A Walk in the Black Forest

Context: Originally released in 1965, 'A Walk in the Black Forest' is an instrumental piece that became popular for its soothing melodies and orchestral arrangement. It showcases the unique blend of pop and classical influences characteristic of the era, appealing to a wide audience and often used in various media.

'A Walk in the Black Forest' features a lush orchestration that combines melodic lines played on the piano with strings and woodwinds. The piece is structured around a simple yet captivating theme that evokes imagery of nature and tranquility. The harmonic progression is predominantly diatonic, creating a sense of stability and ease. The rhythmic elements are gentle, allowing for a relaxed listening experience, which is further enhanced by the use of legato phrasing. This piece exemplifies the easy listening genre, aiming to provide comfort and serenity to its listeners.

The music is characterized by its gentle piano melodies intertwined with soft orchestral backing. The tempo is moderate, creating an inviting atmosphere that encourages relaxation. The harmonies are rich yet accessible, often resolving in pleasing ways that evoke feelings of peace and contentment. The overall sound is warm and inviting, making it suitable for background music or leisurely listening.

Imagine a serene forest at dawn, where soft rays of sunlight filter through the leaves, casting dappled shadows on the forest floor. A gentle breeze rustles the branches as birds begin to sing their morning songs. In this tranquil setting, a couple walks hand-in-hand along a winding path, their expressions reflecting contentment and joy. They pause occasionally to admire the blooming wildflowers and listen to the soothing sounds of nature around them. The music plays softly in the background, enhancing the beauty of this idyllic moment.

X:29
T:A Walk in the Black Forest
T:A Walk in the Black Forest
T:(I walk with you)
T:Horst Jankowsky, Kal Mann
C:Horst Jankowsky, Kal Mann
L:1/4
M:4/4
I:linebreak $
K:F
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 52
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z2 z (C |:"F" C3/2) F/ F A | A c c a | a/a/ g f d |"Am" c ^c"D7" d A |"Gm" (B4 |"C7" B) =B c G | %7
"Eb7" (A4 |"Db7" A3)"C7" (C |"F" C3/2) F/ F A | A c c a | a/a/ g f d |"Am" c ^c"D7" d A |"Gm" (B4 | %14
"C7" B) =B c G |"F" (A4 |"A7" A4) |"Dm" (g4 | g)"F" f g a |"Bb" g f g (a |"A7" a) f e d | e3 A | %22
"D7" (a4 | a) c' b a |"G7" g f e d |"C7" c B A G |"F" C3/2 F/ F A | A c c a | a/a/ g f d | %29
"Am" c ^c"D7" d A |"Gm" (B4 |"C7" B) =B c G |"Eb7" (A4 |"Db7" A3) B |"Gm" G4 | B C G A |"F" (F4 | %37
 F2) z C :| %38


A Whiter Shade of Pale

Context: Released in 1967, 'A Whiter Shade of Pale' became an iconic track for Procol Harum. The song's haunting melody and evocative lyrics have made it a staple in rock music history. It is known for its unique blend of rock and classical influences, particularly the use of the organ, which adds to its ethereal quality. The song was a commercial success, topping the charts in several countries and is often regarded as one of the greatest songs of all time.

'A Whiter Shade of Pale' employs a distinctive structure that blends elements of classical music with rock, primarily through its use of the Hammond organ, which creates a lush soundscape. The song features a melancholic melody that complements its abstract and poetic lyrics, which evoke themes of love, loss, and nostalgia. The lyrics are open to interpretation but often reflect a sense of longing and emotional depth, with references to literary and artistic imagery that enhance its dreamlike quality. The harmonic progression is notable for its use of modal interchange, contributing to the song's unique tonal character.

The piece is characterized by its slow tempo and rich instrumentation, featuring prominent organ melodies intertwined with soft guitar riffs. The vocal delivery is emotive and reflective, conveying a sense of yearning and introspection. The arrangement builds gradually, layering harmonies that create a lush auditory experience. The overall atmosphere is both haunting and beautiful, drawing listeners into a contemplative state.

The music plays during a twilight scene in an old European city, where cobblestone streets are illuminated by the soft glow of street lamps. A couple walks hand-in-hand, their expressions a mix of joy and melancholy as they reminisce about their past together. The air is filled with the scent of blooming flowers from nearby gardens, while distant sounds of laughter and music echo through the alleys. As they pause to gaze at the sunset casting hues of orange and purple across the sky, the music swells, enhancing the emotional weight of their shared memories.

X:30
T:A Whiter Shade of Pale
C:Procol Harum
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm=" " snm=" "
%%MIDI program 13
V:1
"^Intro""C" E8- |"C/A" EDCB,"C/G" CDEC |"F" A6"F/E" Bc | F/"Dm"E/ F3-"Dm/C" F2 D2 |"G" B6"G/F" cd | %5
w: |||||
w: |||||
 G/"Em"F/ G3-"G7" GFEF | F"C"EDC"F" CDEF |"G" B,CDE"F" FE"G7" D2 |: %8
w: |||
w: |||
"^Verse""C"z2>G2 e/"C/B"d/e- ed |"Am"d (c3- c/"C/G"A/G-) G2 |"F"z2>c2"F/E" dd- dc/A/ | %11
w: We skipped a light _ fan-|dang- o _ _ _ _|turned cart- wheels _ 'cross the|
w: |||
"Dm7"(c A3) z4 |"G" z2 z B/A/"G/F"B B2 A/A/ |"Em"A G3"G7" z4 |"C"z2z>G"C/B" e2 d/c/c- | %15
w: floor _|I was feel- ing kin- da|sea- sick|the crowd called out _|
w: |||but * * * *|
"Am" c>A e2"Em" z4 |"F"z2z>c d>"Dm/E"c dA/c/- |"Dm7"c d3 z4 |"G" z2 z A/A/"G/F"B B2 A/A/- | %19
w: _ for more|The room was hum- ming har-|_ der|as the ceil- ing flew a-|
w: ||||
"Em"A G3"G7" z4 |"C" z2 z d/e/"C/B"g g2 g/e/ |"Am" a2- a>e"Em" (ee e/d/c) | %22
w: _ way|When we called out for an-|o- * ther drink _ _ _ _|
w: |||
"F"z2z>c d>"Dm/E"c dA/(c/- |"Dm7"c A2) z"Em/G" (3e2 e2 g2 ||"^Chorus""C6" (a2>g2-"C/B" g2>)e2 | %25
w: the wai- ter brought a tray|_ _ And so it|was _ _ that|
w: |||
"Am" e>(d c2-"C" c/d/e) z2 |"F" z2 z c/c/ d<"F/E"c dA |"Dm7"(c A3) z4 |"G" z2 z B/A/"G/F" B>A BA | %29
w: la- ter * * * *|as the mill- er told his|tale *|that her face, at first just|
w: ||||
"Em"A G3"G7" z2 z A/c/ |"C" c2 (c/A/G)"F" z2 z A/c/ |"C" (e>d c2)"G7" z4 :| %32
w: ghost- ly turned a|whi- ter _ _ shade of|pale _ _|
w: |||


A Wonderful Guy

Context: A Wonderful Guy is a song from the musical 'South Pacific,' which premiered in 1949. The song is performed by the character Nellie Forbush, expressing her feelings about her love interest, Emile de Becque. The musical is based on James A. Michener's book 'Tales of the South Pacific' and addresses themes of love, racism, and war.

Musically, A Wonderful Guy features a bright and uplifting melody characteristic of mid-20th century American musical theatre. The song is structured in a traditional AABA form, where the A sections present the main theme of admiration and longing, while the B section provides a contrasting emotional depth. The use of syncopation and a lively tempo enhances the joyful expression of the lyrics. Harmonically, it employs common jazz chords that add richness to the vocal lines, allowing for expressive phrasing. The orchestration typically includes strings and woodwinds, creating a lush soundscape that complements the protagonist's romantic sentiments.

The piece is characterized by its lively tempo and melodic lines that convey exuberance and joy. It features a strong vocal range suitable for showcasing emotional highs and lows, with lyrics that reflect themes of love and admiration. The instrumentation often includes orchestral elements that enhance its theatrical quality, making it suitable for performance in a musical setting.

The music plays during a vibrant scene set on a sunlit beach in the South Pacific. The sun is setting, casting golden hues across the sky, as Nellie, dressed in a flowing white dress, dances joyfully along the shoreline. Her laughter mingles with the sound of gentle waves lapping at the shore. Around her, palm trees sway in the warm breeze, while colorful flowers bloom nearby. As she sings about her feelings for Emile, her expressions shift from playful to deeply affectionate, reflecting her inner conflict between societal expectations and personal desires. The atmosphere is filled with warmth and romance as she envisions a future filled with love.

X:31
T:A Wonderful Guy
T:A Wonderful Guy
C:Richard Rodgers
L:1/4
M:3/4
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"D" A z A |"Dmaj7" A A A |"D6" A B A |"D" F2 D |"Em7" E z E |"A7" E E E |"Em7" E F E |"A7" C3 | %8
w: I'm as|corn- y as|Kan- sas in|Au- gust.|I'm as|nor- mal as|blue- ber- ry|pie,|
"D6" D D D | D E F |"Em7" G G G |"A7" G A B |"D" c d c | B A F |"Em" E3- |"A7" E3 |"D" A z A | %17
w: No more a|smart lit- tle|girl with a|heart, I have|found me a|won- der- ful|guy!|_|I am|
"Dmaj7" A A A |"D6" A B A |"D" F2 D |"Em7" E E E |"A7" E E E |"Em7" E F E |"A7" C3 |"D6" D D D | %25
w: in a con-|ven- tion- al|dith- er,|With a con-|ven- tion- al|star in my|eye.|And you will|
 D E F |"Em7" G G G |"A7" G A B |"D" c d c | B A F |"Gmaj7" E3- |"C6" E3 |"Dm7" z G G |"G7" G A G | %34
w: note there's a|lump in my|throat When I|speak of that|won- der- ful|guy!|_|I'm as|trite and as|
"Gmaj7" E E E |"C6" E =F E |"Dm7" G G G |"G7" G A G |"Cmaj7" E3 |"C6" E3 |"Em7" z A A |"A7" A B A | %42
w: gay as a|dais- y in|May, a cli-|che com- ing|true!|_|I'm bro-|mid- ic and|
"D" F F F |"D6" F G F |"F#m7" A A A |"B7" A B A |"E9" c3- |"A9" c3 |"D" A z A |"Dmaj7" A A A | %50
w: bright as a|moon hap- py|night pour- ing|light on the|dew!|_|I'm as|corn- y as|
"D7" A B A |"D6" F2 D |"Em7b5" E E E |"A7" E E E |"E7" E F E |"A7" C3 |"D7" D D D | D E F | %58
w: Kan- sas in|Au- gust,|High as a|flag on the|Fourth of Ju-|ly!|If you'll ex-|cuse the ex-|
"G" G G G |"Em7" G A B |"D" c d d |"A7" c d d |"D" c d d |"D+" c d d |"G" c d d |"Em" c d d | %66
w: press- ion I|use I'm in|love, I'm in|love, I'm in|love, I'm in|love, I'm in|love with a|won- der- ful|
"D" d3- | d z2 | %68
w: guy!|_|


A World Of Our Own

Context: The song 'A World Of Our Own' was released in the 1960s and is characterized by its reflective lyrics and melodic structure. Tom Springfield, a prominent figure in British pop music, wrote this piece, which resonates with themes of love and escapism.

Musically, 'A World Of Our Own' features a simple yet effective chord progression that underpins its lyrical content. The song employs a moderate tempo and a soft dynamic range, allowing the emotional weight of the lyrics to shine through. The use of harmonies enhances the nostalgic feel, while the instrumentation typically includes acoustic guitars and gentle percussion, creating a warm soundscape. Lyrically, the song explores themes of isolation and longing for a personal utopia, reflecting a desire to escape from reality into a world defined by love and connection. The repetitive structure of the chorus reinforces the yearning expressed in the verses, making it a poignant anthem for those seeking solace in their dreams.

The music piece is characterized by its soothing melody and heartfelt vocal delivery. The arrangement typically includes gentle acoustic instrumentation, creating an intimate atmosphere. The lyrics convey deep emotions related to love and longing, encapsulating the essence of personal dreams and desires. The overall sound is reminiscent of classic 1960s pop, marked by its melodic hooks and harmonic richness.

In a sunlit garden during late afternoon, two figures sit on a wooden bench surrounded by blooming flowers. The air is filled with the sweet scent of jasmine as they share quiet moments together. One character, dressed in a light summer dress, gazes dreamily at the horizon, while the other leans closer, whispering softly. Their expressions are filled with warmth and tenderness as they discuss their hopes for a future together. The soft strumming of an acoustic guitar accompanies their conversation, enhancing the serene atmosphere. As they laugh and reminisce about shared memories, the music swells gently in the background, embodying their desire to create a perfect world together.

X:32
T:A World Of Our Own
T:A world of our own
T:unknown
C:Tom Springfield
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 E D |"C" C2 C E | G3 G |"F" A A c A |"C" G2 C D |"Em" E2 E G |"Am" F/ E3/2 D C |"F" F2 F A | %8
w: Close the|door light the|lights we're|stay- ing home to-|night far a-|way from the|bus- tle and the|bright ci ty|
w: Oh my|love oh my|love I|cried for you so|much love- ly|nights with- put|sleep- ing while I|longed for your|
w: ||||||||
"G7" G2 A B |"C" c2 A G |"E7" E3 D |"F" C2 F A |"C" G2 C D |"Em" E2 E G |"F" F2"G7" E D |"C" C4 | %16
w: lights let them|all fade a-|way just|leave us a-|lone and we'll|live in a|world of our|own.|
w: touch now your|lips can e-|rase the|heart- ache I've|known come with|me to a|world of our|own.|
w: * and I|know you will|find ther'll|be peace of|mind when we|~live in a|world of our|own.|
 z G A B | c2 c G |"F" A3 A |"G7" G3/2 A/ G/ F3/2 |"C" E2 A B |"Am" c2 c c |"D7" c2 B c | %23
w: we'll build a|world of our|own that|no one else can|share all our|sor- rows we'll|leave far be-|
w: |||||||
w: |||||||
"G7" d2 B A | G2 A B |"C" c2 A/ G3/2 |"E7" E3 D |"F" C2 F A |"C" G2 C D |"Em" E2 E G | %30
w: hind us *|there and I|know you will|find there'll|be peace of|mind when we|live in a|
w: |||||||
w: |||||||
"F" F2"G7" E D |"C" C4- | C2 z2 |] %33
w: world of our|own.||
w: |||
w: |||


A-Tisket A-Tasket

Context: Originally written by Ella Fitzgerald and Van Alexander in 1938, this song became a significant hit for Fitzgerald, showcasing her vocal talents and the playful nature of swing music. The song's catchy melody and whimsical lyrics contributed to its popularity, making it a staple in jazz repertoire.

Musically, 'A-Tisket A-Tasket' is characterized by its upbeat tempo and playful lyrics, which reflect the carefree spirit of the swing era. The piece utilizes a simple yet effective AABA form, with the A sections featuring a memorable melodic hook that is both catchy and engaging. The arrangement typically includes a lively big band accompaniment, emphasizing brass and woodwind instruments that complement Fitzgerald's expressive vocal delivery. The song's rhythmic structure allows for improvisation, a hallmark of jazz performance, enabling musicians to explore variations while maintaining the song's playful essence. Lyrically, the song tells a light-hearted story about losing a basket and the ensuing search, which resonates with themes of nostalgia and whimsy prevalent in jazz standards.

This piece features a lively and cheerful melody that invites listeners to tap their feet along to the rhythm. The vocals are characterized by playful phrasing and expressive dynamics, showcasing the artist's ability to convey joy and humor through music. Instrumentally, the arrangement is rich with brass and woodwinds, creating a vibrant soundscape that enhances the overall upbeat feel of the piece. The lyrics tell a whimsical story that adds to the charm of the music, making it an enjoyable listen for audiences of all ages.

The music plays in a bustling park on a sunny afternoon where children are playing with colorful kites and families are enjoying picnics on checkered blankets. Groups of friends laugh as they toss a frisbee around while others dance joyfully to the infectious rhythm. A couple twirls on the grass, lost in their own world as the vibrant sounds of brass instruments fill the air, blending seamlessly with the laughter of children and the rustling leaves. The sun casts warm golden rays, illuminating smiles as everyone revels in the carefree atmosphere created by this delightful tune.

X:33
T:A-Tisket A-Tasket
C:Ella Fitzgerald, Van Alexander
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble
%%MIDI program 40
V:1
"Bb+7" B |:"Eb" B2 G"Ab" c x3 |"Eb" B3/2 G3/2"Bb7" A x3 |"Eb" B B G"Ab" c x3 | %4
w: A-|tis- ket a-|tas- ket A|green and yel- low|
"Eb" B3/2 G3/2"Edim" G x3 |"Fm7" A A"Bb7" A F x3 |"Fm7" A A"Bb7" A F x3 | %7
w: bas- ket I|bought a bas- ket|for my mom mie|
"Fm7" A"Bb7" B G F/G/- x3 |"Eb" G/"Edim" B3/2-"Bb7/F" B/"Bb+7" B3/2 x3 |"Eb" B2 G"Ab" c x3 | %10
w: On the way I dropped|_ it _ I|dropped it I|
"Eb" B3/2 G3/2"Bb7" A x3 |"Eb" B B G"Ab" c x3 |"Eb" B3/2 G3/2"Edim" G x3 |"Fm7" A A"Bb7" A F x3 | %14
w: dropped it Yes|on the way I|dropped it A|lit- tle girl- ie|
"Fm7" A A"Bb7" A3/2 F/ x3 |"Fm7" A"Bb7" B G F/G/- x3 |"Eb" G/ E3/2"Eb7" z E/E/ x3 | %17
w: picked it up And|took it to the mar-|* ket She was|
"Ab" A/A/ A c c x3 |"Abm6" =B c/A/- A3/2 ^F/ x3 |"Eb" G/ B"Ebmaj7" G B G/- x3 | %20
w: truck- in' on down the|Av- e- nue _ with-|out a sin- gle thing|
"Eb7" G/ E F E/"Eb+7" F x3 |"Ab" A A"Ab+" A/ A3/2 x3 |"Abm6" =B A/c/- c2 x3 |"Eb" G B"Cm7" B c x3 | %24
w: _ to do She was|peck peck peck- in'|all a- round _|when she spied it|
"F7" G/"F7b5" E"Bb7" F3/2"Bb+7" B |"Eb" B2 G"Ab" c |"Eb" B3/2 G3/2"Bb7" A |"Eb" B B G"Ab" c | %28
w: on the ground A-|tis- ket a-|tas- ket She|took my yel- low|
"Eb" B3/2 G3/2"Edim" G |"Fm7" A A"Bb7" A F |"Fm7" A A"Bb7" A3/2 F/ | B A G F | %32
w: bas- ket And|if she does- n't|bring it back I|think that I shall|
"Eb" E z z3/4 B,/<C/E/4- :|"Ab6" E z e c |"Eb" e3/2 c/ z3/4 B,/<C/E/4- |"Ab6" E2 e c | %36
w: die (was it red?)|_ No, No,|No, No (was it brown)|* No, No,|
"Eb" e3/2 c/ z3/4 B,/<C/E/4- |"Ab6" E2 e c |"Eb" e3/2 c B c/ |"Ab6" e/ c"B7" _G E"Bb7" F/- | %40
w: No, No (was it blue?)|_ No, No,|No, No, just a|lit- tle yel- low bas-|
 F/"Eb"E/- E2"Bb+7" z |] %41
w: * ket _|


Abide With Me

Context: Originally written as a poem by Henry Francis Lyte in 1847, 'Abide With Me' was set to music by William Henry Monk in 1861. The hymn is often associated with Christian worship and has been used in various religious services, particularly during funerals and memorials. Its themes of seeking comfort and companionship in times of trouble resonate deeply with many congregations.

'Abide With Me' is characterized by its simple yet profound melodic structure, typically set in a moderate tempo that conveys a sense of solemnity and introspection. The harmonic progression often employs traditional diatonic chords, creating a comforting atmosphere that aligns with its lyrical themes of divine presence and solace. The use of a minor key enhances the emotional depth, reflecting the human experience of loss and the yearning for companionship. The refrain invites congregational participation, reinforcing communal faith and support during moments of grief.

The music features a flowing melody that is both lyrical and poignant, utilizing smooth transitions between phrases. The harmonic language is rooted in traditional Western tonal practices, often employing cadences that evoke feelings of resolution and peace. The overall texture is typically homophonic, allowing the vocal line to soar above the accompaniment, which provides a rich yet unobtrusive support. This creates an inviting atmosphere for reflection and prayer.

In a dimly lit church, the soft glow of candles flickers against the stone walls as mourners gather for a memorial service. The air is thick with emotion as family members, dressed in dark attire, sit quietly in pews lined with flowers. As the organ begins to play 'Abide With Me', the sound resonates throughout the nave, enveloping the attendees in a warm embrace. A grieving widow clutches a handkerchief, her eyes reflecting both sorrow and hope as she listens to the familiar melody. Outside, twilight descends upon the landscape, casting long shadows that mirror the feelings of loss within the sanctuary.

X:34
T:Abide With Me
T:ABIDE WITH ME
C:William Henry Monk (Eventide) 1861
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"C" E2"G" E D |"Am" C2"Em" G2 |"F" A"C" G"G7" G F |"C" E4 |"Am" E2"G7" F"C" G |"F" A2"C" G2 | %6
w: A- bide With|Me, fast|falls the e- ven-|tide,|The dark- ness|deep- ens,|
"G" F D"C" E"D7" ^F |"G" G4 |"C" E2"G" E D |"Am" C2"C7" G2 |"F" G F"A+" F"A7" E |"Dm" D4 | %12
w: Lord, with me a-|bide.|When oth- er|help- ers|fail and com- forts|flee,|
"G7" D2 E F |"C" E"E7" D"Am" C"Dm" F |"C" E2"G7" D2 |"C" C4 |] %16
w: Help of the|help- less, O A-|bide with|Me.|


Achy Breaky Heart

Context: Released in 1992, 'Achy Breaky Heart' became a major hit for Billy Ray Cyrus, popularizing line dancing across America. The song's catchy chorus and simple melody contributed to its widespread appeal, making it a staple at country music events.

'Achy Breaky Heart' features a straightforward verse-chorus structure typical of country music, utilizing simple chord progressions that enhance its sing-along quality. The lyrics express themes of heartbreak and longing, conveyed through a conversational tone that resonates with listeners. The repetitive nature of the chorus reinforces the emotional weight of the message, while the upbeat tempo encourages a lively response, often seen in dance settings. The instrumentation includes traditional country elements like acoustic guitars and fiddles, which ground the song in its genre while appealing to a broader pop audience.

The music piece is characterized by its upbeat tempo and catchy melody, featuring a blend of traditional country instrumentation with modern pop influences. The lyrics convey a sense of heartache, expressed through relatable storytelling that captures the listener's attention. The repetitive chorus invites participation, making it ideal for social gatherings and dance events.

The music plays in a vibrant dance hall filled with couples line dancing under colorful lights. The atmosphere is lively, with laughter and chatter filling the air as people of all ages participate in the synchronized movements. The floor is polished wood, reflecting the bright lights overhead, while a banner celebrating country music hangs in the background. Participants wear cowboy hats and boots, embodying the spirit of country culture as they move energetically to the rhythm of the song.

X:35
T:Achy Breaky Heart
C:Don von Tress
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble nm="[Unnamed (treble staff)]"
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"A" cccB A2 z E | cAcc AE z2 | cAcc c2 A<B |"E" B2 z2 z2 z B | BGBB GF z E | BBBB G2 z B | %6
w: You can tell the world, you|ne- ver was my girl. _|You can burn my clothes when I'm|gone. Or|you can tell your friends _ just|what a fool I've been and|
w: You can tell your ma I|moved to Ar- kan- sas. _|You can tell your dog to~bite my|leg. Or|tell your bro- ther Cliff, _ whose|fist can tear my lip. He|
 BABA ccBA |"A" Ac z2 z4 | cccB A2 z E | cAcc A/F/E z2 | cAcc cEAc |"E" B2 z2 z2 z B | %12
w: laugh and joke a- bout me on the|phone. *|You can tell my arms go|back _ to the * farm. *|You can tell my feet to hit the|floor. Or|
w: ne- ver real- ly liked me a- ny-|way. *|tell your aunt Lou- ise. Tell|a- ny- thing you please. * *|self al- rea- dy knows I'm not o-|kay. Or|
 BGBB G2 z E | BBBB G2 z B | BABA ccBA |"A" Ac z2 z4 ||S c2 cB A2 z E | cAcc AE z E | c2 c2 AEAB | %19
w: you can tell my lips to|tell my fin- ger- tips they|won't be rea- ching out for you no|more. *|Don't tell my heart, my|ac- hy brea- ky heart _ I|just don't think he'd un- der-|
w: you can tell my eyes to|watch out for my mind. It|might be wal- king out on me to-|day. *||||
"E" B2 z2 z2 z B | BBBB G2 z B | BGBc GE z B | B2 BA cccA"^to Coda" |"A" A2 z c- c4- |1 c6 z2 :|2 %25
w: stand. And|if you tell my heart, my|Ac- hy Brea- ky heart, _ he|might blow _ up and kill this|man. Ooh. _|_|
w: ||||||
 z8"^D.S. al Coda" ||O"A" A2 z2 z4 | c2 cB A2 z E | cAcc AE z E | c2 c2 AEAB |"E" B2 z2 z2 z B | %31
w: |man.|Don't tell my heart, my|Ac- hy Brea- ky heart _ I|just don't think he'd un- der|stand. And|
w: ||||||
 BBBB G2 z B | BGBc GE z B | B2 BA ccBA |"A" A2 z c- c4- | c6 Ae- | e2 z2 z4 | z8 | z8 |] %39
w: if you tell my heart my|Ac- hy Brea- ky heart, * he|might blow _ up and kill this|man. Ooh. _|_ _ _||||
w: ||||||||


Act Naturally

Context: Originally written by Johnny Russell and Voni Morrison, 'Act Naturally' became a hit for Buck Owens in 1963. The song reflects themes of heartbreak and the desire to cope with personal struggles through performance. It has been covered by various artists, including The Beatles, which helped to further popularize the song.

Musically, 'Act Naturally' is characterized by its straightforward chord progression and traditional country instrumentation, featuring prominent use of steel guitar and fiddle. The song's narrative structure tells a story of a man who wishes to act in a film about his own heartbreak, symbolizing a desire for catharsis through art. The lyrics employ a conversational tone, enhancing the relatability of the protagonist's emotional plight. The juxtaposition of upbeat melodies with melancholic themes provides a complex emotional landscape that resonates with listeners.

The piece features a moderate tempo and is structured around a verse-chorus format. Instrumentally, it incorporates classic country elements such as twangy guitars and rhythmic drumming, creating an inviting atmosphere. The vocal delivery is earnest, conveying a sense of vulnerability and sincerity that draws the listener into the narrative. The lyrical content centers on themes of longing and self-reflection, making it a poignant representation of personal struggle.

In a dimly lit bar during the golden hour, the scene unfolds with patrons gathered around small tables, their faces illuminated by soft amber lights. A lone figure stands on stage, guitar in hand, wearing a faded cowboy hat. As he begins to sing 'Act Naturally,' the crowd quiets, drawn into his heartfelt performance. Nearby, an older couple shares a knowing glance, their eyes reflecting memories of lost love. The air is thick with nostalgia as the music weaves through the room, evoking emotions of both joy and sorrow among the audience.

X:36
T:Act Naturally
T:Act Naturally
T:Johnny Russell
T:Vonnie Morrison
C:Johnny Russell, Vonnie Morrison
L:1/4
M:2/2
I:linebreak $
K:G
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
|:"G" d2 z/ z/ d/B/ | d d d d |"C" e c3- | c z2 z |"G" d d/B/ d d | e d d B |"D7" A4 | z2 z d | %8
w: They're gon- na|put me in the|mov- ies||they're gon- na make a|big star out of|me|we'll|
"D" d d d/B/d/B/ | d d d3/2 d/ |"C" e c3- | c z z B |"D7" d/d/d/d/ d d | z d B3/2 A/ |"G" G4 | %15
w: make a scene a- bout a|man thats sad and|lone- ly|* and|all I got- ta do is|act nat- ural-|ly|
 z2 B3/2 G/ |"D7" A A2 A | d2- d/c/d/c/ |"G" d2 B2- | B z z B |"D7" A/ A3/2 A A | d d d/ d3/2 | %22
w: well I'll|bet you I'm|gon- * na be a|big star|* might|win an Os- car|you cant nev- er|
"G" B4 | z2 z z/ B/ |"D7" A/ A3/2- A/A/A/A/ | d2 d3/2 B/ |"G" d2 B2- | B z z B |"A7" A A A A | %29
w: tell|the|mov- ies * are gon- na|make me a|big star|* 'Cause|I can play the|
 ^c3 c |"D7" d4- |1 d z d3/2 B/ :|2 d z z"^DCalCoda" d ||"^Coda""G" G4- | G2 z2 | z4 |] %36
w: part so|well|* Well, I|* We'll-||ly-||


Afro Blue

Context: Originally composed by Mongo Santamaria, 'Afro Blue' is a significant piece in the Afro-Cuban jazz genre. It showcases the blending of traditional African rhythms with jazz elements, reflecting the cultural heritage of Santamaria and the influence of Cuban music. The piece has been covered by various artists, including John Coltrane, further popularizing its intricate rhythms and melodies.

'Afro Blue' features a complex interplay of polyrhythms, characteristic of Afro-Cuban music. The piece employs a 6/8 time signature, allowing for a flowing, dance-like quality. The use of call-and-response patterns between instruments creates a conversational dynamic typical in African musical traditions. Harmonic structures often revolve around modal scales, providing a rich tonal palette that enhances improvisational opportunities. The melodic lines are often syncopated, adding to the overall rhythmic complexity and engaging the listener in a vibrant auditory experience.

This piece is characterized by its intricate rhythms and vibrant melodies that evoke a sense of movement and celebration. The instrumentation typically includes percussion instruments such as congas and timbales, which drive the rhythm forward. Melodic elements are often carried by horns or piano, weaving through the rhythmic foundation to create an engaging tapestry of sound. The overall atmosphere is lively and energetic, inviting listeners to immerse themselves in its infectious groove.

The music plays in a bustling outdoor festival setting at dusk, where colorful lights strung between palm trees illuminate the scene. Dancers dressed in vibrant traditional attire move gracefully to the rhythm, their expressions filled with joy and energy. A group of musicians is positioned at the center, passionately playing their instruments while engaging with the audience. The aroma of street food wafts through the air as people gather around, clapping and swaying to the infectious beat of 'Afro Blue,' creating an atmosphere of unity and celebration.


Ah! Sweet Mystery Of Life

Context: Originally composed for the operetta 'Naughty Marietta' in 1910, this piece has become a staple in musical theatre and is often performed in concert settings. The song captures the essence of romantic longing and the beauty of love, making it a favorite among audiences.

The piece is characterized by its lush orchestration and lyrical melody, which evoke a sense of yearning and nostalgia. The harmonic structure is rich, featuring chromaticism that enhances the emotional depth of the lyrics. The vocal lines are designed to showcase the singer's range and expressiveness, allowing for dramatic interpretation. The interplay between the vocal and orchestral parts creates a dialogue that reflects the themes of love and mystery inherent in the text. The use of rubato allows performers to infuse personal emotion into their delivery, making each rendition unique.

This music features a sweeping melody that unfolds gracefully, supported by a rich harmonic backdrop. The instrumentation typically includes strings and woodwinds, creating a warm and inviting atmosphere. The lyrical content speaks to themes of love and desire, with phrases that rise and fall like waves, reflecting the emotional highs and lows of romantic longing. The overall effect is both enchanting and poignant, drawing listeners into a world of heartfelt sentiment.

Set in a moonlit garden filled with blooming flowers, a young couple stands close together, their expressions illuminated by soft candlelight. The air is filled with the sweet scent of jasmine as they share whispered secrets and stolen glances. The music swells gently in the background, underscoring their intimate moment. As they gaze into each other's eyes, the world around them fades away, leaving only the sound of their hearts beating in sync with the melody. A soft breeze rustles through the leaves, adding to the magical ambiance as they dream of a future filled with love.

X:38
T:Ah! Sweet Mystery Of Life
T:AH! SWEET MYSTERY OF LIFE
C:Victor Herbert
L:1/16
M:4/4
I:linebreak $
K:Bb
V:1 treble
%%MIDI program 0
V:1
 !fermata!d7/2c/ |[M:4/4]"Bb" c7/2B/B7/2A/ A7/2G/G7/2F/ |"Cm7" G4 G8 !fermata!e7/2d/ | %3
w: Ah! Sweet|Mys- ter- y Of Life, at last I've|found thee, Ah! I|
"F7" d7/2c/c7/2A/ A7/2G/G7/2F/ |"Bb" G12 !fermata!d7/2c/ | c7/2B/B7/2A/"Bbm" A7/2G/G7/2F/ | %6
w: know at last the sec- ret of it|all; All the|long- ing, seek- ing, striv- ing, wait- ing,|
"F/C" A4 A6 c2 d2=e2 |"C" c2G2c2d2"C7" c2G2 c2>G2 |"F7" c8- c2 z2 d7/2c/ |: %9
w: yearn- ing, The burn- ing|hopes, the joy and i- dle tears that|fall! _ For 'tis|
"Bb" c7/2B/B7/2A/ A7/2G/G7/2F/ |"Cm7" G4 G8 !fermata!e7/2d/ |"F7" d7/2c/c7/2A/ A7/2G/G7/2F/ | %12
w: love, and love a- lone, the world is|seek- ing; And 'tis|love, and love a- lone, that can re-|
"Bb" f12 !fermata!f7/2e/ |"G7" e7/2d/d7/2=B/ B7/2_A/A7/2G/ |"Cm" e4 e4-"Ebm" e2B2B2c2 | %15
w: pay! 'Tis the|an- swer, 'tis the end and all of|liv- ing, _ For it is|
"Bb/F" d2F2 G2B2"Cm/Eb" c4"Dm" !fermata!d4 |1"Bb" B4 z4 z4 !fermata!d7/2c/ :|2"Bb" B8- B2 z2 z4 |] %18
w: love a- lone that rules for|aye! For 'tis|aye! _|


Ai Se Eu Te Pego

Aline da Fonseca
Amanda Teixeira
Antonio Cerqueira
Karine Vinagre
Sharon Arcoverde

Context: This song, released in 2011, became a viral hit and is known for its catchy melody and danceable rhythm. It gained international popularity, particularly after being covered by various artists and featured in numerous dance videos.

Musically, 'Ai Se Eu Te Pego' features a blend of traditional Brazilian Sertanejo with contemporary pop elements. The song employs a simple yet effective chord progression that enhances its infectious hook. The rhythmic structure encourages movement, making it popular in dance contexts. Lyrically, the song expresses themes of desire and flirtation, encapsulating a playful interaction between the singer and their romantic interest. The use of repetition in the chorus reinforces the emotional intensity and memorability of the piece.

The music piece is characterized by an upbeat tempo and a lively rhythm that invites listeners to dance. It features a combination of acoustic and electronic instruments, creating a vibrant soundscape. The vocal delivery is expressive, filled with enthusiasm that reflects the playful nature of the lyrics. The overall atmosphere is light-hearted and joyful, making it suitable for celebratory occasions.

The music plays during a vibrant beach party at sunset, where colorful lights flicker as they illuminate the sandy area filled with people dancing and laughing. The ocean waves crash gently in the background while friends gather around bonfires, sharing stories and enjoying drinks. A group of young adults, dressed in summer attire, showcases energetic dance moves, embodying the carefree spirit of youth. The atmosphere is electric with excitement as couples flirt and join in on the fun, perfectly synchronized to the infectious rhythm of the music.

X:39
T:Ai Se Eu Te Pego
T:AI SE EU TE PEGO
T:Michel Telo
T:Chorus x2
C:Aline da Fonseca, Amanda Teixeira, Antonio Cerqueira, Karine Vinagre, Sharon Arcoverde
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 54
%%MIDI control 7 102
%%MIDI control 10 64
V:1
"C""^CHORUS" c>c- c z"G" B>B- BA |"Am" cA cA/c/-"F" c<A- A z |"C" c2 c/c/c"G" BB B2 | %3
w: Nos- sa _ nos- sa _ As-|sim vo- ce me ma- * ta _|Ai se eu te pe- go Ai|
"Am" c2 c/c/c"F" c A2 c |"C" cczc"G" BBzA |"Am" cAcA"F" c>A- A z |"C" c2 c/c/c"G" BB B2 | %7
w: ai se eu te pe- go De-|li- cia de- li- cia As-|sim vo- ce me ma- ta _|Ai se eu te pe- go Ai|
"Am" c2 c/c/c"F" cA- A z | c/c/e g2 B/B/d g2 | A/A/c ec [fa][eg][df][ce] | c/c/e g2 B/B/d g[fa]- | %11
w: ai se eu te pe- go _|_ _ _ _ _ _ _ _|||
 [fa-]2 [fa](3F/A/c/ [fa][eg][df][ce] || c/c/c- c z B2 Ac- | cc- c2- c z z2 | %14
w: |Sa- ba- do _ no ba- la-|* da _ _|
 z/ ee/ e/ed/ dc dc/e/- | e2- e/c/d c2 z2 | (3z gg (3gge ffec | A4 z2 z/ c/c/c/ | %18
w: A ga- le- ra co- me- cou a dan- car|_ _ _ _ _|E pas- sou a me- ni- na mais lin-|da To- mei co-|
 cc z/ c/c/c/ BBAc- | c4 z4 :| %20
w: ra- gem e co- me- cei a fa- lar|_|


Ain't No Mountain High Enough

Context: Originally written by Nickolas Ashford and Valerie Simpson in 1966, this song became a hit for Marvin Gaye and Tammi Terrell. It has since been covered by numerous artists, including Diana Ross, whose version became a major hit in 1970. The song is celebrated for its uplifting message and powerful vocal performances.

The song features a classic soul structure with a strong emphasis on vocal harmonies and call-and-response patterns. The instrumentation includes lush strings, brass, and rhythmic percussion, creating an uplifting atmosphere. The lyrics convey themes of unconditional love and support, emphasizing the idea that no obstacle is too great when it comes to love. The use of metaphors related to mountains and rivers enhances the emotional depth of the message, illustrating the lengths one would go to for a loved one. The song's arrangement builds progressively, capturing the listener's attention and culminating in a powerful climax that showcases the vocal prowess of both artists.

This piece is characterized by its rich vocal harmonies and an energetic orchestral arrangement that blends elements of soul and pop. The melody is catchy and uplifting, designed to evoke feelings of hope and determination. The lyrics express themes of unwavering support and love, using vivid imagery to illustrate the idea that love can overcome any challenge. The overall sound is warm and inviting, making it a timeless anthem for resilience and affection.

Imagine a vibrant outdoor wedding ceremony taking place at sunset, with golden light filtering through the trees. Guests are seated on white chairs adorned with floral arrangements. As the couple exchanges vows, the music begins softly in the background, filling the air with an uplifting energy. The bride, dressed in a flowing gown, beams with joy while the groom looks at her with deep affection. Friends and family smile, some wiping away tears of happiness as they witness this moment of love. As the chorus swells, guests rise from their seats to dance joyfully around the couple, embodying the spirit of togetherness and celebration.

X:40
T:Ain't No Mountain High Enough
C:Nickolas Ashford, Valerie Simpson
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:D
V:1 treble nm="Alto Saxophone" snm="A. Sax."
%%MIDI program 65
V:1
"Bm7/A" z B, B,B, D E2 F- |"^G#m7(b5)" F B,2 A, B,DED |"Gmaj7" F2 z B, D"F#m7"EDF- | %3
 F B,2 F-"D/F#" F"G"ED"E/G#"E- |"Bm7/A" EFB,B, DEDF- |"^G#m7(b5)" F2 B,B, DEDF- | %6
 FEDD B"F#m7"AFE- | E D2 D F"F#m7"A A2 |"Gmaj7" B2 B2"Em9" B2 B"F#m7"A- | A2 A"Bm"F- F2 z2 | %10
"Gmaj7" B2 B2"Em9" B2 B"F#m7"A- | A2 A"Bm"F- F2 z2 |"Gmaj7" B2 B2"Em9" d B2"F#m7" A- | %13
 A2 A"Bm"F- F2 z D | E2"Esus4" ED E"E"E"D/F#"F"G"E |1 D D2 B, B,DEF :|2 D D3 z D AA- || %17
"A7sus4" A4 z B cB |"A/G" A4 z2 FE | F"F#sus4" F2 F-"F#" F4 |"B7sus4" z2 F2"B7" B2 FF- | %21
"Gmaj7" F F3 z2 GE- |"A/G" EFzF AB c2 | B"Bm/A"A-"A" A6- |"A" A8 |"Cm/Bb" _B8- |"Fm" B6"Eb/G" z2 || %27
[K:Eb] z2"Cm7/Bb" C2 EFEG- |"^Am7(b5)" G3 C EFEG- |"Abmaj7" G2 C2 E"Gm7"FEG- | %30
 GC C2"Eb/G" CE"Ab"F"F7/A"E |"Cm7/Bb" G3 C EFEG- |"^Am7(b5)" G2 CC EFEG | F"Abmaj7"EEE c"Gm7"BGF | %34
 E2 EF G"Gm7"B B2 |"Abmaj7" c2 c2"Fm9" c2 cB- | B2 BG-"Cm" G2 z2 |"Abmaj7" c2 c2"Fm9" c2 c"Gm7"B- | %38
 B2 B"Cm"G- G2 z2 | c2"Abmaj7" c2"Fm9" e c2 B- | B2 BG-"Cm" G2 z E |"Fsus4" F2 FE"F" FFG"Db9"F- | %42
 F"Bbm7" E3"^A7(b5)" z4 |:"Abmaj7" ee"^N.C." ee/c/- c/d/e z2 |"Gm7" d"^N.C."d dd/B/- B/c/d z2 | %45
"Fm7" ee"^N.C." ee/c/- c/d/eze | d"Ebmaj7"ddf-"Gm7/C" f2"C7" z2 || %47
[K:Gb]"_instrumental""Abm7/Db" e3 A c g3 | f>"Gbmaj7"d- dB- B4 |"Abm7/Db" A2 AA c g2 f | %50
"Bbm7" dBd"Eb9sus4"f- f2"Eb7" e2 |:"Abm7/Db" e6 e2 |"Gbmaj7" d3 B z4 | e"Abm7/Db"eee- ee z2 | %54
 d"Gbmaj7"ddf-"Eb9sus4" f2"Eb7" e2 |"Abm7/Db" e2 e2 e2 e"Gbmaj7"d- | d2 dB- B2 z2 | %57
 e"Abm7/Db"eee- ee z2 | d"Bbm7"dd"_Repeat and Fade"f-"Eb9sus4" f2"Eb7" e2 :| %59


Ain't That A Kick In The Head

Context: Originally recorded by Dean Martin in 1960, this song has become a standard in the jazz repertoire, celebrated for its catchy melody and clever lyrics. It reflects the exuberance of love and the feeling of being on top of the world.

Musically, 'Ain't That A Kick In The Head' is characterized by its upbeat tempo and swing rhythm, typical of the big band era. The song features a playful call-and-response structure, allowing for expressive vocal delivery. The chord progressions are rooted in traditional jazz harmony, with a prominent use of seventh chords that add richness to the sound. Lyrically, it explores themes of love and surprise, employing clever wordplay and metaphors that resonate with listeners. The interplay between the melody and lyrics creates an engaging narrative that captures the joy and unpredictability of romantic relationships.

This piece features a lively tempo with a strong swing feel, showcasing brass and rhythm sections that create a vibrant backdrop. The vocals are delivered with charisma and charm, enhancing the playful nature of the lyrics. Instrumentally, it often includes syncopated rhythms and melodic embellishments that highlight the performers' improvisational skills.

Picture a dimly lit jazz club in the heart of a bustling city during the 1960s. The stage is adorned with soft golden lights, casting a warm glow over the audience, who are dressed in elegant attire. A charismatic singer stands center stage, microphone in hand, exuding charm as they engage with the crowd. The band behind them—a lively ensemble of brass instruments, piano, and drums—fills the room with an infectious energy. As the music begins, couples sway to the rhythm, their laughter mingling with the melodies. The atmosphere is electric, embodying a sense of celebration and spontaneity as everyone revels in the joy of love and music.

X:41
T:Ain't That A Kick In The Head
T:AIN'T THAT A KICK IN THE HEAD
T:JAMES VAN HEUSEN
T:SAMMY CAHN
C:James Van Heusen
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 B |:"F" c/c/ B c B | c3 ^G | (3A/A/^G/ A G2 | A2 C ^C | D/F/ A c2 | d d/c/"D7" d/c/ d |"C7" c4- | %8
w: How|luck- y can one guy|be? I|kissed her and she kiss|me Like the|fel- la once said,|Ain't that a kick in the|head?|
 c2 z ^c |"Gm" d/d/ ^c d c |"C7" d3 A |"Gm" _B/B/ A B A |"C7" _B2 D ^D | E/G/ _B d2 | %14
w: _ The|room was com- plete- ly|black, I|hugged her and she hugged|back! Like the|sail- or said, quote,|
 d d/c/ d/c/ d |"C" c4- | c c c c |"A7" ^c2 A2 | ^c A/c/ A/c/ A |"Dm" d2 A2 | d A/d/ A/d/ A | %21
w: "Aint that a hole in the|boat?"|_ My head keeps|spin- ing,|I go to sleep and keep|grin- ing!|If this is just the be-|
"G7" e2 B2 | e B/e/ B/e/ B |"Gm" d3 z |"C7" d ^c c B |"F" c/c/ B c B | c3 ^c |"D7" d/d/ ^c d c |1 %28
w: gin- ning,|my life is gon- na be|bea-|u- tee- ful! I've|sun- shine e- nough to|spread; its|just like the fal- la|
 d2 d e |"Dm" f2 f f/d/ |"C" f2 f d |"F" f3 B :|2 d3 ^d ||"G7" e/e/ ^d e d |"C7" d/d/ ^c d d | %35
w: said Tell me|quick, ain't love a|kick in the|head? How|bed; I|could- nt feel an- y|bet- ter or I'd be|
"Cm" c4- |"D7" c2 d e |"Dm" f2 f f/d/ |"C7" f2 z/ f d/ |"F" f4- | f3 z |] %41
w: sick|_ Tell me|quick! Ain't love a|kick in the|head.|_|


Ain't That A Shame

Context: Originally recorded by Antoine 'Fats' Domino in 1955, 'Ain't That A Shame' became a major hit, showcasing Domino's signature piano style and smooth vocal delivery. The song has been covered by various artists, including a famous version by Elvis Presley, further cementing its status in the rock and roll canon.

The song features a simple yet effective structure typical of early rock and roll, consisting of verses that follow a straightforward AABA format. The use of a catchy melody combined with Domino's emotive vocal delivery creates a sense of longing and heartache. The lyrical content reflects themes of love lost and the pain of unrequited affection, resonating with listeners through its relatable narrative. Instrumentally, the track incorporates a driving rhythm section, highlighting the influence of rhythm and blues on the rock genre. The piano serves as both a rhythmic backbone and melodic lead, characteristic of Domino's style, while the horns add a layer of richness to the overall sound.

This piece is characterized by its upbeat tempo and catchy melody, featuring prominent piano riffs that drive the rhythm forward. The vocal delivery is smooth and expressive, conveying deep emotional resonance despite the seemingly light-hearted musical arrangement. The lyrics reflect themes of heartbreak and regret, creating an engaging contrast with the lively instrumentation. Overall, it embodies the essence of early rock and roll with its infectious energy and relatable storytelling.

The music plays in a dimly lit diner during the late hours of the night. The warm glow from neon signs outside casts colorful reflections on the polished countertops. A couple sits in a booth, their expressions filled with nostalgia as they reminisce over shared memories. The man gently holds the woman's hand, his eyes reflecting both longing and sorrow as he recalls their past together. Outside, rain softly taps against the window, enhancing the intimate atmosphere inside. The music swells as they share a bittersweet laugh, encapsulating the essence of love lost yet cherished.

X:42
T:Ain't That A Shame
T:Ain't That A Shame
T:Antoine Domino & Dave Bartholomew
C:Antoine Domino & Dave Bartholomew
L:1/4
M:2/2
I:linebreak $
K:G
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"G" G D G/ D D/ |"C7" G D G/ D D/ |"G" G A/>^A/ B/>G/E/D/- |"D7" D3 B, |:"G" D3"G6" E | %5
w: |||* You|made me|
w: ||||broke my|
 G2 z/ B,/B,/D/- |"G" D3"G6" E |"G" G G A B |"C7" (3A/_B/A/"C9" G3 |"C7" z E (3E E C | %10
w: cry when you said|* Good-|bye AIN'T THAT A|SHAME1 * * *|My tears fell like|
w: heart when you said|* we'll|part * * *|||
"G" E/ D3/2- D2 | z G A B |"C7" (3A/_B/A/"C9" G3 |"C7" z A/A/"C9" G E |"D9" F E"D13" D"Gb" _D | %15
w: rain * *|AIN'T THAT A|SHAME1 * * *|You're the one to|blame. * * *|
w: |||||
"D7" C z2 B, |"G" D3"G6" E | G3 B, |"G" D3"G6" E |"G" G G A B |"C7" (3A/_B/A/"C9" G3 | %21
w: * Oh|well good-|bye al-|though I'll|cry, AIN'T THAT A|SHAME1 * * *|
w: ||||||
"C7" z E (3E E C |"G" E/ D3/2- D2 | z G A B |"C7" (3A/_B/A/"C9" G3 |"C7" z A/A/"C9" G"C7" A |1 %26
w: My tears fell like|rain, * *|AIN'T THAT A|SHAME1 * * *|You're the one to|
w: |||||
"G" B4- ||"Am7""D7" B3 B, :|2"G" B4- ||"G6" B3 z |] %30
w: blame.|* You|blame.-||
w: ||||


Air Mail Special

Context: Originally recorded in 1941, 'Air Mail Special' became a hallmark of the big band era. The piece showcases the virtuosity of guitarist Charlie Christian and the dynamic arrangements typical of Benny Goodman's orchestra. It was inspired by the fast-paced world of air travel and reflects the optimism of the time.

The composition features a lively tempo and intricate melodies that are characteristic of swing music. The interplay between the clarinet and guitar creates a dialogue that highlights Christian's innovative approach to jazz guitar, blending melodic lines with rhythmic complexity. The use of syncopation and call-and-response techniques exemplifies the improvisational nature of jazz, allowing musicians to express individual creativity while remaining cohesive within the ensemble. Additionally, the harmonic structure employs extended chords that add depth and color to the overall sound, making it a staple in jazz repertoire.

This piece is characterized by its upbeat tempo and intricate melodic lines, featuring a prominent clarinet solo complemented by a swinging rhythm section. The guitar plays a crucial role, adding both harmonic support and melodic embellishments that enhance the overall texture. The arrangement includes sections of call-and-response between instruments, creating an engaging dialogue that showcases each musician's skill. The energetic tempo and lively rhythms evoke a sense of movement, reflecting the excitement associated with travel during its time.

Imagine a bustling 1940s jazz club illuminated by soft, warm lighting as patrons in elegant attire sway to the infectious rhythm. The stage is alive with musicians: a charismatic clarinetist takes center stage, his fingers dancing over the keys while he engages with an enthusiastic audience. Beside him, a guitarist strums energetically, his eyes closed as he immerses himself in the music. The atmosphere is electric, filled with laughter and clinking glasses, as couples twirl on the dance floor, embodying the carefree spirit of an era defined by swing music.

X:43
T:Air Mail Special
T:Air Mail Special
T:B Goodman, C Christian
T:(c) Dan Parshall
C:B Goodman, C Christian
L:1/8
Q:1/4=180
M:4/4
I:linebreak $
K:Ab
V:1 treble nm="MusicXML Part"
%%MIDI program 52
V:1
 A2 |:"Ab6" z (Ace"Fm7" aa)z(A |"Bbm7" ceaa)"Eb7" z (Ace |"Ab6" aafe"Fm7" aafe | %4
"Bbm7" aafe-"Eb7" e) z A2 |"Ab6" z Ace"Ab7" aazA |"Db6" ceaa"Ddim7" z Ace | %7
"Ab6/Eb" aafe"Fm7" aafe |"Bbm7" aafa-"Eb7" a z A2 | z"Ab6" Ace"Fm7" aazA |"Bbm7" ceaa"Eb7" z Ace | %11
"Ab6" aafe"Fm7" aafe |"Bbm7" aafe-"Eb7" e z A2 |"Ab7" z Ace"Ab7" aazA |"Db6" ceaa"Ddim7" z Ace | %15
"Eb7" aafe aafe |"Ab6" aafa- a z z2 |"Abdim7" z fa_c' afac' |"Abdim7" afa_c' af=dc | %19
"Abdim7" z fa_c' afac' |"Abdim7" afa_c' af=dc |"Abdim7" z fa_c'"Gdim7" a_fgb | %22
"Gbdim7" ge_g=a"F7" gecA |"Fb7" A=d_g_c' gdcA |"Eb7" Gdfb- b2 z2 |"Ab6" z Ace"Fm7" aazA | %26
"Bbm7" ceaa"Eb7" z Ace |"Ab6" aafe"Fm7" aafe |"Bbm7" aafe-"Eb7" e z A2 |"Ab6" z Ace"Ab7" aazA | %30
"Db6" ceaa"Ddim7" z Ace |"Eb7" aafe aafe |O"Eb7" aafa- a2 z2 :|O aafa z2 A2 |] %34


AL DI LA

Context: Originally composed in Italian, 'Al Di La' became famous through its English lyrics by Ervin Drake. The song has been covered by numerous artists and is often associated with themes of love and longing.

'Al Di La' features a lush melodic line characterized by its sweeping phrases and emotional depth. The harmonic structure is primarily diatonic, emphasizing the major key tonality that conveys a sense of yearning and hope. The lyrical content reflects an idealized vision of love, where the protagonist expresses a desire to transcend earthly limitations in pursuit of a deeper connection. The orchestration typically includes strings and woodwinds, enhancing the romantic atmosphere. The use of dynamics plays a crucial role, with crescendos building tension leading to poignant lyrical moments, creating an engaging contrast throughout the piece.

The music is characterized by its smooth melodic contours and rich harmonic progressions that evoke a sense of nostalgia and warmth. The instrumentation often includes strings, piano, and soft percussion, contributing to a lush soundscape. The vocal delivery is expressive, with an emphasis on legato phrasing that enhances the emotional weight of the lyrics. Overall, the piece embodies a classic romantic style that resonates with audiences through its timeless themes of love and longing.

The music plays during a serene sunset on a picturesque Italian coastline. As the sun dips below the horizon, casting golden hues across the sky, a couple stands hand in hand on a secluded beach. The gentle waves lap at their feet, creating a soothing rhythm that complements the music's melody. The woman gazes lovingly at her partner, her eyes reflecting both joy and melancholy as she recalls their shared memories. Moments of laughter are interspersed with tender gazes, encapsulating their deep emotional bond. As the final notes resonate, they lean in for a kiss, symbolizing their commitment to each other amidst the beauty of nature.

X:44
T:AL DI LA
T:AL DI LA
C:C. Donida
L:1/8
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4 z2 DD |:"Bb" D3 D DDDD |"Dm" F2 D4 DF |"Cm7" E8- |"F7" E6 DD |"Bb" D3 D DDDD |"Dm" F2 D4 FA | %7
w: Al di|la means you are far a-|bove me, ver- y|far.|* Al di|la, as dis- tant as the|love- ly ev'- ning|
w: |* del be- ne piu pre-|zio- so ci sei|tu,|* Al di|la del so- gno piu am'bi|zio so ci sei|
"Cm7" G8- |"F7" G6 GA |"Eb" B2 BB B2 BB |"Ebm6" B2 BB c2 Bc |"Bb" d4 d4 |"C9" z2 cB"Ebdim" c4 | %13
w: star.|* Where you|walk flow- ers bloom when you|smile all the gloom turns to|sun- shine,|And my heart|
w: tu.|* Al di|la del- le co- se piu|bel- le'al di la del- le|stel- le|ci sei tu,|
"Bb" z2 BA"Dbdim" B4 |"Cm7" z2 AG"F7" A3 F |"Bb" G3 F"Bdim" G3 D |"Cm7" F2 FE"F7" F2 DD | %17
w: o- pens- wide,|when your gone it|fades in- side and|seems to have died. Al di|
w: al di la|ci sei tu per|me, per me, so-|tan- to per me. Al di|
"Bb" D3 D DDDD |"Dm" F2 D4 DF |"Cm7" E8- |"F7" E6 DD |"Bb" D3 D DDDD |"Dm" F2 D4 FA |"Cm7" G8- | %24
w: la, I wan- der'd as I|drift- ed where you|were.|* Al di|la, the fog a- round me|lift- ed, there you|were.|
w: la, del ma- re piu pro-|fon- do ci sei|tu|* Al di|la dei li- mi- ti del|mon- do, ci sei|tu|
"F7" G6 GA |"Eb" B2 BB B2 BB |"Ebm6" B2 BB c2 Bc |"Bb" d4 d4 |"Gm" z2 Bc d4 |"C9" z2 Bc d4 | %30
w: * In the|kiss that I gave was the|love I had sav'd for a|life- time.|Then I knew|all of you|
w: * Al di|la del- la vol- ta'in fi-|ni- ta'al di la del- la|vi- ta|ci sei tu,|al di la,|
"Cm7" z2 Bc"F7" d2 d2 |1"Bb""Gm" B8- ||"Cm7" B4"F7" z2 DD :|2"Bb" B4 (3A2 B2 c2 || %34
w: was com- plete- ly|mine.|* Al di||
w: ci sei tu, per|me!||me! La, la, la,|
"Gm" B4 (3A2 B2 c2 |"Cm7" B4"F7" (3c2 d2 c2 | !fermata!d3 c"Bb" !fermata!B4 |] %37
w: |||
w: la, La, la, la,|la, La, la, la,|La, la, la.|


All Blues

Context: Released in 1959 on the album 'Kind of Blue', 'All Blues' is a landmark piece in jazz music, showcasing Miles Davis's innovative approach to modal jazz. The song features a 6/8 time signature and is known for its extended improvisational sections, allowing musicians to explore melodic ideas freely.

'All Blues' is characterized by its modal structure, which differs from traditional chord progressions found in earlier jazz forms. The piece is built around a simple yet effective blues scale, allowing for a blend of improvisation and thematic development. The use of the 6/8 time signature creates a flowing, waltz-like feel that enhances the piece's lyrical quality. Each musician contributes to a collective improvisation, with Davis's trumpet leading the way through expressive phrasing and subtle dynamics. The rhythm section provides a steady foundation, while the harmonic simplicity allows for complex melodic exploration, making it an essential study in jazz improvisation techniques.

The music features a slow, steady groove established by the rhythm section, creating a relaxed yet engaging atmosphere. The piece opens with a distinctive melody played by the trumpet, which is both soulful and reflective. As the music progresses, various instruments take turns improvising over the established theme, showcasing individual artistry while maintaining cohesion within the ensemble. The overall sound is characterized by rich tonal colors and intricate interactions among musicians, highlighting the spontaneity and creativity inherent in jazz.

Set in an intimate jazz club during the late evening, the scene is illuminated by soft, warm lighting that casts gentle shadows across the room. Patrons sit at small round tables, sipping drinks and swaying gently to the rhythm of the music. On stage, a quintet of musicians is immersed in their performance; Miles Davis stands center stage with his trumpet, eyes closed as he pours his soul into each note. The bassist plucks his strings with precision, while the drummer maintains a steady pulse with brushes on the snare drum. The atmosphere is thick with anticipation and emotion as each soloist takes their turn, drawing the audience deeper into a world of musical expression that feels both personal and universal.


All I ask of you

Context: This song is featured in Andrew Lloyd Webber's musical 'The Phantom of the Opera', which premiered in 1986. It is a duet sung by the characters Raoul and Christine, expressing themes of love, protection, and devotion. The song has been covered by various artists and remains one of the most beloved pieces from the musical.

Musically, 'All I Ask of You' is characterized by its lyrical melody and lush orchestration, typical of Lloyd Webber's style. The song is structured as a duet, allowing for a call-and-response dynamic between the two characters. The harmonic progression is rich, utilizing major and minor tonalities to evoke emotional depth. The use of crescendos enhances the dramatic impact, particularly as Raoul reassures Christine of his unwavering support. Thematically, the lyrics convey a sense of vulnerability and longing, with Raoul's promise to protect Christine serving as a counterpoint to the darker elements present in 'The Phantom of the Opera'. This juxtaposition highlights the central conflict within the narrative.

The piece features a tender and emotive melody that captures the essence of romantic longing. It begins softly, with a gentle piano accompaniment that gradually builds in intensity as the vocal lines intertwine. The harmonies are rich and lush, creating an atmosphere that is both intimate and grand. The dynamics shift throughout, reflecting the emotional journey of the characters as they express their feelings for one another.

Set in a dimly lit Parisian opera house, the scene unfolds on a grand staircase adorned with opulent decorations. Christine stands at the top, her flowing gown shimmering under soft candlelight, while Raoul gazes up at her with an expression of deep affection and determination. As he ascends towards her, the atmosphere is charged with emotion; whispers of past fears linger in the air. The music swells as Raoul reaches Christine, enveloping them in a warm embrace. Their voices blend harmoniously, echoing through the empty halls, symbolizing their commitment to face any challenges together amidst the haunting shadows of the opera house.

X:46
T:All I ask of you
C:Andrew Lloyd Webber
L:1/8
M:4/4
I:linebreak $
K:Db
V:1 treble nm="[Alto Saxophone]"
V:1
"^Db" ED E>F FA,zF | EDEF A2zB |"^Dbmaj7" F2 A/GF/"^Gb6/Db" A E2F |"^Cb" G>A GF"^Ab/C" A E3 | %4
w: No more talk of dark- ness for-|get these wide- eyed fears, I'm|here noth- ing can harm you, My|words will warm and calm you.|
"^Db" ED E>F FA,zF | EDEF A2zB |"^Dbmaj7" F2 A/GF/"^Gb6/Db" A E2F |"^Cb" G>A GF"^Ab/C" A E3 | %8
w: Let me be your free- dom, Let|day- light dry your tears; I'm|here, with you, be- side you, To|guard you and to guide you.|
"^Christine""^Db" e2 e2"^Bbm7" eDFA |"^Ebm7" B2 B2"^Ab" B C3 |"^Db/F" d2>c2"^Bbm7" BADF | %11
w: Say you'll love me ev' ry|wak- ing mom- ent|Turn my head with talk of|
"^Ebm7" A/F/ A3"^Ebm7/Ab" z4 |"^Db" e2 e2"^Bbm7" eDFA |"^Ebm7" B2 B2"^Ab" B C3 | %14
w: sum- mer- time|Say you need me with you|now and al- ways|
"^Db/F" F/G/ A2A"^Gb" AGDB, |[M:2/4]"^Db/Ab" A,4 |[M:3/4]"^Eb/Ab"zE"^Ab6" FA F"^Ebm7/Ab"E | %17
w: pro- mise me that all you say is|true,|That's all I ask of|
[M:4/4]"^Db" ED E>F FA, z2 | EDEF A2zB |"^Dbmaj7" F2 A/GF/"^Gb6/Db" A E2F | %20
w: Let me be your shel ter|let me be your light you're|safe, no one will find you your|
"^Cb" G>A G>F"^Ab/C" A E3 |"^Christine""^Db" ED E>F FA,zF | ED E>F A2zB | %23
w: fears are far e- hand you.|All I want is free- dom, a|world with no more night and|
"^Dbmaj7" F2 A/GF/"^Gb6/Db" A E2F |"^Cb" G>A GF"^Ab/C" A E2A |"^Db" e2 e2"^Bbm7" eDFA | %26
w: you al- ways be- side me to|hold me and to hide me. RAOUL:|say you'll share with me one|
"^Ebm7" B2 B2"^Ab" B C3 |"^Db/F" d2>c2"^Bbm7" BADF | %28
w: love, one life time|let me lead you fron your|
"^Ebm7" A/F/A- A2"^G/Ab" z"^Ab" z"^Ab6" z"^Ab7" z |"^Db" e2 e2"^Bbm7" eDFA | %30
w: sol- i- _ tude|Say you need me with you|
"^Ebm7" B2 B2"^Ab" B C3 |"^Db/F" F/G/ A2A"^Gb" AGdB |[M:2/4]"^Db/Ab" A4 | %33
w: here be- side you|an- y- where you go let me go|too.|
[M:3/4]"^Ebm7/Ab" EE- EE"^Ab6" F/A/"^Ebm7/Ab"F/E/ |[M:4/4]"^Christine""^Db" e2 e2"^Bbm7" eDFA | %35
w: Chris- tine, _ that's all I ask of|Say you'll * share me one|
"^Ebm7" B2 B2"^Ab" B C3 |"^Db/F" d2>c2"^Bbm7" BADF |"^Ebm7" A/F/A-"^Ab" A2"^Ab7" z4 | %38
w: love, one life- time|say the word and I will|fol- low you _|
"^Db" e2 e2"^Bbm7" eDFA |"^Ebm7" B2 B2"^Ab" B C3"^Christine" | %40
w: Share each day with me, each|night, each morn- ing|
"^Db/F" d2>a2"^Gb" aG"_You" B>"_know"G |[M:2/4]"_I""_do""^Db/Ab" A4 | %42
w: Say you love me * *||
[M:4/4]"^Ebm7/Ab" E E2E"^Ab6" FA"^Ebm7/Ab" F>E |"^Db" D4"^Bbm7" eDFA |"^Ebm7" B2 B2"^Ab" BCAG | %45
w: Love me, that's all I ask of|you * * * *||
"^Db/F" d2>c2"^Bbm7" BADF |"^Ebm7" A/F/ A2B"^G/Ab" =B"^Ab"c"^Ab6"fe"^Ab7" | %47
w: ||
"^Db" e2 e2"^Bbm7" eDFA |"^Ebm7" B2 B2 B"^Ab"CFE | f/"^Db/F"g/ a2a"^Gb" agdB |[M:2/4]"^Db/Ab" A4 | %51
w: ||An- y where you go, let me go|too|
[M:4/4]"^Ebm7/Ab" E E2E"^Ab6" FAF"^Ebm7/Ab"E |"^Db" D8 | z8 |] %54
w: love me that's all I ask of|you||


All I Do Is Dream Of You

Context: Originally written for the 1934 film 'Sadie McKee', this song has been covered by numerous artists, becoming a standard in the American songbook. Its dreamy lyrics and melodic structure make it a favorite in romantic contexts.

The song features a simple yet effective AABA structure, characterized by its flowing melody and lyrical themes centered around longing and desire. The use of syncopation in the rhythm adds a playful quality, while the harmonic progressions often resolve in a way that evokes a sense of yearning. The orchestration typically includes lush strings and gentle piano, enhancing the dreamlike quality of the piece. The lyrics convey an intimate emotional landscape, reflecting the internal thoughts of a lover immersed in dreams of their beloved.

This piece is characterized by its smooth melodic lines and gentle rhythmic flow, creating an atmosphere of wistful longing. The harmonic structure supports a lyrical narrative that explores themes of love and desire, with an emphasis on dream imagery. Instrumentation often includes soft piano and strings, contributing to the overall serene and romantic feel.

The music plays softly in a dimly lit room adorned with soft pastel colors. A couple sits close together on a vintage sofa, their fingers intertwined as they gaze into each other's eyes. Outside, a gentle rain taps against the window, creating a cozy ambiance. The woman leans her head on the man's shoulder, her expression one of serene contentment. As the music swells, they share a quiet moment filled with unspoken words, lost in their dreams of a future together.

X:47
T:All I Do Is Dream Of You
T:All I do is dream of you
T:Nacio Herb Brown
T:Arthur Freed
C:Nacio Herb Brown
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"C" E G G3/2 G/ | c G G3/2 E/ |"G7" F G G2- | G4 | F G G3/2 G/ | d G G3/2 G/ |"C" E G G2- | G3 G | %8
w: All I do is|dream of you the|whole day through||Where the dawn I|still go on dream-|ing of you|* You're|
"C7" c ^c d3/2 d/ | =c ^c d3/2 d/ |"F" d =c A C | D C D2 |"D7" D2 ^F2 | A2 c2 |"D" B d z F | %15
w: ev- ry thought you're|ev- ry thing You're|ev- ry song I|ev- er sing|Sum- mer|Win- ter|Au- tumn and|
"G7" A3 G |"C" E G G3/2 G/ | c G G2 |"G7" F G G G- | G3 z | F G G3/2 G/ | d G G2 |"C" E G G G | %23
w: Spring and|where them all and|twen- ty four|hou- rs a day||let be spent in|sweet con- tent|in dream- ing a-|
 G3 G |"C7" =c ^c d3/2 d/ | =c ^c d2 |"F" d =c A C | D C D2 |"C" E G G3/2 G/ | c G G3/2 G/ | %30
w: way When|skies are grey when|skies are blue|Morn- ing noon and|night- time too|all I do the|whole day through is|
"G7" d2 G2 |"C" c c B _B |[K:F]"F" A c c3/2 c/ | f c c3/2 A/ |"C7" B c c2- | c4 | B c c3/2 c/ | %37
w: dream of|you * * *|All I so is|dream of you the|whole night through||where the dawn I|
 g c c3/2 c/ |"F" A c c2- | c3 c |"F7" f ^f g3/2 g/ | =f ^f g3/2 g/ |"Bb" g =f d F | G F G2 | %44
w: still go on dream-|ing of you|* You're|ev ry thought you're|ev- ry- thing you're|ev- ry song I|ev er sing|
"G7" G2 =B2 | d2 f2 |"C7" e g z _B | d3 c |[K:G]"G" B d d3/2 d/ | g d d2 |"D7" c d d d- | d4 | %52
w: Sum mer|win- ter|au- tumn and|spring and|where them all and|twen- ty- four|hou- rs a day||
 c d d3/2 d/ | a d d2 |"G" B d d d- | d3 d |"G7" g ^g a3/2 a/ | =g ^g a2 |"C" a =g e G | %59
w: Let be spent in|sweet con- sent|dream- ing a way|* When|skies are grey, when|skies are blue|Morn- ing noon and|
"Cm" A G A2 |"G" B d d3/2 d/ | g d d3/2 d/ |"D7" a2 d2 |"G" g4 |] %64
w: night- time too|all I do the|whole day through is|dream of|you.|


All I Have To Offer You Is Me

Context: This song, originally recorded by Dallas Frazier, has been covered by various artists and is known for its heartfelt lyrics expressing vulnerability and sincerity in love. It reflects the struggles of offering genuine emotions over material wealth.

Musically, 'All I Have To Offer You Is Me' is characterized by its simple yet poignant melody that complements the emotional weight of the lyrics. The song employs a traditional country structure, featuring a steady rhythm and a straightforward chord progression that allows the vocal delivery to shine. The use of first-person narrative creates an intimate connection with the listener, emphasizing themes of authenticity and emotional honesty. The instrumentation typically includes acoustic guitar, piano, and subtle strings, enhancing the reflective mood of the piece. Lyrically, it contrasts materialism with emotional richness, highlighting the narrator's willingness to offer love as their greatest asset.

The music features a slow tempo and a gentle melody that evokes feelings of nostalgia and longing. The instrumentation is predominantly acoustic, providing a warm and inviting sound. Vocals are delivered with a heartfelt sincerity, conveying deep emotions associated with love and loss. The lyrics focus on themes of vulnerability and the contrast between material wealth and emotional connection.

In a dimly lit room filled with soft golden light from a single lamp, a figure sits alone at a weathered wooden table, their expression one of deep contemplation. Outside, the sounds of rain softly patter against the window, creating a serene backdrop. The character's hands rest on a crumpled letter, filled with unspoken words and emotions. As the music plays softly in the background, it captures their internal struggle—reflecting on past relationships and the weight of unfulfilled promises. The atmosphere is thick with nostalgia as memories flood back, each note resonating with their longing for connection amidst the solitude.

X:48
T:All I Have To Offer You Is Me
T:All I have to offer you is me
T:Dallas Frazier and Al Owens
C:Dallas Frazier, Al Owens
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 4
V:1
 z4 z2 G2 |:"F" A3 G A3 F |"Bb" G F3 F3 G |"F" A2 G2"Bb" F2 D2 |"F" C6 Ac |"C7" c3 G G E2 G | %6
w: Be-|fore you take an-|oth- er step theres|some- thing you should|know * a-|bout the years * a-|
w: |heart I'll give you|all my love in|ev- ry way I|can But make|sure thats what * you|
 A3 G G F2 G |"F" F8- | F4 z2 FG | A A3 A3 F |"Bb" G F2 F F2 G2 |"F" A2 AG"Bb" F2 D2 |"F" C6 c2 | %13
w: head and how * they'll|be|* You'll be|liv- ing in a|world * where ros- es|hard- ly * ev- er|grow Cause|
w: want while your' * still|free|* * the|on- ly gold I|have * for you is|in this * wed- ding|band *|
"C7" c3 G G3 G | A3 G G E2 E |"F" F8 |"Bb" z2"F" F2 F2 A2 || c2 c2"Bb" d2 d2 |"F" c3 c A3 G | %19
w: all I have to|off- er you is *|me|There'll be no|man- sions wai- ting|on the hills with|
w: ||||||
"Bb" G2 F4 FG |"F" A6 FA | c2 c2"Bb" d2 d2 |"F" c3 A c3 A |"C7" G8- | G4 z2 Ac |"F" c3 c"Bb" d3 d | %26
w: crys- tal chan- de-|liers and there'll|be no fan- cy|clothes for you to|wear|* ev- ry-|thing I have is|
w: |||||||
"F" c2 c2 A3 F |"Bb" G3 F F2 G2 |"F" A8 |"Bb" B3 B d3 d |"F" c2 A2"C7" G3 E |1"F" F4"Bb" z4 | %32
w: stand- ing here in|front of you to|see|all I have to|off- er you is|me|
w: ||||||
"F" z4 z2 G2 :|2"F" F8- | F6 z2 |] %35
w: Sweet|me||
w: |||


All I Want For Christmas Is You

Context: Released in 1994, this song quickly became a holiday staple and has been covered by numerous artists. It showcases a blend of pop and R&B influences, characterized by its upbeat tempo and catchy melody.

The song features a simple yet effective structure, primarily built around a repetitive chorus that emphasizes the theme of love during the holiday season. The instrumentation includes bells and a prominent piano line, creating a festive sound. Lyrically, it expresses a longing for love over material gifts, which resonates with many listeners. The use of syncopation in the vocal delivery adds to the song's lively feel, while the background harmonies enrich the overall texture.

This music piece is characterized by its vibrant melodies and heartfelt lyrics. The arrangement features an upbeat tempo, with lively instrumentation that includes piano, strings, and bells. The vocal delivery is dynamic and expressive, conveying a sense of joy and yearning. The song's structure is straightforward, allowing for an infectious sing-along quality that enhances its appeal during festive gatherings.

Imagine a cozy living room adorned with twinkling lights and a beautifully decorated Christmas tree. Outside, snow gently falls as families gather around, laughter filling the air. In this warm setting, loved ones exchange gifts, their faces glowing with happiness. The music plays softly in the background, enhancing the atmosphere of love and togetherness as everyone sings along to the familiar chorus, creating cherished memories that will last a lifetime.

X:49
T:All I Want For Christmas Is You
T:All I Want For Christmas Is You
C:Wally Afanasieff
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"G" G,2 B,2 D2 FG- |"Gmaj7" G F3 E D3 |"G" A2 G2 G F2 G- |"Gmaj7" G F2 (E D2) DC- | %4
w: I don't want a lot|_ for Christ- mas,|there is just one thing|_ I need. _ And I|
w: I won't ask for much|_ this Christ- mas,|I won't e- ven wish|_ for snow. _ And I,|
w: ||||
"C" C2 E2 G2 AB- |"C6" B A2 G- G E3 |"C6/Eb" C2 _E G3 AB- | B A2 (=F2 _E3) |S"G" A2 G G3 FG- | %9
w: _ don't care a- bout|_ the pres- * ents|un- der- neath the Christ-|* mas tree. _|I don't need to hang|
w: _ I'm just gon- na|_ keep on wait- ing|un- der- neath the mis-|* tle- toe. _|I won't make a list|
w: ||||I don't want a lot|
"Gmaj7" G F2 E- E D3 |"G" G,2 B,D- D F2 G- |"Gmaj7" G F2 E- (EF/)E/ D2 |"Cmaj7" z2 BB B2 AB- | %13
w: _ my stock _ ing|there up- on _ the fi-|* re- place. _ _ _ _|San- ta Claus won't make|
w: _ and send _ it|to the North- * pole for|_ Saint Nick. _ _ _ _|I won't e- ven stay|
w: _ for Christ- * mas,|this is all _ I'm ask-|* ing for. _ _ _ _|I don't want a lot|
 B A2 G2 E3 |"C6/Eb" C2 _EG- G A2 _B- | B A2 (=F _E4) |"G" G2 A2"Gmaj7" ^F2 G=E- | %17
w: _ me hap- py|with a toy _ on Christ-|* mas day. _|I just want you for|
w: _ a- wake to|hear those _ ma- gic rein-|* deer click. _|I just want you here|
w: _ for Christ- mas,|this is all _ I'm ask-|* ing for. _|I just to see my|
"G6" E F2 ^D-"B7" D4 |"Em7" G2 A2 F2 GE- | E F2 _E-"C6/Eb" E4 |"G/D" D2 =E2 G d2 (c- | %21
w: _ my own. _|more than you could e-|* ver know. _|Make my wish come true:|
w: _ to- night. _|hold- ing on to me|_ si tight. _|What more can I do?|
w: _ ba- by. *|stand- ing right out- side|_ my door. _|Make my wish come true.|
"E7" cd c2) z4 | c3 c- c2 z2!dacoda! |"Am9" B2 A2 G2 E2 |"D7b9" _E2 A4 B2 |"G6" (A G3-) G4- | %26
w: _ _ _||all I want for|Christ- mas is|you. _ _|
w: _ _ _|Ba- by! *||||
w: _ _ _|||||
"Em7" G2 z2 z4 |"Am9" (B4- Bd B2) |1"D7" B3 A- A (G2 A) :|2"D7" B3 A- A (G2 A ||"B7" B2) z2 B2 Bc | %31
w: _|You, _ _ _|ba- by _ Oh, _|ba- by _ Oh, _|_ all the lights|
w: |||||
w: |||||
 c B2 A- A G2 G |"Em7" E2 FG- G A2 A- | A2 G6 |"B7" z4 A B2 e- | e2 dA- A G3 | %36
w: _ are shin- * ing so|bright- ly ev- * 'ry- where,|_ _|and the sound|_ of child- * ren's|
w: |||||
w: |||||
"Em7" B2 dA- A G2 B- | B8 |"C6/Eb" z2 z D G A2 A- | A A2 G- G G3 |"G/D" z2 z D G A2 e- | %41
w: laugh- ter fills _ the air.|_|And ev- 'ry- one|_ is sing- * ing.|I hear those sleigh-|
w: |||||
w: |||||
"E7" e d2 A- A G3 |"Am9" BBBB B2 BB | BBBB B2 BB |"D9sus4" e2 dB dBde- | %45
w: * bells ring- * ing.|San- ta, won't you please bring me|what I real- ly need, won't you|please bring my ba- by to me.|
w: ||||
w: ||||
 (e d2 B (3AGE) (GA)!D.S.! |]O"Am9" B2 A2 G2 E2 |"D7b9" _E2 A6- | A8 | DEGA B A3 |"G6" z2 g6- | %51
w: _ _ _ _ _ _ Oh, _|all I want for|Christ- mas|_|is _ _ _ _ _|you.|
w: ||||||
w: ||||||
"Em7" g8 |"Am7" (B4- Bd B2) |"D7" B3 A- A4 |:"Gmaj7" B2 A2 G2 A2 |"Em7" B2 G4 A2 | %56
w: _|Ooh, _ _ _|ba- by. _|All I want for|Christ- mas is|
w: |||||
w: |||||
"Am7" (G4- Gd B2) |"D7""^Repeat and Fade" B3 A- A4 :| %58
w: you, _ _ _|ba- by _|
w: ||
w: ||


All My Loving

Context: Released in 1963 on The Beatles' album 'With The Beatles', 'All My Loving' is a classic love song written by Paul McCartney. It showcases the band's early sound, characterized by melodic hooks and harmonized vocals. The song has been covered by numerous artists and remains a staple in pop music.

'All My Loving' features a simple yet effective chord progression that underpins its heartfelt lyrics. The use of syncopation in the melody creates a sense of longing, while the steady rhythm evokes a feeling of movement, as if the narrator is journeying towards their loved one. The song's structure follows a traditional verse-chorus format, enhancing its accessibility and sing-along quality. Lyrically, it conveys themes of separation and yearning, with the narrator promising to send their love through letters, which adds an emotional depth to the piece. The instrumentation includes prominent guitar riffs and a driving bass line, typical of early Beatles' arrangements.

The music features a bright and uplifting melody complemented by rich vocal harmonies. It employs a moderate tempo that evokes feelings of nostalgia and affection. The arrangement includes rhythmic guitar strumming and a steady drumbeat that enhance the song's emotional impact. The lyrical content reflects themes of love and longing, creating an intimate atmosphere that resonates with listeners.

The music plays during a serene evening in a quaint English village, where soft golden light filters through the trees as the sun sets. A young couple sits on a park bench, gazing into each other's eyes with expressions of deep affection. The air is filled with the scent of blooming flowers, and the gentle rustle of leaves accompanies their laughter. As they share stories and dreams for the future, the music swells, emphasizing their connection and the bittersweet nature of their time apart. Nearby, children play joyfully, adding to the idyllic scene as fireflies begin to twinkle in the twilight.

X:50
T:All My Loving
T:All my loving
T:John Lennon and Paul McCartney
T:Foxtrot
C:John Lennon, Paul McCartney
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 F E |:"Dm" D2 E F |"G7" G A2 B |"C" c2 c B |"Am" A E2 A |"F" A2 A G |"Dm" F3/2 E/- E C |"B" D4- | %8
w: Close your|eyes and I'll|kiss you to-|morr- ow I'll|miss you Re-|mem- ber I'll|al- ways * be|true.|
w: |tend I am|kiss- ing the|lips I am|miss- ing and|hope that my|dreams will * come|true.|
w: |eyes and I'll|kiss you to-|mor- row I'll|miss you Re-|mem- ber I'll|al- ways * be|true.|
 D z F E |"Dm" D2 E F/G/- |"G7" G2 A B |"C" c2 c B/A/- |"Am" A/E/E/E/ A/ A3/2 |"Dm7" A2 A G | %14
w: _ and then|while I'm a- way|_ I'll write|home ev- 'ry- day|_ _ _ _ and I'll|send all my|
w: _||||||
w: _||||||
"G7" F/ E3/2- E D/"C"C/- |1 C2 z2 | C F E z :|2 C z c B ||"Am" A/E/- E3 |"C" E D C D/E/ |"C" E4- | %21
w: lov- ing _ to you|_|* I'll pre|* All my|lov- ing *|I will send to you||
w: |||||||
w: |||||||
 E z c B |"Am" A/E/- E3 |"C" E D D C/C/ |"C" C4-!dacoda! | C z F E ||O z4 | C z c B | %28
w: * all my|lov- ing *|dar- ling I'll be true||* close your||* All my|
w: |||||||
w: |||||||
"Am" A/E/- E3 | e d c d/c/- |"C" c4- | c3 z |] %32
w: lov- ing *|I will send to you.|||
w: ||||
w: ||||


All Or Nothing At All

Context: Originally composed in 1941, 'All Or Nothing At All' has been performed by various artists, including Frank Sinatra and Billie Holiday. The song's poignant lyrics and melodic structure have made it a staple in the jazz and pop repertoire.

The piece features a lush orchestral arrangement that complements its lyrical themes of love and longing. The harmonic structure is characterized by rich chord progressions, often utilizing extended chords that enhance the emotional depth of the lyrics. The melody is expressive, moving through a wide range that allows for dynamic vocal interpretations. The song's form typically follows a standard AABA structure, which is common in jazz ballads, allowing for improvisational solos that can explore the emotional nuances of the piece. The interplay between the vocalist and the instrumentalists creates a dialogue that heightens the song's dramatic impact.

This music piece is characterized by its slow tempo and smooth melodic lines, creating an intimate atmosphere. The instrumentation typically includes strings, piano, and brass, which together produce a warm and inviting sound. The lyrics convey a deep sense of yearning and vulnerability, reflecting themes of love lost and the desire for reconciliation. The vocal delivery is often marked by subtle nuances and emotional inflections that enhance the storytelling aspect of the song.

The music plays during a dimly lit jazz club in the heart of a bustling city at night. Soft golden lights flicker above small round tables adorned with flickering candles. A lone singer stands at the microphone, their silhouette framed against a backdrop of deep blue velvet curtains. Patrons sit closely together, their expressions ranging from wistful to contemplative as they sip on cocktails. The atmosphere is thick with anticipation as the singer pours their heart into each note, evoking memories of past loves and lost opportunities. Outside, rain gently patters against the windows, mirroring the emotional weight of the performance.

X:51
T:All Or Nothing At All
C:Arthur Altman
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
V:1
"Am"!mp! E4- | E E (3E F C |"Am7" E4- |"Am6" E3 z |"Am" E2"Am6" E2 |"Am7" E2"Am6" (3E G C | %6
w: AII,|* or noth\- ing at|all;||Half a|love nev\- er ap\-|
"Bb9" D3/2 D/"Bb6" D2- |"Bb+" D3"Bb7" z |"Gm" D2 D2 |"Em7b5" D2"A7b9" (3E ^C D |"Dm" A3/2 A/ A2- | %11
w: pealed to me.||If your|heart nev\- er could|yield to me,|
 A2 B A |"G7" G G2 G |"G+7" G G2 G |"Cmaj7" G4 |"Bm7b5" z2"E7b9" z2 |"Am" E4- | E E (3E F C | %18
w: * Then I'd|ra\- ther have|no\- thing at|all!||AIl|* or no\- thing at|
"Am7" E4- |"Am6" E3 z |"Am" E2"Am6" E2 |"Am7" E2"Am6" (3E G C |"Bb9" D3/2 D/"Bb6" D2- | %23
w: all!||If it's|love, there is no|in\- be\- tween.|
"Bb+" D3"Bb7" z |"Gm" D3/2 D/ D3/2 D/ |"Em7b5" D3/2 D/"A7b9" (3E ^C D |"Dm" A3/2 A/ A2- | A2 B A | %28
w: |Why be\- gin, then|cry for some\- thing that|might have been.|* No, I'd|
"G7" G G2 G |"G+7" G G2 G |"Cmaj7" G4- |"Bbm" G z"Eb7" z _E ||"Ab" c c"Ab+" c c | %33
w: ra\- ther have|no\- thing at|all.|* But,|please, don't bring your|
"Ab6" c3/2 c/"Ab+" (3c _d _A |"Ab" c2-"Ab+" c2- |"Ab6" c2-"Ab+" c"Eb7" _E | %36
w: lips so close to my|cheek. *|* * Don't|
"Ab" c3/2 c/"Ab+" c3/2 c/ |"Db" _d2"Ab" (3c _B _A |"Eb9" G4- | G2-"Eb+""Eb7" G _E | %40
w: smile, or I'll be|lost be\- yond re\-|call.|* * The|
"Bbm7" (3_B B B"Eb7" B3/2 B/ |"Bbm7" (3_B B B"Eb7" (3B c G |"Bbm7" _B2-"Eb7" B2- | %43
w: kiss in your eyes, the|touch of your hand makes me|weak; *|
"Gm7b5" B2"C7" c _B |"Fm" _A2 A A |"Db7" _A A2 A |"C7" G4 |"E7" z D C B, ||"Am" E4 | %49
w: * And my|heart may grow|diz\- zy and|fall.|And if I|fell|
 (3E F C (3E F C |"Am7" E4- |"Am6" E3 z |"Am" E2"Am6" E2 |"Am7" E2"Am6" (3E G C | %54
w: un\- der the spell of your|call,||I would|be caught in the|
"Bb9" D3/2 D/"Bb6" D2- |"Bb+" D2-"Bb7" D z |"Gm" D2 D2 |"Em7b5" D3/2 D/"A7b9" (3E ^C D |"Dm" A4 | %59
w: un\- der\- tow.||So, you|see, I've got to say:|No!|
"Bm7b5" B2-"E7" B2 |"Am" c4- |"Dm7b5" c c"G7sus4" (3c c c |"C" c4- | c3 z |] %64
w: No! *|All|* or no\- thing at|all!||


All The Things You Are

Context: Originally composed for the 1939 musical 'Very Warm for May', this song has become a jazz standard, covered by numerous artists across various genres. Its complex harmonic structure and lyrical beauty have made it a favorite among musicians and vocalists alike.

The piece is notable for its sophisticated use of harmony and melody, showcasing a series of modulations that create a rich emotional landscape. The song is structured around a series of chord changes that reflect the lyrical themes of longing and desire. Each section introduces new harmonic ideas, often shifting keys in unexpected ways, which enhances the sense of yearning expressed in the lyrics. The melody itself is lyrical and flowing, allowing for expressive phrasing that complements the emotional weight of the text. The interplay between major and minor tonalities adds depth to the overall feel, making it a compelling piece for both performers and listeners.

This music features a lush orchestral arrangement characterized by sweeping melodies and intricate harmonies. The vocal lines are expressive, often rising and falling in a manner that conveys deep emotion. The instrumentation typically includes strings, woodwinds, and brass, creating a warm and inviting soundscape. The rhythm is smooth and flowing, allowing for an elegant delivery that enhances the romantic nature of the lyrics.

Imagine a dimly lit jazz club in the heart of New York City during the late evening. The warm glow of soft yellow lights casts gentle shadows on the polished wooden floor. A small stage is set with a grand piano at its center, where a soloist stands with eyes closed, pouring their heart into the performance. Patrons sit at intimate tables adorned with flickering candles, captivated by the music that fills the air. The atmosphere is thick with anticipation as the singer's voice rises over the soft murmur of conversations, evoking feelings of nostalgia and longing. Outside, a light rain begins to fall, adding to the romantic ambiance as couples lean closer together, lost in the moment.

X:52
T:All The Things You Are
T:All The Things You Are
C:Jerome Kern
L:1/4
M:2/2
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"G" D/D/ D"Gmaj7" G A |"G6" B c/B/"G" A G |"Am" D/D/ D"Am7" G B |"D7" c d/c/ B A | %4
w: Time and a- gain I've|longed for ad- ven- ture,|some- thing to make my|heart beat the fas- ter.|
"G" D/D/ D"Gmaj7" B c |"G6" d e/d/"G" c B |"Am""Am7" A4 |"F7" A4 |"G" D/D/ D"Gmaj7" G A | %9
w: What did I long for?|I nev- er really knew.|||Find- ing your love, I've|
"G6" B c/B/"G" A G |"F#m" B,/B,/ B,"F#m7" F G |"B7" A B/A/ G F |"G" D/D/ D G D | %13
w: found my ad- ven- ture,|touch- ing your hand, my|heart beats the fast- er.|All that I want in|
"Am7" D/D/ D"D7" c D |"G7" G4 |"C7" G4 ||[K:Ab]"Fm7" A4 |"Bbm7" d3 A |"Eb7" G G G G | %19
w: all of this world is|you.||You|are the|prom- ised kiss of|
"Abmaj7" G c2 G |"Dbmaj7" F F F F |"G7" F =B2 F |"Cmaj7" =E4- | E4 |"Cm7" E4 |"Fm7" A3 E | %26
w: spring- time that|makes the lone- ly|win- ter seem|long.||You|are the|
"Bb7" =D D D D |"Ebmaj7" =D G2 D |"Abmaj7" C C C C |"Am7b5" (3C =D E"D7b9" D C |"Gmaj7" =B,4- | %31
w: breath- less hush of|eve- ning that|trem- bles on the|brink of a love- ly|song.|
 B, =D"E7#9" G =d |"Am7" =d3/2 c/ c2- |"D7" c ^D =E c |"Gmaj7" =B4- |"Cmaj7" B =D G =B | %36
w: * You are the|an- gel glow|* that lights a|star,|* The dear- est|
"F#m7b5" =B3/2 =A/ A2- |"B7" A B, =B, =A |"Emaj7" ^G4- |"C+7" G4 |"Fm7" A4 |"Bbm7" d3 A | %42
w: things I know|* are what you|are.||Some|day my|
"Eb7" G G G G |"Abmaj7" G c2 G |"Dbmaj7" F4 |"Dbm7" e3"Gb9" d |"Abmaj7" E E (3E E E |"Bdim7" G3 F | %48
w: hap- py arms will|hold you, And|some|day I'll|know that mo- ment di-|vine, When|
"Bbm7" D D F A |"Eb7" f2 G2 |"Ab6" A4- |"Bbm7""Ab/C" A4 |] %52
w: all the things you|are are|mine.||


All You Need Is Love

Context: Released in 1967, 'All You Need Is Love' became an anthem for the peace movement during the 1960s. The song was performed by The Beatles on Our World, the first live global television link, reaching an estimated 400 million people. Its simple message of love resonated with audiences worldwide and has since become one of the band's most iconic songs.

Musically, 'All You Need Is Love' is characterized by its blend of rock and orchestral elements, featuring a prominent use of strings and brass. The song employs a simple verse-chorus structure with a memorable melody that enhances its universal message. Lyrically, it emphasizes the importance of love as a solution to societal issues, reflecting the countercultural sentiments of the time. The use of call-and-response in the chorus invites participation, making it a communal experience. Harmonically, it utilizes major chords to evoke feelings of happiness and optimism.

This piece features a bright and uplifting melody driven by rhythmic guitar strumming and lush orchestration. The verses are straightforward yet poignant, while the chorus bursts into a celebratory refrain that encourages unity and togetherness. The instrumentation includes strings, brass, and a steady drumbeat that supports the vocal harmonies, creating an inviting atmosphere that resonates with listeners.

The music plays during a vibrant outdoor festival at sunset, where people from diverse backgrounds gather to celebrate love and peace. Colorful banners flutter in the warm breeze as families and friends dance joyfully on the grass. Children run around with smiles on their faces, while couples embrace under twinkling fairy lights strung between trees. The atmosphere is filled with laughter and camaraderie, embodying the essence of community and shared joy that the music inspires.

X:53
T:All You Need Is Love
T:All you need is love
T:John Lennon and Paul McCartney
C:John Lennon, Paul McCartney
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 B4"G" A4 |"D" G6"Em" z2 |"G" B4"D" A4 |"Em" G6 z2 |"D7" c4"G" B4 |"D7" A4 z4 | z8 | z8 |: %8
w: Love love|love|love love|love|love love|love|||
w: ||||||||
w: ||||||||
"G" (3DBB AG"D" AAG^F |"Em" G2 z2 z4 |"G" BBAG"D" AAG^F | G2 z2 z4 | (3BBA (3GAG EG (3BAG | %13
w: There's noth- ing you can do that can't be|done|Noth- ing you can sing that can't be|sung|Noth- ing you can say but you can learn how to|
w: Ther's noth- ing you can make that can't be|made|Noth- ing you can save that van't be|saved|Noth- ing you can do but you can learn how tobe|
w: There's noth- ing you can know that is- nt|known|Noth- ing you can see that is- nt|shown|No- where you can be that is- nt where * you're|
 AG A2 z2 d2 | e2 d2 z4 | z8 :: z2 dd d2 d2 | d2 z2 z4 | z2 dd d2 d2 | d2 z2 z4 | z2 dd ^d2 d2 | %21
w: play the game it's|ea sy||All you need is|love|all you need is|love|all you need is|
w: you in time *||||||||
w: meant to be *||||||||
 e2 z2 B2 z2 | z2 AB AG G2 | z8 | B4 A4 | G6 z2 | B4 A4 | G6 z2 | c4 B4 | A4 z4 | z8 | z8 :| %32
w: love love|love is all you need||love love|love|love love|love|love love|love|||
w: |||||||||||
w: |||||||||||
 z2 dd d2 d2 | d2 z2 z4 | z2 dd ^d2 d2 | e2 z2 B2 z2 | z2 AB AG G2 | z4 z2 AB |: %38
w: All you need is|love|all you need is|love love|love is all you need|love is|
w: ||||||
w: ||||||
 AG G2 z2"^repeat and fade" AB :| %39
w: all you need love is|
w: |
w: |


ALMOST BLUE

Context: Released in 1981, 'Almost Blue' is featured on Elvis Costello's album of the same name. The song showcases Costello's ability to blend pop sensibilities with jazz and blues influences, reflecting his diverse musical style. It has been covered by various artists, highlighting its enduring appeal.

'Almost Blue' is characterized by its poignant lyrics and a haunting melody that conveys deep emotional resonance. The song employs a slow tempo and features a sophisticated chord progression typical of jazz standards, which enhances its reflective mood. The use of minor keys creates a sense of longing and sadness, while Costello's vocal delivery adds an intimate quality to the performance. The lyrical content explores themes of love lost and emotional vulnerability, employing imagery that evokes a sense of nostalgia and heartache. The arrangement typically includes soft instrumentation, allowing the vocals to remain at the forefront, thus emphasizing the lyrical narrative.

The music features a slow and soulful melody with a rich harmonic structure that combines elements of pop and jazz. Instrumentation includes gentle piano chords, subtle strings, and soft percussion that create an atmospheric backdrop. The vocal delivery is emotive, with a smooth timbre that conveys both vulnerability and strength. The overall sound is characterized by its reflective nature, inviting listeners into a space of introspection and emotional exploration.

Set in a dimly lit jazz club during a rainy evening, the scene unfolds with soft blue lighting casting shadows across the room. Patrons sit at small tables, their faces illuminated by flickering candlelight as they listen intently to the music. A lone singer stands on stage, their silhouette framed by the soft glow of the spotlight. The atmosphere is thick with emotion as the singer pours their heart into the performance, evoking feelings of love lost and yearning. Outside, raindrops patter against the windows, mirroring the melancholic tone of the music as it resonates through the intimate space.

X:54
T:ALMOST BLUE
C:Elvis Costello
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
"Am9" z2 EE"E7/G#" E4- |"C6/G" E2 EG"Dm6/B" FE"E6"DC |"Am9" z2 DE"E7/G#" E4- | %3
w: AL MOST BLUE|_ al most do ing things we|used to do|
 E3 E/G/"Dm6/B" FEDC- |"C6" CE/-C/ D-A,"F6" C4 |"E" z2 E2"D" D4 |"Am" z2 A2 B4 | %7
w: _ there's a girl here and she's|_ al _ most _ you|al most|all the|
"Adim" c3 A/B/ cBAG- |"C" G2 G2 G>"Bb6"G- GG |"A7" G4"C7/G" _BAGF |"Dm9" E6"F6/C" F2 | %11
w: things that your eyes once prom ised|_ I see in _ hers|too now your eyes are|red from|
"Bm7b5" E4 B,4 |"Am" z2"B7/D#" B6- |"Am9" BE- E<A-"C6/G" A4- |"F" A4 A/B"Bm7b5"c/ BA | %15
w: cry ing.|AL|_ MOST _ BLUE _|_ Flirt ing with this dis|
 GE/F/"C9" G>G- G4 |"Dm9" z2 A/Bc/"Bm" BAGF |"Esus4" AAAE"E" E2- E2- |"Am" E2 z2"E7/G#" z E E<E | %19
w: as ter be came me _|It named me as the fool who|on ly aimed to be. _|_ AL MOST BLUE|
"C6/G" z EEG"Dm6/B" FE"E7"DC |"Am" C2 D"E7/G#"E E4 |"C6/G" z E/G/"Bm7b5" FE DC- C2 | %22
w: its al most touch ing it will|_ al most do.|There's a part of me that's: _|
"C6" z2 E/-C/D/-A,/"F9" C4 |"E6" C2 E2"Dm" D4 |"Am" z2 AA B2 B2 |"Adim" c2- cA/B/ cBAG | %26
w: al _ ways _ true|_ al ways|Not all good things|come _ to at end now, it is|
"B" z2 G/G/G"Gm6/Bb" G2 G2 |"A7" G2- G2 _BAGG |"Dm9" E2 E2 E2 F2 |"Am/B" E4"E+" B,4 | %30
w: on ly a chos en|few: * I have seen such|an un hap py|coup le|
"Am9" z2 B2- BA- A<A- | A4- A4- | A2"Bm7" B2"Dm7" c2 BA- |"Bm7b5" A8- | A2 c-B A->G- G2 | %35
w: AL * MOST * *|ME *|* AL MOST YOU *||* AL * MOST * *|
"Am9" B2- B<A- A4- | A2 z2 z4 |] %37
w: BLUE * * *||


Alone Again (Naturally)

Context: Released in 1972, 'Alone Again (Naturally)' became one of Raymond O'Sullivan's most iconic songs. It reached number one on the charts in several countries and is known for its poignant lyrics and reflective tone. The song's themes revolve around loneliness, loss, and the complexities of love.

'Alone Again (Naturally)' is characterized by its melancholic melody and introspective lyrics. The song employs a soft piano accompaniment that enhances its emotional weight. The structure follows a traditional verse-chorus format, with the verses detailing a narrative of abandonment and heartache. The use of minor keys contributes to the somber mood, while the contrasting upbeat chorus provides a sense of irony. Lyrically, the song explores themes of existential despair and vulnerability, inviting listeners to reflect on their own experiences of solitude and longing.

The piece features a gentle piano melody accompanied by soft strings, creating an atmosphere of introspection. The vocal delivery is heartfelt and sincere, conveying deep emotions of sadness and reflection. The lyrics narrate a story of loss and the feeling of being left alone, resonating with anyone who has experienced similar feelings. The harmonic progressions are simple yet effective, allowing the poignant message to take center stage.

The music plays in a dimly lit room where a solitary figure sits by a window on a rainy afternoon. Soft light filters through the glass, casting shadows on the walls. Outside, raindrops trickle down as if mirroring the figure's inner turmoil. They gaze out at the world with a distant look, lost in thought about past relationships and moments of joy now turned to sorrow. A cup of cold tea sits forgotten on the table beside them, symbolizing time slipping away unnoticed. The air is thick with nostalgia as memories flood back, each note echoing their feelings of abandonment and longing.

X:55
T:Alone Again (Naturally)
T:Alone Again (Naturally)
T:Raymond O'Sullivan
C:Raymond O'Sullivan
L:1/16
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z8 z4 z3 C |:S"F" Acccc2cA- A4 z2 CC |"Am" A2cc ccc2 A2<A2 z2 c_e- | %3
w: Oh|in a lit- tle while from now, * If I'm|not feel- ing an- y less sour; * I prom-|
w: |* that on- ly yes- ter- day, * I was|cheer- ful * bright * and gay; * look- ing|
w: |look- ing back ov- er the years * * And|what- ev- er else that ap- pears; * I re-|
"Am7b5" e>_ee2d2dc- c2c2B2BA- | A>AA2G2G2"D7" ^F2<F2 z2 DG- |"Gm7" G2B2B2BG- G4 z2 DG- | %6
w: * ise my- self to treat * my- self and vis-|* it a near- by tow- er And climb-|* ing to the top * will throw|
w: for- ward to well who would- * n't do the role|* I was abouit to play; * But as|if to knock me down' * re- al-|
w: mem- ber I cried, when my fa- ther died, nev- er|wish- ing to hide the tears; * And at|six- ty- five years old, * my mo-|
"Gm7b5" G2B2B2>G2- G2 z2 z2 FG |"F" A2AA- A z FG"F+" A2AA-A2FG |"F6" AAA2c2d2"Bm7b5" d4"E7" e2e2 | %9
w: * my- self off * in an|ef- fort to * make it clear to who- * ev er|what it's like when you're shat- tered, left|
w: ity came a- round, * and with-|out so much. * as a mere * touch * cut me|in- * to lit- tle piec- es; *|
w: ther God rest her soul, could- n't|un- der- stand why * the on- ly man * she had|ev- er loved had been ta- ken; *|
"Am" c2c2A2=Bc- c2 z2 A2Bc- |"Am7b5" c2_e2e2e2"D7b9" e4"D7" d2cc- |"Gm" c2B2B2A2 A2G(G G) z cc- | %12
w: stand- ing in the lurch * at a church|* where peo- ple say- ing "My God|* that's tough, she's stood him up," * no point|
w: leav- ing me to doubt * talk a- bout|* God in his mer- cy, who if|* he real- ly does ex- ist, * why did|
w: leav- ing her to start * with a heart|* so bad- ly bro- ken, des- pite|* en- cour- age- ment from me * no words|
"Gm7b5" c2Bc-c2B2 F4 G2 z C |"Fmaj7" A2cc-c2cA-"F6" A4 z2 CA- |"Am" A2cd-d2e2"D9" e4- e z dc- | %15
w: * in us- * re- main- ing we|may as well * go home! * As I|* did on * my own; * A- lone|
w: * * he * de- sert me *|in my hour * of need? * I tru|* ly am * in- deed * A- lone|
w: * were ev- * er spo- ken; and|when she passed * a- way * I cried|* and cried * all day; * A- lone|
"Gm" c2Bd- d4"C7b9" z4 E2EG!dacoda! |1"F" F4 z4 z4 z2 CA :|2"F" F4 z4 z4 z2 _Ec- || %18
w: * a- gain * Nat- ur- al-|ly. To think|ly. It seems|
w: * a- gain * Nat- ur- al||. * *|
w: * a- gain * Nat- ur- al;|||
"Ab" c2cc-c2c_d- d2cB- B2<_A2 |"Eb" z2 _eee2fe- e2_d2c2BB- |"Gm7b5" B4 _d4"C7b9" z2 d2c2BB- | %21
w: * to me * that there * are more * hearts|bro- ken in the world * that can't be mend-|* ed left un- at- tend-|
w: |||
w: |||
"Ab" B4 _A4"Dm7b5" z2 A2c2AG- |"C" G6 z2 z2 E2G2=BG- |"C9sus4" G6 z2"C7" z4 z3 C!D.S.! || %24
w: * ed; what do we do?|* What do we do?|* Now|
w: |||
w: |||
O"F" F4"Am7""^Coda" z4"D7" z4 z2 dc- |"Gm" c2Bd- d4"C7b9" z4"C7" E2EG |"F" F4 z4 z8 | z16 |] %28
w: ly A- lone|* a- gain * Nat- ur- al;-|ly.||
w: ||||
w: ||||


Along the road to Gundagai

Context: Originally written in the 1940s, 'Along the Road to Gundagai' has become an iconic Australian song that reflects the beauty of the Australian countryside and the experiences of rural life. Jack O'Hagan, known for his contributions to Australian music, wrote this piece to evoke a sense of longing and connection to home.

The song employs a simple yet effective melodic structure that captures the essence of folk music. Its lyrical content is rich with imagery, depicting pastoral scenes and a sense of journeying. The use of repetition in the chorus reinforces its nostalgic theme, while the harmonic progressions are typical of early 20th-century Australian folk songs, often utilizing major keys to convey a sense of warmth and familiarity. The instrumentation typically features acoustic guitars, which provide a gentle backdrop that complements the storytelling aspect of the lyrics.

This piece is characterized by its warm melodies and heartfelt lyrics that evoke feelings of nostalgia and yearning. The music features a steady rhythm that mirrors the simplicity of rural life, with harmonies that enhance its emotional depth. The instrumentation is typically acoustic, creating an inviting atmosphere that draws listeners into its narrative.

The music plays during a serene sunset over rolling hills, where a lone traveler walks along a dusty road lined with wildflowers. The sky is painted in hues of orange and pink as the sun dips below the horizon. Dust swirls around their feet, and in the distance, quaint farmhouses dot the landscape. Birds chirp softly, adding to the peaceful ambiance as the traveler reflects on their journey home, feeling both a sense of belonging and longing for loved ones left behind.

X:56
T:Along the road to Gundagai
T:Along the road to Gundagai
T:unknown
C:Jack O'Hagan
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 z2 cB |"F" A2 AF"C" G2 GE |"Bb" (FG)FD"F" CDEF |"C7" A G3 B A3 |"F" F6"F7" GA | %5
w: There's a|track wind- ing back to an|old * fash- ioned shack * a long|the road to Gunda|gai where the|
"Bb" B2 BA B c2 B |"F" AAA^G A B2 A |"G7" =G2 A2 E2 D2 |"C7" G6 AB |"C" c2 c=B"D7" c d2 A | %10
w: blue gums are grow- ing- the|Murr- um- bid- gees flow- ing be-|neath that sun- ny|sky where my|Dad- dy and Mam- my are|
"Gm" c B2 A B2 FG |"F" A2 A^G A"D" B2 ^F |"Gm" A G2 ^F"C7" G2 cB |"F" A2 A=F"C" G2 GE | %14
w: wait- ing for me all the|pals of my child- hood once|more I shall see then no|more I will roam when I'm|
"Bb" FGFD"F" CDEF |"C7" A G3 B A3 |"F" F6 z2 |] %17
w: head- ing right for home a- long the|road to Gun- da-|gai|