
I
:;J:
~
-
r
~-e
OJ
Dar - ling, can't you
-
q~
~r "If
see_
't'was
- "::::: F ~LLJ
I
-:iT
-
~:::
.
I
I
-
~
-<'
OJ
..,.
1>-:iT
~
-,#
~
- ty, _
~
: I
w
char - i
for
....,
~
-
Thougb tbese lips
have made slips,
it
, ,
~~r
$
..,.
l::f
:&:
- er
was nev
rea
- Iy
-:iT
11lp
: -,#
;$I
..
I
:;;J:
mf
~. ~
OJ
se
~ -
I
-
fious
~
-
Who'd
~r
-e-
:it
:it
-e-
"if
,.,
:
a'thought
I
I'd
be
163
-0-
-
0)
brought
de - Ii
a state that's so
to
~d
"
-
rious?
~~
~
"
#~
....
:;J:
~
I
•
av '
T
I
I
....
I~J
l
:
~
,
•
I
cry_ cry_
could could
I
I
1
1
Where
I ~
I
1
J
1
bF
=~
I
1
J
these these
years? _ years? _
r
wow,_
Lit - tie Lis ~ len
"F
~:
I
....
~
all all
1
n
~
:
I
I"
1
been been
I I
I
1
1- L..J
I
have have
Where
tears; _
I
-------U
'I
tears; _
salt - y salt - y
you,_
tell tell
!~~::::f
I",,:
me me
I
~~-~-' now
how
do,
how
~::::~
.g-
b~
:
~
b~
:;t~
:;t
long long
has this
been go - ing
on7_
has this
been go - iog
on?_
There were What a
chillskick! _
I
I "6
$
I
r
T
~~~ (-e-)
-----
~ ~
i~LJ
1
1
1
0,
1
164
up How
my
spine, _
and
I
buzz! _
Boy,
I
/)
1
'I
"-
I
Lis ten Hear me
I
1
..
I---=-- L-J
I
I
I
thrills click
some you
I as
I
de
no
one
I I
r
pr I
I
.. re Ie
fine _
does!_
1
I'
sweet, _ sweet, _
.
can't
"F
I
.
"" long ---~"" . How peat:
.
peat:
has this has this
How long
been go - ing been go - iog
on? _ on? _
r
qf~
~.
~:
"-
!~~ :::::r
-,:r--,:r p;;
-
0"
'6
:
~
~
I when
Oh, Dear,
-
-r r
q~r
:;0'
~
~
-----
,
;;/:~
:;}
-
r
-......
./
f
feel in
I
that
I
your
anns
could I
f
T
'~
<
melt;_ creep, _
......... 1
I
T
~ 1
~
I~
•
p ..
•
'ii
v_
.1).
,
OJ
in that
.
to Beav - en I'm di . vine rcn . dez
/)
-
hulled!
I
r know bow
VallS,
don't
wake me,
I
-V yw C
1
I'~
r
r~r
yw
If
-&
l
r
I
-b- :
F:1 I
------<
I
I
I
I
-.f
Co . if
165
.,
r---"\
-
lum I'm
bus a
felt._
sleep,_
.
find let
. iog
I
I
1\
!
OJ
r
r
I
I
cresc.
~
r an - oth dream thai
me
er
world!
it's
true
I
I
r
I
Gl
I
:
r r
r
I
•h
'-",.
,
"
;i
.
,
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I FEEL PRETTY from West Side Story
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I'M LEAVING YOU from The Life
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I..ET US BE GLAD
from the Broadway Musical Wicked Music and Lyrics by STEPHEN SCHWARTZ Freely
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LOVE MAKES SUCH FOOLS OF US ALL from Barnum
Music by CY COLEMAN Lyrics by MICHAEL STEWART
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rail .
love
has
.~.n
no
• U -T----"p
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..
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..J.
~~
r-
.'
time,
makes
I
if
.J -<'
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r
q
EF
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fools
such
~
#r
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<
atemfJo
of
us
....
r
<7
_ _f.'\,
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"
love
r-1~1
r.I
.
rJ
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1
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rules,
no
has
----- -------
all
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54
MATCHMAKER from the Musical Fiddler 011 the Roof Words by SHELDON HARNICK Music by JERRY BOCK
Allegro - In 1 rl ~- #
1r
p
1r
1r
:
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r ,£!-M.
.
HODEL:
":
:;;
cr,
make
er,
me
f';I±i=:Wlif
,-
ir
'f
-
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r
t
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r
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r match
a
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ir
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•
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Match - mak
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m
me
a
11'
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find;
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me
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look through your
and
book
make
me
a
pef'
-
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match
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trio [01 Hodel, Chava am/ T::,eitel 11m beell adapted aI a solo Copyright 6 1964 Jerry Bock Enterprises i1nd !\1ayerUng Productions. Ud
Copyright Renewed 1992 AI! Rlgllts for Mayerllng Productions. lid Administered by R&H Music International Copyright Secured All Rights Reserved
j
7!F
I ====1 ~
f ""
,
•
-
55
-
f.'!~
I J j EfH J I J U==1-J match - mak Match - mak - er, I'll bring the veil
@J
er,
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bring
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56 Il" H
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schol
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me
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l
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57
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1
<
Night
catch
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J ofJ - J
.,
night
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Continuing to second verse
•
<
Slower (still in 1) " h
IV
___________
_______________
______________
own _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ ~,
D
>
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poco rit
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58 [This interlude represents Tzeitel's cut s'ectioll, raising worry over pOHible bad matches Tlte actor should shiftJr0111 bright
-O-~
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you
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[Tempo primo)
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hope 10 worr}, and alarm] AI legro
II.
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.....
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still
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y
young,
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59 1\ " #
-----
IV
Please-
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take your time!
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bride
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60
c-O." » ----<'
sen . ti
I'm
.
tal,
men
it's
just
that
ter
I'm
.
n
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ing
with
match . es
a
girl
~
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pp ~ ~
--< 1Il-
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May· be
rush
I've
--
>
Quietlv, [slower]
learned:
:.;.
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.
.
in
--
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fl"
I'm
plans
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I't'
get
bumed
SO
-
'"
'r.:~ ~~ [mil]
0'" ~
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can
.-$-'
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S,~{
61 i
Tempo r'
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" bnng
me
no
. I
ring
me
Groom
• a,
•
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.",.
11lp I
:
~I
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I
groom
no
I
qr r
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me
no
catch,
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rr <
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he's
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find
no
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me
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match!
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match
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•
MY HUU;::,t from Peter Pall Words and Music by LEONARD BERNSTEIN Slowly D
(J =60)
fl.
G/A
D recitando
A
WENDY : ,--3---0
-
3
mf-c:
-
w
u
Will you build me a house?
~
•
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---------
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--------
JJ ----- .~~t:~
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A
.
,-
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Poco piu mosso D7 cresc. fl.
(J = 72) G9 d'UlI
Dmaj7
G
-
OJ
D9 "-
I
that real - Iy will be rri'ine!
house
,
• ----I •
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7
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mf .-/
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F~m
pIc scheme
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7
.,
g
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8m molto rit,
sim
i
Then
7
7W . '-../
7
7
u
I
7
----'
dl/Il
of _ _
-.t
:;;i:~
D
The
house
Wbl
~
Lento Gmaj7
A
r-
-----
-.t~
-.t
I
me give you my de- sign-
let
dream
I © Copyright 1950. 1980 by Amberson Holdings LLC Copyright Renewed Leonard Bernstein Musk Pub!!shlng Company LtC Publisher Boosey & Haw!(cs. Inc, Sole Print l.1censee All Rights Reserved International Copyright Secured
---------------
uf _ _ _ _ _ _ __
7
_" 1 ."""0,1, IU\.C
a lUlIl~song (.J:::: 5U)
D7su s/A
G
D7sus/A
G
-
G
_fl.PI
A
I
, Build my house of wood,
OJ
r-;
•
~
, ~I
~
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I
r and
Build my house of brick
Build my house of stone,
,
I
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r-------
~
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:
~
.
D
G
.
~
~
"'""
~
~
G
D7sus/A
#f
~
•
r'--~
~
pa tempo
D7sus/A
•
•
mar
-
Make the
tar;
ceil
~
ing strong,
Strong a
M
gainst the stonn,
,
\ .~
..
r'
t
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r-J
.'
r--
r-----
I
=
r--
, ~I
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f ----~
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G
D
A7
Shel - ter when the days
rL~ OJ
."
C;
"if
-
r
0
OJ
I
grow short
-
~
w
~
~"'-
~,..
D
E7/D
fl. e er;
r'
~I .
~
-.fey
But
'---"'1
build my house of
~
f
love,
and
~ e
r
r
71if~
.J . ,
j
i
101
D
E7/D
E
E7
87
cresc
&:f,
-
OJ
paint my house with uust- ing,
and
.~L
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I
your
I~J
IT
f
[resc
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r
I
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...
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o
D7sus
OjD
D7sus
.....------..
~-
----
r~
UI
dim
I I
heart;
I~
I
-r~1
~r
O/D
with the warmth of
wann it
A
nOll cresc
• p
,
•
,
•
Make the floor of faith,
•
Make the walls of truth,
Put
i
a
roof of peace
a -
"
;;;::: I
•
•
;;;:::
~I r---------~
~
~
~
~I
r
r---~
p
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r
....
-ef
-of
8m
o
Am
':="
On - ly build my house
bove;
/'
Cj
~.
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I
I
-of~
-
r
---------
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I.--'
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i
'----
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o
love
v----
til
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of
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D7sus
ff-----
ric
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pp
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c='---.
r;:; - --00 roll slowly
180
NEVER
from On the Twentieth Century Music by CY COLEMAN Lyrics by BErry CaMDEN and ADOLPH GREEN
Freely
,
LILY :
-0-" OJ
1
.,..
Let
me
_fl_"
1/
r.
7f~
IV
see,
r~_}
L
I
me
when
I~
-----
v~r
"if
..
1
let
see,
~r I~,
I
~r
~
"•. would
"
..,.
:;
I
a
~
-
vail
-
a
-
When
ble?
will
I
be
-
1
~
---~r
..,.~
I·~'
~
____ rJ
March, Sep
~
tern
¥
ber,
June,
No - vern - ber,
free?
#J:
~,
.
....~
Nine - teen
lhir - ty
~
three?
Nine-teen thir - ty
't)":
~"
L II
.. o
'I if .
Though plilllaliiy a 5010, Lily is joilled by other c/Ja{(1cren, which have been eliminated in this solv editioll
Copyright © 199! Notilblc Music Company, Inc ilnd Beldolph l\"iuslc. Inc c\II Rights Administered by Chrysails Music All Rights Reserved Used by Permission Ii
'I
~
qr
181 Allegro
•
> •
l
"
•
~ty
four?
§PI
I
five?
Thlr-ty
fl
v
w
pp cresc :
-.
-.
..,
-.t
.
..,.
~
-.
-.t
-
~
.".
.=---' Nev ~ cd
'. ? SIX,
..
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lif m
:
.
-.t
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4-
"
Nev
4
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P
::. :;;;
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-
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cr,
that
-
-
'
Tell
him,
..
..
is
'l!T
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word_
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the
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use
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v
w
Nev
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w
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er,
that
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the
word _
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4
.,.
tell him you real
" ~.
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ly tried
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I choose
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NO MORE CANDY from She Loves Me Words by SHELDON HARNICK Music by IERRY BOCK
Spoken before the sollg
AIVIALIA: Let me tell yOI/, This little box has been a lifesaver to many, many women They have a slight tendency to overweight, and dolt 't we all We sit home reading a good book, or listening to a symphony, and without realizing it, our hand slips into the clIndy box
Andante
' - d'Is-creet I 10
We be - come
eat - ing
R H. 8va throllgholll
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Copyright © 1963 Jerry Bock Enterprises and Mayerllng Productions. ltd Copyright Renewed !9DI All Hlghts for MayerUng Productions_ ltd Administered by R&H MusIc
International Copyright Secured AI! Rights Reserved
in mind,
.,..
as
h
the
r----.
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kind
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re - mind
of
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raise
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the
lid
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plays
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44
NOTHING IS TOO WONDERFUl. TO BE TRUE from Dirty Rotten Scoundrels
Words and Music by
DA VlD YAZBEK Ballad tempo
-
•
CH RISTINE:
-
3
4~4-:;t-
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Look at the way the moon _ be - haves, _
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the
One thing I've learned and
waves_
I'll share with
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due! betlFCel1 Chri5tine alld Freckly. adapted here aI a \010 A repl il'e oj rhe long ill the Ihol\! hm been ilU.;orpomwd into this edition
Copyrlght@200·1 David Yazbck
All Rights Reserved Used by Pennisslou
45 3
you
Noth-ing
.... "'" be
"'"
I
I•
too won-der- ful to
is
3
()
H....
I OJ '7
{
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true
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let peo - pie
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r
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grate - ful?_
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am,_
day
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ing
world_
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in which
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anel
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47 a tempo
3 u
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at
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the
way
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moon_
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<
a lemp~-r
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ure_ on the run _
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48 3
f'l
....has
~
Q)
a - gain,_
bad
luck
~
won
and_
a - gain_
it
won't
f'l
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h
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will
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life's
And
., I
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I
way back to the
,
you're stand
lop _
, I I ..
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luli, you've found
yom
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I
3
Breathe in
..
and taste the 0
..,.
q-
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cean breeze _
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49 3
(L
Look
at
the
way
the
leaves _
are
dane - iog
in
the
ban
yan
trees_
3
3
r--3----, -<'
I
to
Lis - ten
fl
., -
"
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what they
sing - iog
I
to ..
,
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'if
I
P
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-
.... Noth-ing
is
H....
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if
.",.
too wort-def - ful,_
oath-iog
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too won-del' - ful,_
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is
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,
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PEOPLE WILL SAY WE'RE IN LOVE
176
from Oklahoma! Lyrics by OSCAR HAMMERSTEIN II Music by RICHARD RODGERS Moderato
LAUREY'
"*
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tit
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a tempo
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name
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yours?
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do
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up
do they think
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know a
way
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prove what they say
is
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Lamey sings a vene, (hell Cwley This wlo editionfOf soprano Dilly pre5enH Loutey's vene
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l:
Copyright (i) 19,13 by WILLIAMSON MUSIC Copyright Renewed
ul
InternaUonal Copyright Secured AI! Rights Reserved
~
pene - Ii - cal
cl
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178
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love!
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146
PRACTICALLY PERFECT from Mary Poppins Music by GEORGE STILES Lyrics by ANTHONY DREW
Freely at lirst J= 110
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MARY POPPINS ""=:;'
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139
SOME THINGS ARE MEANT TO BE from the Stage Musical Little Women
Music by JASON HOWLAND Lyrics by MINDI DICKSTEIN
Moderately, !lowing
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BETH'
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Copyright © 200S Cherry River Music Co. (BMI). Howland Music (8M]) and Little Esl,y PublishIng CASCAP) Worldwide Rights lor Howland MUsic Administered by Cherry River Musk Co Worldwide Rights for Uttle Esky Publishing Administered by Cherry Lane Musk Publishing Company, Inc International Copyright Securc:d All Rights Reserved
as -
140
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do
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the prom- ise of who
nev - er die:
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your rnem -' nes when I
you are,
D
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you ____________________________________________
All
my
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r· life
/\
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Cmaj7/D
p P=tj I've lived
for~
G/D
3
,
;J
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lov- ing
you,
D/C
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go
D/C
C
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226
SOMEWHERE from West Side Story
Lyrics by STEPHEN SONDHEIM Music by LEONARD BERNSTEIN
mp
"* f
Th~e's
a
"*
•
place
for us,
0
D
I
.",
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IJ a
place
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and
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pen air
Wait
for
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us
pp
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W
J
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for
time
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for us
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a
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for us,
511011'
the
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is
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by a character simply known as ";\ Girl " Copyrlght@ 1957 by Amberson Holdings lLC and Stephen Sondhclm
Copyright Renewed I'his arrangement Copyrlght@2007byAmbersonHoldlngslLCandStephenSondheirn l.eollard Bernstein Music Publishing Company LtC Publlsher Boosey & Hawkes. Inc, Sole Agent CopyrIght [or AI! Countries All Rights Reserved
['..:/
,
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227 Poco piiJ mosso
cresc.
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time
Time
to spare,
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place
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way there
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I'll
my hand and
take
Some-how, _ _
you there
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Hold
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and
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194
TAKE CARE OF THIS HOUSE from 1600 Pennsylvania Avenue
Lyrics by ALAN JAY LERNER Music by LEONARD BERNSTEIN
-0-"
ABIGAIL:
Esplessivo
r-3---,
,-.,
3
<
cv
Take care 3
I'l"
this
~
ppr
~Vrail
3
P esp' I'l "
,
"-
of 3
,
"-
L
,
-
legato
I --'::J;!:
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f
~
Andante J= J
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cv
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house,
keep it from
If
harm
ban ~ dits break
~
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mp ~.
..",.
r ---------------
r
a -
I
....
h
sound the
In,
I
.. "
-e-'
larm
shine it
Care for this house,
by
hand
.
and keep it
so
Ii cv
-
~v
~.
;::
:
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;::
q-G'
= ~I . --- I q f Original/va dllet for Abigail alld [uel, thh' wlIg 11m been adapted .
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I
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Q5
1-
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a solo /01 this editioll
© Copyright 1976 by Alan jay Lerner and Amberson Holdings LtC Copyright Renewed Published by Leonard B(~rnsteln Music Publ!shlng Company LLC. as administrator tor Leonard BernsteIn Music Publishing Company LtC and Ayjayel Music Inc l3(Joscy & Haw]ws. Inc. Sole Agent
Copyright for All COllnlries All Rights Reserved
-
·~"·erJ:"
,
195
-
"
clean
"the
glow can
-
,~
seen _ _
be
ali
o - ver the
land
Be care ~ ftil
at
I
r
# 5'-: "if
W'4 :
f
J J
....-----:;
:
..
#
I
I
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-
'.doors
check all the
I
I
If
.' ht, mg
If
some~ol1e
makes off with a dream, the dream wiII be
I
I
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q"". pp
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h"l~
:
'1 :
'of
cre·5(
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r
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p
of
-
fl OJ
yoms
Take care
of
this
house,
al
be
~
ways
on
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for
call.
this
house _ _
is
the
hope
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in,
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a
sound the
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-
:
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this
house,
shine it
by
I >
mp
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the glow can
.----
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be
~ "
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o - ver the
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ail
'1-" I
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197
.---------.
flu
-
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land
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pp
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If some-one makes
doors
check all the
night,
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flu ~
i<1-
with
off
.J
flu
a
the
dream,
be
dream will
;J
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Take care
yours
this
I
:
,--
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f
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Meno mosso
[1'7\]
1'7\ ;;
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of
,.....;;.-,
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be
house,
ai- ways on
Care for this
call.
house,
it's
the
[r.'I]
flu
..,
r'
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ff I
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1
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J-J.
r
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229
THANK GOODNESS from the Broadway Musical Wicked
Music and Lyrics by STEPHEN SCHWARTZ
Freely
-0-
I
Allegro
GLINDA :
OJ
17\
"
Fellow Oziam - £H terrifying a.s tenor i~, let us put aside ollrpanic {or thi~ aile day-
--
1\ l>OJ
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-
-
17\
- and celebrate!
~.
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Oh, what
a
eel
e -
~
;:ra - tJOn .
,
I
we'll have
to -
day!
Thank
Good-ness!
"-~1
r--,
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r--,
r--,
I
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f'-
qf'-
Pf'-
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Let's have
I
Il
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a
eel - e
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-
bra - tion
I
the
"G~a"
I
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:
Thank
Good-ness!
,.....
r-,
I
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qL
I
way!
-.T
-.T
-.T
-.T
Pf'-
I rl
Fi - n'lIy
Il
a
.... day that's
to - tal - Iy
-------.
Wick - ed - Witch - Free, _ _ _
We
-
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+-----
:
I
1>-. :;;t ;;1 Olinda i5 joined by cllon/\ and others ill thi5 /llImber, edited here as a 5010 veniol1 Copyright Ii) 2003 Grcydog Music AI! Rights Reserved Used by Permission
,-
....
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230
I Ii '[
1\
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OJ
could-n't be hap - pi - er,
-
-.
Good-ness!
,
..
I
r-,
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I
l
r-,
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r-,
j
I
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:
Thank
-
,
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q,...
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P-'
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'if ~~
Moderato
r.,
~
..
.... "
V!e
(Spoken) Yes
could-n't
be
hap - pi
- er,
dear?
Right,
~ I :
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1l1p
... '-----------r;;:
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J--
,...
"
,
I
J
J
:if
I
n n n
·
-
II ~
!!
..
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I
Could-n't
be
hap - pi
- er,
Right
I,
here,
look what we've got:
• I
I 1
I
I
JJ J
,...
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p-
I
n
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n
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I
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f!:
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fair - y - lale plot, ()
Our
.'
I
...
u
vel' - y
own
I
:
n
,...
I p.
•
end
-
ing,_
Where
1f2-
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hap - py
i.;pc :
-d-
-
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P-
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,
we
tfI.
I
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·
,
231
.
. could - n't
hap - pi
be
True,
cr,
-
I'l
dear?
6
'"
I
I
.,.
fl-
:
n
1
JJ J
Could-n't
.
P
n
I
n
hap - pi -
be
I
I
H·
fl-
.'
,
I'l
..,. And
er,
to share
hap - py
we're
., I
J
:
J
J
h n h
!';
I'l
all
r:
m
fl-
.,
t;:
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could-n't look hand-som - er,
r:
. fl-,
-:--fl-
(L"''-
I
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....
.
:
1
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I
'" Il ~ Q)
p-
.
He
you!
'"
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I
,
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I
I
could - n't
be
........ hum - bi
I
-
cr,
I
CQuld - n'l
We
be
........
hap - pi
-
~
, -
,
.. I
:n::
-
er,
,,-~p-
t!-:~t!-
t!-:
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.
vi - car
I
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g
end - jng
p-'
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our
.. I
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I:": :
w
232 fl-l_
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v
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Be - cause
11
I
hap-pens
when
.,..
I
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IV
.'
what
is
hap - py
- ........
: I
I
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I
all
yOUI'
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·
dreams _ _
come
~:
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a tempo I
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til
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a tempo
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r"
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,...
.
IV
That's why
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..,. ..,.
..,. .
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I
could-n't be hap-pi -
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fl-
r
233 ~
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r
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er,
could-n't
,
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be
er,
,
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JJ Jh
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couId-n't be hap - pi
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But I
L 1
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'it
.. I
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,
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ed, _ _
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c
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(spoken') Well - liar '" simply"
er
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234
-Ci.
-
-
oJ
get ~ ling your dreams,
'Cause
,
,
r--,
it seems
I
~'
-<>lit - tie, well,
~.
r--,
...
r
ed _ _
-
pli-cat
There's
t :
.
lfLJ
'ii
cost _
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~.
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7f
.
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a
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p oJ
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:
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of things get
~
There
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THE BEAUTY IS from The Light in the Piazza
Words and Music by
ADAM GUETTEL
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II
198
THE FLAGMAKER, 1775 from Songs for a New World Music and Lyrics by JASON ROBERT BROWN
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u
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r!
204
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OJ
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stripe
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wait
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ing
.
we've
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ff
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:
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-d
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grab
nee - die.
a
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ble
you sane
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01
it's
if
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-d
.
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that keeps
all
U
; "
f ( -.I
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ll_
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•
free-dam
"
I
as
a
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bol, think
of
jus
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a gain!
as
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205
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with in
life
de
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pen - dence,
~
think of
mtls
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kets and
bri -gades,
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·
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u
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think of
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if
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if :; ~
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tak
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op - pres-sors,
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think
n
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ban
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if
·
w
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When the
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and the cat
and the night
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raise
a
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f r:rr I I I I I
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a
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flag!
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(
crawls,
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(
cracks
and the paint
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: ~-
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206
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u
1:
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:
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free! !
'til you're
flag
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shed's
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dJ ___ - - - - ____ - - - - ___ - - - _____ - -V_____ - - - - ___ - - - - - ___
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one more sui pe
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y - - - ___ - - - ____ - _______ V -_
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,
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back home
=. -
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'til they come
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r--..
u
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One more
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'til this blood
one more stripe,
to you!
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u
one
star, U
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207
.
a
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noth
ing
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can
you
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sharply accented
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.' IT'
246
THE GIRL IN 14G Music by JEANINE TESORI Lyrics by DICK SCANLAN rh
(n = J »)
Moderate Swing ~
-
d
OJ
,#
Just moved
~
e:
~
1!-
?-
OJ
.
J
I
I
mp
3
to
~
3
j J I J I LH~
I
....
in_
or
jar
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r
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r
7 ~p
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v
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"G,"_
Four-teen
i
•
r
~
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r
so
co
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..
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,
for_
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a
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r
silll
•
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-
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mouse like
with
me
r
r
I
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qui
,
et
~.,.
I
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F~
iT
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~0":'
....
rul
..
:;;I:J
7
,
-
.
-
....
~
and peace
.. :;;1:.
'--....-/
r
.... • Heav-en
..,.
~,
zy, calm
,
I
I
I
..,.
..,.
~,
r
....
~ I
by
[he
lease - ful.
-~
I
I
I
I
-e
~
Copyright © 2000 T'hat"s Musk To My Ears Ltd and Thoroughly Modern Musk Publishing Co International Copyright Secured All RJghts Reserved
I
~
247 f\
<
/of
~~
Pets are
H"'~''''
'iii'
too,_
and
par - ties
banned, "
~"" no
'iii' '" so - Ii
'iii
-
CI -
-
.... ....
q:;ow
~ ...~~
~'·~U
"if
....
#'f 'f <
..,.
..,. *
~
"
f\
q~
OJ
H.... ~#
~~
-
la
ti:ns
~-\'T
H$:
-\'T
view _
gar - den
~~ U
$:
1 .... ....
\:fth
seat_
"Vin-dow
...
~ ~~
:
'"
",'
....
",'
....
....
No swing
..
L
q~ ..,. A
f
L
q'" to
per - eet nook
*I
read
H-
I'm
a book
>
':In
I
I
my
Jane
Aus - ten
when
-
E ~ --
l
<
d
F= --
7
I
I
I
I
0
}-E>mp
~
,<;>-
~I
LH
I~I
decreK poco a poco
:
,-6 L
•
"Ah,
hem: DE>-
"
1
:
*-
I
"
,1 ~
...
lost
q.... b:Gt
ah"
j,~ - -
,> ~ ~
ff
>~e -
j,h
>~D-8-
j,q..,i'i e >
q:ft:
p ..
e
--=7'"'"
bD--
248 Tempo I (Swing)
S7;y Hit o-
5lIb
is
-
n't
<--
,",!," Not
so
i
i
the
gb:; ,
flat
:;t
~
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~
i
#iJ
<
'<
H,""
<
r
P
.
:
~
-<
q..,.
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:;t
:;t
il 0)
~
low
-D-
From
..._,
H"'" an
~
V~
op
-
'ra
-
* wan
- na
,
;:
$
'i
#'iJ
v
:;t
~v~
"
:
,
,.
:;t
"
q:!
~-
~
v
:;;J:
.dbh.J I <>-Ed
u
"'"
"G,"_
#. ......
#:!
::::::::::;~
mat - i-nee of some can - tn - ta,
a
. 4-
-r-
:
,;, ,
~
-
.. ..
-
I
-d
,
'i9"
.r=
-
Wag-ner's Ring and Ira - vi
-
,
$'
:s:
"
Tim - teen
..,.
~~
Il 0)
lD
,...
Il 0)
~
be_
i <
"
a -
ta
-
Faster, it la "Magic Flute" (no swing)
.. "Ah, ah, >
.ff' nif
,
-: -
;.,
r: ;., ;..
;.,
;.,
ah,
nh, ah. ah, ah,
ah, nh, ah,
ail, all, ah, oh,
i>-
t: ,
--< ~
;.,
-
;.. -p-
='i=
C
,. I
r: ;., ;..
F C er r
-
;.,
ah,
.
;.,
t=
all,
ah,
;., r:
;.,
ah.
ah,
ah, ah, ah,
?c
f:: ;. f:: rc
r: i'c
~
..
< ~
"
249
jl.
ah,
I'l
ah,
P-
A 13"T' f'lstan "
i:
jl.
-i>-
ah,
ah,
ah,
i:
jl.
?-
ah,
jl.
-i>-
ah,
ah,
P-
?-
H~
*~
•
-
-
~
oJ
:
.p-
#
f "
~""
~
H",
~
ah,
oJ
I'l
.p-
I
J~J
,
"hJ~~
, -<3-
*
*
A la "lVIagic Flute" tT~" ...............·
b...
•
all, ah, ah, ah, ah,
-
tr ...............- ... ~'"
-i>-
ah, ah, ah, ah, ah,
-"
-
--~
-
-----"
-
~ , H1"' :
-i>ah,
.
~,
'!'
ah,
FF
ah,
-
'----../
1"':
-i>ah,
=
ah,
.
'--------'
ah,
FF
ah,
.-
'----../
ah,
FF '----../
mf :
,- ..
~
V
_fl,
-
~~~
-
~~-
" ~
Tempo I (Swing)
e_
~1"':
.,..
1"':
ah,
ah.
ah,
ah"
Pc_ .
a#;
Pc
~
-
OJ
1l. OJ
I
ff.r >
wb. P
I
'!
:;j >
~
I
r
~ ~I
"" 250 f\
..
;y
OJ
{
r
r
"p~r
7
..
.
-.f
""'-
..
.
.
chet
un
..,.
tea _
of I
....
,
....
~'----
~
c:p
a
r
r
~
she's
Ji
r
ffp
7
.,.
.
~
I
. til
.
r
~
~
r
<
I
I
I
eight,
Half past
Ili
-~
~.,.. I
':'~':'
l
OJ
Cro
"
--./
self_
HIll
.
"-<"
'itJ
':'
7
.
Puc -
.
'itJ
.
-e-
'it
0
fl
....
I
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q'~
mf
.
F f\
~
....
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....
.
0)
not
a
"""'~ .... peep_
fl
v· .
..
-",,'
with
up
.-
r
....
....
...J
:
~
-
....~.
put
I
I
Brew my
.....--,
..
fl
...
r
--:ill
:
"
....
nl
.
<
.
"G"_
i
-
,
r
ci
In
..,.
:
F~l[.teen
~
night_
first
-e-
" ~
q~~
~.
q--:
ex
cept
....
....
....
-.f
-.f
the
dock
q::"
: .0-
g
-.I'
-------
#':J :J
7
,-
q-.f
tock-
tick
....
~; ,~ 10
q.zc .zc
--<
_
if!-=J= <
.",.
<>
251
No swing
J)
, ~~
OJ
Now
I
~
lay_
to
down
q;
H"*,~'"
sleep,_
c:m-~
~
bed
-
~
>
~
)=
~
~
q'B'~ ~
q'~~
OJ
11~ '"P
: -,I'
-,I
...
-,I'
..
. •
.."
q...
*:my
-<>rest
to
...
v
head
.."
stretch,
A
"a
yawn;
al
I'm
- most
gone,
then
>
-
ri
~
-) = -
7
""'-
r r
-e-
r 1-----
-
RH
Tit. e dim,
:
:iIE
Fast Jazz, Ii la Ella Fitzgerald (Swing)
-
.
<
"Doo
IW~-$lijo OJ
.f i±~
wee
-
-
zwah_
~p-
4L
I
doo ~
..
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I
""",,¢=
at
""'-
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< ~
J)
3
.
-, I
OJ
~
-
dup
tah ~p,.
doc
spee-di -lee dee
bp-
r: --<
05-
-
nay
..
- doy ~
bee ~p-
-
blip,_
.
-
1
-
....
-iff
..,.--"
v
-
252 opt. I (I ...
'.'
>
naa
- naa - naa - naa
- naa - naa - naa - naa - naa - nan - nan
- naa,
-
>
woo
-
weeee
~-t
:
I>~
>l:
I
I
I
~#~
>,
-e-
I
~v
j'j
>
-6'
Tempo I
, - - - 3 ----,
--<:
:'" H"" Now the
OJ
girl
-<'
q""
""
~
- stairs
up
wakes
H* me
un
- ~:
-
() ~
OJ
r
1> .....
SIIb P
:
-f
$
!
:i
#iJ
•
•
~
'"
:if
""
:if
J ilW W I wares
Blow - in' down
from
•
'
"
EJ
oJ Fif - teen
#i :if
J I
I
"G"_
her
~
•
.... - Cl'I rev
#~
-it$"
She's scat - tin' like
-
....
() OJ
..,. - le_
1f'~1f'
'if ..
1J"
..
her name
is
EI - la
Guess who
..
D ~
r
I!p
ill
an-$WCIS
a cap-pel-la D
,
..
.!I'::
lightly
: V
I
"
~
..
,
i
I
:
., I'
~ ~
~
~~----------------------------
253 Fast Jazz (HElla")
Operat::.ic=--_ _ _ __
---
~
•
@)
...
dO~
"Zoot ~
....~.q.
~
v~~
f
"Ah ..
day" _
flay
I
~
@)
..,.' doot
------'"'
I
-e~
I
I
~
Fast Jazz (HElla")
I
I
I
1rif malta legato .,..~.,..
I
I
.:f!:-~""
Operatic
....
~
Ii
•
--
--< ~u
dO~
"Zoot
I
f
flay
doot
dee
day." _
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my filL
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113
THE MAN I LOVE cut from Lady, Be Good!
Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN
Pili mosso, con bravura
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night
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Om
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though
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is
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that
a dream comes true,
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The editor :I:
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© J92i (Renewed) \VB MUSIC CORP AU Righls Reserved Used by Permission
I
114 Cm/G
Gm7
that he'll
ap - pear
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me
to
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I love;
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and when
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I'll do
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my best
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the man
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and he'll be big and strong,
I love;
the man
,
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Some day he'll come a-long,
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Adagio 1\
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make fl
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him
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stay
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at
me
and smile,
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115
It
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I'll un - der- stand; ()
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and in
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we both
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C9
F
won't
say
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Sun - day, may - be
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shall meet him
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he'll take my hand;
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a lit - tie while
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still I'm sure
not;
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meet him
one
day,
may - be
Tues - day
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to
will
be
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116
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my
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tIe home
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just meant for two;
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day
news
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from which 1'lI nev" er roam,
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And so, all else a- bove,
who would? Would you?
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I o~tional ending C
Dm7
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F
the
man
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I'm wait - ing for
love _ _ _ _ _ _ _ __
1
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longer version with repeat F sb
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DOl
J H May - be I
love
Jl
shall meet him
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,
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117 Dm
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him
meet
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may - be
day,
one
,
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, day
a
He'll build
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lit - lie home
('I
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Fm
F a tempo
[fl
good - news
I·~,
1
[Tit.]
C7D9
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be
will
~-&
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my
Tues - day
~
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D7~5(b9)
Dm/F [rit.l
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still I'm sure
not;
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just meant for two;
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til
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hom which I'll nev - er roam, 1\ OJ
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I'm wait - iog for
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who would? Would you?
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II
166
THE SECRET SERVICE from Mr. President Words and Music by
IRVING BERLIN Moderately Fast C6
C
C C6 NC , , HENDERSON , , LESLIE :
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Ser - vice
The Se - cret
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makes makes
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when I am those White I-louse
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wait kicks
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hold my
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------<
Copyright 1962 by irving Berlin Copyright Renewed
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------<
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When Just
•
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their
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are
all
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dat - ing dicks get
International Copyright Secured All Rights Reserved
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167 C7
fl
'0;- , stead mind
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for not
up
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C7~5
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the to
kiss say
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he'll
plant. _ _
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won't, _ _
Dm7/G G7
•
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ner - vous and net vous and
r
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the the
G7
Se - cret Se - cret
Set - vice makes Ser - vice makes
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give
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on
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pri
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When
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gum - shoe jng play
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eye
peep - ing,
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al - ways say, "There's
,
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ko I
<
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168 F
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Fm6
J ('
£ IJ
- en
aunt, __
maid at
J F9 Se - cret Se - cret
the the
knees,_
the
Dm7D5
G7
NC
1m
.J
-
makes makes
Ser Ser
vice vice
Dm7/G
J ht J ner ner
me me
-
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vaus vous
G7
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freeze
Fmaj7
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be may
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F7
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I've been ex What - ev - er
can't
qr
Dr
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yond do
con or
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trol,
say,
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just will
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Dm7/G
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Dm7
Dm7/G
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must drink wa it's dis - to! t
daugh - tel" port - cd,
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no drink of they don't see
scotch she might do clear - Iy when I"m
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240
TOO MUCH IN LOVE TO CARE from Sunset Boulevard Music by ANDREW LLOYD WEBBER Lyrics by DON BLACK and CHRISTOPHER HAMPTON
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A
MAK~~ Mt.. LUVlt. from The Apple Tree
WHAT
HIlVJ.[
Words and Music by JERRY BOCK and SHELDON HARNICK
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What makes me
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Though fhe ten'itllla is lOll', thi~ sone should be SlIng more by a wprano voiu: /Other ,!rail a beller Copyright © 1!l6G by Applelree Music Company
Copyright Renewed AU Rights Administered by Alley MusIc Corp
International Copyright Secured All Rights Reserved Used by Permission
"
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Il " #~ , i
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What
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his
not
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is
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he
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me,
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used
me
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And
ill
tho'
he's
hand - some,
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plain
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in
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me,
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WHISPERING from Spring Awakening Music by DUNCAN SHEIK Lyrics by STEVEN SATER
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Copyright 'i:) 20{)G by Universal ~Iuslc - Careers_ Duncan Shell, Songs, Happ Dog Music and Kukuzo Productions_ Inc All Rlghl~ for DUllcCln Sheik Songs ilnd Happ Dog Mw,ic AdminIstered uy Universal Music· Careers International Copyright Secured All Rights Reserved
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186
WHO AM I? from Peter Pall
Words and Music by
LEONARD BERNSTEIN Moderato
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06 WENDY:
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the thoughts I
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have by
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76
WILL YOU? from Grey Gardens Music by SCOTT FRANKEL Lyrics by MICHAEl KORIE
Slowly, in 4
EDITH: Good afternoon everyone, alld welcome
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to Grey Gardell S I'd like to commence om liule tl'ibllle to youllg love with aile of our all-time favorites GOllld'-"Will YOll'"
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storm
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star
and
5~.lm-rners
fpoco rail
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Poco pin mosso
rail.
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will
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Time
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1'111 afraid 5he 's
going to be tickled pink ro see )'0/1 all here
.y
fllile dialogue is omitted. {/ pos~ible cllt may be lIIade frolll '" lO
**
.--------.
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fhe guest of hOTTor-she''} mi55illg ill acrion'
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Bill she won '( be gone for long, I just kllow it
Nerves, I'm wre
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My little Edie
Why, jU5l look at the garden-the sound oj the ocealJ, and all of YOIt here, all of yOll come to celebrare Edie
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f have 110 doubt allY millute she'll cOllle bree;:.il1g down {he stain, 01' mrprise
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Because I ask yOI/, who cOllld ever bear to leave?
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maybe, through the patio doon
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