O SOLE MIO

Context: Originally composed in 1898, 'O Sole Mio' is a classic Neapolitan song that has been performed by numerous artists worldwide. It is often associated with the rich cultural heritage of Naples and has been featured in various films and operas.

'O Sole Mio' features a simple yet profound melodic structure that showcases the beauty of the human voice. The song is characterized by its lyrical expressiveness and emotional depth, often reflecting themes of love and longing. The use of traditional Neapolitan musical elements, such as the characteristic rhythm and harmony, enhances its appeal. The piece's structure typically follows a verse-chorus form, allowing for dynamic vocal performances that convey both joy and melancholy. The harmonic progressions are rooted in classical traditions, providing a rich backdrop for the soaring melodies that define the piece.

This piece is marked by its lyrical melodies that evoke feelings of warmth and nostalgia. The vocal lines are sweeping and expressive, often featuring wide intervals that allow for dramatic phrasing. Accompanied typically by guitar or piano, the music conveys a sense of longing and romantic yearning, encapsulating the essence of love through its melodic contours. The rhythmic patterns are gentle yet engaging, inviting listeners to immerse themselves in the emotional landscape of the song.

Imagine a sun-drenched terrace overlooking the azure waters of the Bay of Naples at sunset. The sky is painted in hues of orange and pink as a couple sits together, their expressions filled with love and longing. As they gaze into each other's eyes, a street musician nearby begins to play 'O Sole Mio' on his guitar. The warm breeze carries the melody through the air, enhancing the romantic atmosphere. The couple shares tender smiles, their hearts resonating with the music's themes of love and beauty, while passersby pause to soak in this enchanting moment.


Oh How I Miss You Tonight

Context: This song, written by Benny Davis and Mark Fisher, became popular in the early 20th century and is often associated with themes of longing and romance. Its sentimental lyrics and melodic structure have made it a favorite in various musical performances and recordings.

Musically, 'Oh How I Miss You Tonight' features a simple yet effective structure that emphasizes emotional expression. The song is typically performed in a slow tempo, allowing for a heartfelt delivery. The use of major and minor chords creates a poignant contrast that enhances the feelings of nostalgia and longing. The melodic line often employs stepwise motion, making it accessible for vocalists while still allowing for expressive embellishments. The lyrics reflect a deep sense of yearning, which is mirrored in the music through dynamic contrasts and phrasing that emphasize key emotional moments.

The piece is characterized by its smooth melodic lines that evoke feelings of longing and nostalgia. It typically features a gentle piano accompaniment, enhancing the lyrical content's emotional weight. The vocal delivery often ranges from soft and contemplative to passionate crescendos, reflecting the lyrics' themes of love and loss. Harmonically, the song employs traditional pop structures with clear verse-chorus distinctions, allowing for both lyrical storytelling and musical development.

Imagine a dimly lit room in the early evening, where soft shadows dance across the walls as a single spotlight illuminates a grand piano. A lone figure sits at the piano, their fingers gliding over the keys, producing a warm and inviting sound. The air is thick with emotion as they sing about love lost, their voice resonating with heartfelt sincerity. In the background, a vintage photograph of a couple hangs on the wall, capturing a moment of joy now tinged with sadness. Outside, the soft glow of streetlights begins to flicker on as dusk settles in, creating an atmosphere that perfectly complements the music's nostalgic essence.

X:621
T:Oh How I Miss You Tonight
T:Oh How I Miss You Tonight
C:Benny Davis
L:1/4
M:3/4
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"G" B B B |"G/B" A G3/2 B,/ |"G""Cm6/G" D3- |"G""Am" D2"A#dim7" z |"G" D D D |"Gdim" E2 E | %6
w: Oh, how I|miss you to-|night,|_|Miss you while|lights are|
"D7" F3- | F2 z |"Am" c c c |"D7" B A3/2 C/ |"Am7" E3- |"D9" E3 |"Am" E"C+/A" E"Am7" E | %13
w: low,|_|Oh, how I|need you to-|night,|_|More than you'll|
"Bbdim7" G2 F |"G/B" D3- |"Am7" D2"D7" z |"G" B B B |"G/B" A G3/2 B,/ |"G" D3- |"Dm" D2 z | %20
w: ev- er|know.|_|Each mo- ment|though we're a-|part,|_|
"E7" E ^G B | d c3/2 B/ |"Am" A3- | A2 A/B/ | c c c |"Am7b5" c B3/2 A/ |"G" d"F#+" d"Dm/F" d | %27
w: You're nev- er|out of my|heart,|_ But I'd|rath- er be|lone- ly, And|wait for you|
"E7" d"E+" c3/2"E7" B/ |"A7" A E G |"D7" F G A |1"G" G3/2 d/"Gdim" f/g/ |"Am7" e"D7" d2 :|2 %32
w: on- ly, Oh,|pal how I|miss you to-|night. * * *||
"G" G3- | G2 z |] %34
w: night.|_|


Oh! Darling

Context: Released in 1969 as part of The Beatles' album 'Abbey Road', 'Oh! Darling' showcases the band's versatility in blending rock with emotional depth. Paul McCartney wrote the song, drawing inspiration from the 1950s rock and roll style, and it features a prominent vocal performance that is both powerful and vulnerable.

Musically, 'Oh! Darling' is characterized by its use of a classic rock structure with a strong verse-chorus format. The song opens with a distinctive bass line, followed by a piano that sets a rhythmic foundation. McCartney's vocal delivery is notable for its raw emotion, particularly in the bridge where he expresses longing and regret. The harmonic progression primarily revolves around the tonic (A major) and dominant (E major) chords, creating a sense of tension and resolution that enhances the lyrical themes of love and loss. The production includes layered backing vocals that add depth to the sound, reminiscent of early rock influences while also showcasing The Beatles' innovative studio techniques.

The music features a driving rhythm with a steady beat that creates an energetic yet melancholic atmosphere. The instrumentation includes piano, bass, drums, and electric guitar, contributing to a rich sound texture. Lyrically, the piece conveys themes of yearning and remorse, encapsulated in heartfelt expressions of love and desire for reconciliation. The vocal performance is particularly striking, as it oscillates between softer verses and more intense choruses, reflecting the emotional highs and lows experienced in romantic relationships.

The music plays during a late-night scene in a dimly lit diner, where a couple sits at a booth bathed in warm yellow light. The man, dressed in a vintage leather jacket, leans forward with an earnest expression as he confesses his feelings to the woman across from him. She appears contemplative, her eyes glistening with unshed tears as she listens intently. Outside the window, rain patters softly against the glass, mirroring the emotional weight of their conversation. As the music swells during the chorus, the camera captures close-ups of their hands reaching across the table, symbolizing their desire to reconnect amidst the turmoil of their relationship.

X:622
T:Oh! Darling
T:Oh! Darling
T:John Lennon, Paul McCartney
C:John Lennon, Paul McCartney
L:1/8
Q:1/4=120
M:12/8
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 99
%%MIDI control 10 64
V:1
"^Slowly" A2- c |"C" A2 G- G3- G3 A2 c |"G" A2 G- G3- G6 |"Am" A3 A2 G A2 G z2 E | %4
w: 1.~Oh *|Dar- ling- * * please be-|lieve me, _ _|I'll nev- er do you no|
w: * (2.)|Dar- ling _ _ if you|leave me, _ _|I'll nev- er make it a-|
"F" D- C2- C3 z2 z z2 A z4 |"Dm" A2 A A2 G"G" A2 G- G3 z2 |"Dm" A3 A2 G"G" A2 G z2 _E | %7
w: harm. _ _ Be-|lieve me when l tell you, _|I'll nev-er _ do you no|
w: lone. _ _ Be-|lieve mc when l beg you, _|Don't ev-er _ leave me a-|
"C" D- C2- C3-"F" C6 |1"C" z3 z3"G" z3 A2- c :|2"C" z3 z3"C7" z3 z _ee |:"F" d2 c z3 z3 _eec | %11
w: harm.- * * *|Oh!- *||told me you did- n't|
w: lone. _ _ _||When you|_ _|
"Ab" _e2 e cdc- ^c3 z2 =c/_B/ |"C" c3 ccc c2 c- c2 c | _E2- C- C3 z3 z =ee |"D7" e2 d- d3 z3 ddd | %15
w: need me an- y- more, _ Well, you|know I near- ly broke down _ and|cried. _ _ When you|told me _ you did- n't|
w: ||||
 d2 d ddd- d3 z2 d/d/ |"G" d2 d d2"Abb5" d d2 d- d2 d |"G" (d3 B3 G3) A2- c | %18
w: need me an- y more, _ Well, you|know I near- ly broke down _ and|died. _ _ 1.~Oh! _|
w: ||* * * 2.~Oh! _|
"C" A2 G- G3- G3 A2 E |"G" A2 G- G3- G6 |"Am" A3 A2 G A2 G z2 _E |"F" D C2- C3 z3 z2 A | %22
w: Dar- ling- * * if you|leave me, _ _|I'll nev- er make it a-|lone- * * Be-|
w: Dar- ling, _ _ please be-|lieve me, _ _|I'll nev- er let _ you|down. _ _ Be-|
"Dm" A2 A A2 G"G" A2 G- G3 |"Dm" A3 A2 G"G" A2 G z2 _E |"C" D C2- C3-"F" C6 |1 %25
w: lieve me when l tell you, _|I'll nev- er do you no|harm.- * * *|
w: lieve me when I tell you _|I'll nev- er do you no|harm. _ _ _|
"C" z3 z3"C7" z3 z _ee :|2"C" z3"Db7" [_CF]2 [_B,E]-"C7" !fermata![=B,E]6 |] %27
w: * you||
w: ||


Oh! Look At Me Now

Context: Originally recorded in the 1940s, 'Oh! Look At Me Now' became a popular standard in the jazz repertoire. It showcases the lively and upbeat style characteristic of the era, often performed by big bands and jazz ensembles. The song has been covered by various artists, contributing to its longevity in American music culture.

The piece is structured around a typical AABA form, common in jazz standards. The melody is characterized by its playful syncopation and bright, major key tonality, which conveys a sense of optimism and joy. The harmonic progression features standard jazz chords with frequent use of seventh and ninth chords, creating a rich texture. The lyrics reflect themes of self-affirmation and celebration, aligning with the upbeat musicality. Instrumentally, the arrangement often includes brass sections that add to the exuberant feel of the piece, while rhythm sections provide a steady swing feel that encourages dancing.

This music piece features a lively tempo with a bright and cheerful melody that captures the essence of classic jazz. The instrumentation typically includes brass, woodwinds, and a rhythm section that combines piano, bass, and drums. The vocal delivery is often playful and engaging, with an emphasis on rhythmic phrasing that enhances the song's upbeat nature. The overall sound is characterized by a rich harmonic structure and an infectious swing rhythm that invites listeners to tap their feet or dance along.

Imagine a bustling 1940s jazz club filled with elegantly dressed patrons enjoying their evening. The warm glow of dim lights reflects off polished wooden tables as a lively band takes center stage. The trumpet player leads with a bright solo, while the audience sways to the infectious rhythm. Couples dance closely, their movements synchronized with the upbeat tempo of the music. Laughter and clinking glasses fill the air as the vocalist steps forward, engaging the crowd with playful banter between verses. The atmosphere is electric with joy and nostalgia, transporting everyone back to a time when swing music reigned supreme.

X:623
T:Oh! Look At Me Now
T:Oh! Look At Me Now
C:Joe Bushkin
L:1/8
M:2/2
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4 z3 c |"F9" dcdc"Abm" BABA |"F9" G4"Bdim" B"Bb13" G3 |"Gm7" F"Cm7" E3"F9" c"Bb7" B3- | %4
w: I|nev- er fell for sim- ple things like|love, June, and|old lace, my face|
 B2 G2"G7" FG F2 |"Cm" E2"E6" =E2 ^F2 ^G2 | ^cccc- c4 |"F7" z EFG ABcc |"Bb7" c6 z B || %9
w: * was ter- rib- ly|blank to things con-|cern- ing L'a- mour *|I'm real- ly read- y now for|sure. For|
"Eb6" edB"Gm"G- G3 G |"Bbm7" BcBc- c"Eb7" B3 |"Ab" cBGE- E3 E |"Abm" FEFG- GABG- | %13
w: I'm not the guy * who|cared a- bout love, * And|I'm not the guy * who|cared a- bout for- * tunes and such,|
"Gm" G4"Db7" GABG- |"C7" G e3"Am7b5" cE"B7" ^F2 |"Bb7""Bb7b5" F8- |"Bb7" F2 z2 z4 | %17
w: * Nev- er cared much|* But look at me|now.||
"Eb6" edB"Gm"G- G3 G |"Eb7" BcBc- c B3 |"Ab" cBGE- E3 E |"Abm" FEFG- GABG- |"Gm" G4"Db7" GABG- | %22
w: I nev- er knew * the|tech- nique of kiss- * in',|I nev- er knew * the|thrill I could get * from your touch,|* Nev- er knew much|
"C7" G e3"F9" cE"Bb13" G2 |"Eb" E8- |"Eb7" E2 z2"D7" z4 |"Gm" D2 =E2 ^F2 ^G2 | %26
w: * Oh! look at me|now.||I'm a new man,|
"Eb9" B G2"D7" =A- A4 |"Gm" G=ABc"D+" d2 B"C7"G- |"Gm""C7" G8 |"Fm" C2 D2 =E2 F2 | %30
w: bet- ter than *|Cas- a- nov- a at his best,||With a new heart,|
"Db7" A F2"C7" G- G4 |"Fm" FGAB cAcd- |"Bb7" d6 z"Bb+" B |"Eb" edB"Gm"G- G3 G | %34
w: brand new start, *|I'm so proud I'm bust- in' my vest!|* So|I am the guy * who|
"Bbm7" BcB"Eb13"c- c"Eb7" B3 |"Ab" cBGE- E3 E |"Abm" FEFG- GABG- |"Gm" G4"Db7" GAB"C7"G- | %38
w: turned out a lov- * er|So I'm the guy * who|laughed at those blue * dia- mond rings,|* One of those things,|
 G e3"F9" cE"Bb13" G2 |"Eb""Abm" E8- |"Eb" E6 z2 |] %41
w: * Oh! look at me|now.||


Oh! What It Seemed To Be

Frankie Carle
Bennie Benjamin
George Weiss

Context: Originally recorded in 1940, this piece became popular through various covers and performances, notably by Frankie Carle. The song reflects themes of longing and the fleeting nature of love.

The composition features a blend of melodic lines that evoke a sense of nostalgia and yearning. It employs a 32-bar AABA structure typical of the era, with a smooth, flowing melody that is supported by lush harmonic progressions. The use of syncopation in the rhythm adds to its charm, creating an engaging listening experience. The instrumentation often includes piano, strings, and woodwinds, contributing to its romantic ambiance. Lyrically, the song explores themes of memory and loss, inviting listeners to reflect on past relationships.

This music piece is characterized by its smooth melodic lines and rich harmonic textures. The arrangement typically features a gentle piano accompaniment layered with strings, creating an intimate atmosphere. The vocal delivery is expressive, often conveying deep emotions associated with love and nostalgia. The overall mood is reflective, drawing listeners into a contemplative state as they engage with the themes presented in the lyrics.

In a dimly lit jazz club during the late evening, soft amber lights cast a warm glow over elegantly dressed patrons seated at small round tables. A couple sits close together, their fingers intertwined as they share whispered conversations amidst the gentle clinking of glasses. On stage, a talented pianist plays 'Oh! What It Seemed To Be,' filling the room with its nostalgic melody. The singer's voice resonates with longing as they gaze into each other's eyes, memories of past romances swirling around them like the smoke from nearby cigars. Outside, a light rain begins to fall, creating a rhythmic backdrop that harmonizes beautifully with the music.

X:624
T:Oh! What It Seemed To Be
T:Oh! What It Seemed To Be
C:Frankie Carle
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4"Bb7" z2 =A>B |:"Eb" c>B (3=ABc B4 | DB- (3B=AB G3 D |"Ebmaj7/G" F2- (3FEF"Gbdim" E3 F | %4
w: It was|just a neigh- bor- hood dance,|that's all * that it was, but|oh * what it seemed to|
"Bb7/F" D6"Bb7" =B>c | d>c (3=Bcd c3 C | D B2 =A _A3 B | c>C (3^CDB- B2 cG- | %8
w: be! It was|like a mas- quer- ade ball with|cos- tumes and all 'cause|you were at the dance * with me.|
"Eb""Fm" G6"Bb7" =A>B |"Eb" c>B (3=ABc B4 | DB- (3B=AB G3 D |"Ebmaj7/G" F2- (3FEF"Gbdim" E3 F | %12
w: * It was|just a ride on a train,|that's all * that it was, but|Oh! * what it seemed to|
"Bb7/F" D6"Bb7" =B>c | d>c (3=Bcd c3 C | D B2 =A _A3 B |"Fm7" c>C (3^CDB-"Bb7" B2 DE- | %16
w: be! It was|like a trip to the stars, to|Ven- us and Mars, 'cause|you were on the train * with me.|
"Eb" E4-"Eb7" EEEE |"Abmaj7" c c3- c4 |"Ebmaj7" =A B3-"Cm7" B2 BA |"Fm7" _AGAG"Bb7" A3 B | %20
w: * * And when I|kissed you *|dar- ling, * it was|more than just a thrill to|
"Eb" G4-"Eb7" GEEE |"Abmaj7" c c3- c4 |"Ebmaj7" =A"Db7" B3-"C7" B2 B=B |"F7" c3 G FEDE | %24
w: me; * it was the|pro- mise *|dar- ling, * of the|things that fate had willed for|
"Fm7" F6"Bb7" =A>B |"Eb" c>B (3=ABc B4 | DB- (3B=AB"Bb7" G3 D |"Ebmaj7/G" F2- (3FEF"Gbdim7" E3 F | %28
w: me. It was|just a wed- ding in June,|that's all * that it was, but|Oh! * what it seemed tp|
"Bb7/F" D6"Bb7" =B>c | d>c (3=Bcd c3 C | D B2 =A _A3 B |"Fm7" c>C (3^CDB-"Bb7" B2 DE- |1 %32
w: be! It was|like a Roy- al af- fair with|ev- 'ry one there, cause|you said yes I do * to me.|
"Eb" E4"Fm7" z2"Bb7" =A(B :|2"Eb" E8) |] %34
w: * it was|me.|


Oh, Lonesome Me

Context: Released in 1958, 'Oh, Lonesome Me' became one of Don Gibson's signature songs. It reached number one on the country charts and has been covered by numerous artists, showcasing its enduring appeal. The song reflects themes of isolation and longing, resonating with listeners across generations.

The song features a classic AABA structure common in country music, with a melancholic melody that complements its lyrical themes of loneliness and regret. The use of simple yet poignant language evokes strong emotional responses, while the instrumentation typically includes steel guitar and piano, enhancing the somber mood. The harmonic progression is straightforward, allowing the emotional weight of the lyrics to take center stage. The repeated refrain reinforces the feelings of despair and longing for connection.

This piece is characterized by its slow tempo and reflective tone, featuring a gentle melody that evokes feelings of sadness and introspection. The instrumentation often includes acoustic guitar and subtle orchestral elements, creating a warm yet melancholic atmosphere. The vocal delivery is heartfelt, conveying deep emotional resonance as it explores themes of love lost and yearning for companionship.

In a dimly lit room during the late hours of the night, a solitary figure sits on an old wooden chair, gazing out of a rain-streaked window. The soft glow of a nearby lamp casts shadows across the room, illuminating scattered photographs that evoke memories of happier times. Outside, the sound of raindrops tapping against the glass mirrors the melancholy mood within. The character's expression is one of deep contemplation and sorrow as they reflect on lost love, their heart heavy with feelings of abandonment and longing. This scene captures the essence of solitude that resonates with the music's emotional depth.

X:625
T:Oh, Lonesome Me
T:Oh, Lonesome Me
T:Don Gibson
C:Don Gibson
L:1/4
Q:1/4=230
M:4/4
I:linebreak $
K:D
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 127
V:1
"D" F A A A | F A A A |"A7" G A A2- | A3 A | G A A A | G A A A |"D" F A B A- | A3 A | F A A A | %9
w: Ev- 'ry- bod- y's|go- in' out and|hav- in' fun.|_ I'm|just a fool for|stay- in' home and|hav- in' none. _|_ I|can't get o- ver|
w: bad mis- take I'm-|mak- in' by just|hang- in' 'round.|_ I|know that I should|have some fun and|paint the town. _|_ A-|love- sick fool that's|
w: must be some way|I can lose these|lone- some blues,|_ for-|get a- bout the|past and find some-|bod- y new. _|_ I've|thought of ev- ry|
"D7" F A d d |"G" B4- | B4 |"A7" A4- | A2 A A |1"D" A F3- | F2 z A :|2"D" A F3- | F2 z F | %18
w: how she set me|free.|_|Oh,|_ Lone- some|Me _|_ A|me _|_ I'll|
w: blind and just can't|see.|_|Oh,|_ Lone- some|_ _||||
w: thing from A to|Z.|_|Oh,|_ Lone- some|_ _||||
"A" E E E E | E3 E |"E7" E E E E | E4 | E E E E | E E F A |"A" F E3- | E2 z E | E E E E | E3 E | %28
w: bet she's not like|me, she's|out and fan- cy|free,|flirt- ing with the|boys with all her|charms. _|_ But,|I still love her|so and|
w: ||||||||||
w: ||||||||||
"E7" E E E E | E3 E | E E E E | E E F ^G |"A" A4- |"A7" A A2 A :|3"D" A F3- || F4 |"A7" A4- | %37
w: broth- er don't you|know I'd|wel- come her right|back here in my|arms.|_ Well there|me. _|_|Oh,|
w: |||||||||
w: |||||||||
 A2 A A |"D" A F3- | F4 |"A7" A4- | A2 B c |"D" d4- | d4 |] %44
w: _ Lone- some|Me. _|_|Oh,|_ Lone- some|Me.|_|
w: |||||||
w: |||||||


Oh, Pretty Woman

Context: Released in 1964, 'Oh, Pretty Woman' became one of Roy Orbison's most iconic songs, reaching number one on the Billboard Hot 100. The song was inspired by Orbison's wife and features a catchy melody and memorable lyrics that have made it a staple in popular music. It has been covered by numerous artists and featured in various films and television shows.

'Oh, Pretty Woman' is characterized by its distinctive opening guitar riff and Orbison's emotive vocal delivery. The song employs a classic verse-chorus structure, with a prominent use of dynamics that enhances the emotional impact of the lyrics. The lyrical content revolves around themes of longing and desire, encapsulated in the protagonist's plea to a beautiful woman. The use of minor chords contrasts with the upbeat tempo, creating a sense of urgency and yearning. Notably, the song's arrangement includes background vocals that complement Orbison's lead, adding depth to the overall sound. The harmonic progression is straightforward yet effective, relying heavily on the I-IV-V chord progression typical of rock and pop music of the era.

This piece features a lively tempo with a strong backbeat, driven by electric guitar and rhythm section. The vocal melody is catchy and memorable, characterized by soaring high notes that convey both passion and vulnerability. The instrumentation includes prominent guitar riffs and a steady drumbeat that create an inviting atmosphere. Lyrically, it expresses a mix of hopefulness and desperation as the narrator seeks connection with an attractive figure.

The music plays in a bustling urban setting at dusk, where neon lights begin to flicker on as twilight descends. A man stands on a busy street corner, dressed in casual attire, his expression a blend of hope and anxiety as he gazes down the sidewalk. People bustle past him, some laughing and chatting, while others are lost in their own worlds. He spots a woman walking towards him; she is stylishly dressed with an air of confidence. As she approaches, time seems to slow down; the energy around them intensifies. The man takes a deep breath, his heart racing as he prepares to approach her with an earnest smile, embodying the longing expressed in the song.

X:626
T:Oh, Pretty Woman
C:Roy Orbison
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble
V:1
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w: ||||||||Pret- ty|
w: |||||||||
w: |||||||||
S"A" B, A,4 z CC |"F#m" B, A,2 C2 z B,C |"A" B, A,4 z CC |"F#m" B, A,2 C2 z B,C |"D" B, A,6 z | %14
w: wo- man walk- in'|down the street pret- ty|wo- man the~kind I'd|like to meet pret- ty|wo- man|
w: wo- man won't you|par- don me pret- ty|wo- man I~could- n't|help but see pret- ty|wo- man|
w: wo- man don't *|walk on by pret- ty|wo- man don't *|make me cry pret- ty|wo- man|
[M:2/4] z F FF |[M:4/4]"E" F2 E2 z DB,D | E4 z FFF | F2 E2 D2 B,2 | E8 |"E9" z8!dacoda! | A8 | %21
w: I don't be-|lieve you you're not the|truth no- one could|look as good as|you||Mercy!|
w: That you look|love- ly as can be|* * Are you|lone- ly just like|me?||Growwwlll!|
w: * don't *|walk~a- way * * *|hey * * *||okay|||
 z8 |1 z6 CC :|2 z8 ||"Dm" z2 =FF F2 E z |"G7" ED z D- D4 |"C" z2 EE E2 D z |"Am" D=C z C- C4 | %28
w: |Pret- ty-||Pret- ty wo- man|stop a- while *|pret- ty wo- man|talk a- while *|
w: |||||||
w: |||||||
"Dm" z2 DD D2 =C z |"G7" =C B,2 A,3 z B, |"C" =C8 | z8 |"Dm" z2 =FF F2 E z |"G7" E D2 E4 z | %34
w: pret- ty wo- man|give your smile to|me||Pret- ty wo- man|yeah yeah yeah|
w: ||||||
w: ||||||
"C" z2 EE E2 D z |"Am" D=C z C4 z |"Dm" z2 DD D2 =C z |"G7" =C B,2 A,3 z B, |"C" =C8 | %39
w: Pret- ty wo- man|look my way|Pret- ty wo- man|say you'll stay with|me-|
w: |||||
w: |||||
"A7" C6 B,A, |"F#m" G, z A,2- A,4 |"Dm" z2 A,2 B,3 A, |"E" G,8 |"A" z2 C2 B,2 A,2 | %44
w: * 'Cause- I|need you *|I'll treat you|right|come with me|
w: |||||
w: |||||
"F#m" G, z A,2- A,4 |"Dm" z2 A,2 B,3 A, |"E9" G,8 | B,8 | E8- | E4 z2 CC!D.S.! |O"E" z4 z EEE | %51
w: ba- by *|be mine to-|ni-||ght|* Pret- ty-|If that's the|
w: |||||||
w: |||||||
 ED D2 B,2 z B, | E,4 z4 | z6 A,G, | A, G,2 A,2 z G,B,- | B,3 z2 EEE | E2 D2 B,3 G, | %57
w: way it must be o-|kay|I~guess I'll|go on home it's late|* there'll be to-|mor- row night but|
w: ||||||
w: ||||||
"^NC" E,4 z DB,D | E8 |"E7" z8 |[M:2/4] z4 x4 |[M:4/4] z8 |[M:2/4] z2 EE x4 | %63
w: wait what do I|see?||||Is she|
w: ||||||
w: ||||||
[M:4/4]"E9" E2 D2 B,3 D | E8- | E4 z4 | E6 z E | E2 D2 B,2 z G, | E,8- | E,4 z4 | E8 | D6 CC | %72
w: walk- in' back to|me?||Yeah she's|walk- in' back to|me||oh|oh pret- ty|
w: |||||||||
w: |||||||||
"A" B,A, z6 | %73
w: wo- man!-|
w: |
w: |


Oh, You Crazy Moon

Context: Written by Jimmy van Heusen with lyrics by Johnny Burke, 'Oh, You Crazy Moon' has been performed by various artists, including Frank Sinatra. The song captures the whimsical and often bittersweet nature of love, reflecting on how the moon can evoke deep emotions and memories.

Musically, 'Oh, You Crazy Moon' features a lush orchestration typical of the big band era, with a smooth melody that allows for expressive vocal interpretation. The harmonic structure is rich, utilizing extended chords that enhance the song's emotional depth. The lyrics personify the moon as a whimsical character that influences human emotions, creating a dialogue between the singer and this celestial body. The use of syncopation in the rhythm section adds to the playful yet reflective mood of the piece, making it a staple in jazz repertoire.

This piece is characterized by its smooth melodic lines and intricate harmonic progressions. The instrumentation typically includes strings and brass, contributing to a lush soundscape that complements the intimate lyrics. The vocal delivery is often soft and emotive, inviting listeners into a reflective state. The overall atmosphere is one of nostalgia and longing, evoking images of romantic encounters under the moonlight.

Imagine a dimly lit jazz club in the early evening, where soft golden light filters through sheer curtains. A couple sits at a small table adorned with a flickering candle, their faces illuminated by its warm glow. The singer stands on stage, bathed in spotlight, delivering 'Oh, You Crazy Moon' with heartfelt emotion. As the music swells, the couple exchanges glances filled with unspoken words; the moonlight outside casts shadows on their faces, mirroring their inner thoughts about love and time. The ambiance is thick with anticipation and nostalgia as patrons sway gently to the rhythm, lost in their own memories.

X:627
T:Oh, You Crazy Moon
T:Oh You Crazy Moon
C:Jimmy van Heusen
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"Am7" B3 A"D7" B3 A |"Am7" d2 c2"D7b9" B2 F2 |"Gmaj7" A3 G"C9" A2 G2 |"Bm7""E7b9" D8 | %4
w: When they met, the|way they smiled, I|saw that I was|thru,|
"A7" F3 E"Bb7" F2 EC- |"Am7" C4 (3B2"D7b9" F2 A2 |"G6" D8- |"E7" D6 z2 |"Am7" B3 A"D7" B3 A | %9
w: oh, you cra- zy moon|_ what did you|do?|_|When they kissed they|
"Am7" d2 c2"D7b9" B2 F2 |"Gmaj7" A3 G"C9" A2 G2 |"Bm7""E7b9" D8 |"A7" F3 E F2 EC- | %13
w: tried to say that|it was just in|fun,|oh, you cra- zy moon|
"Am7" C4 (3B2"D7" F2 A2 |"G6" G8- |"C#dim7" G2 z2"F#7" z4 |"Bm" F2 ^G2 ^A2 B2 | %17
w: _ look what you've|done.|_|Once you pro- mised|
"C#dim7" ^c2 ed-"F#7b9" d3 c |"Bm7" B^c B4 F^G- |"E7" G8 |"Am7" E2 F2 ^G3 A | %21
w: me, you know, _ that|it would nev- er end,|_|You should be a-|
"Bm7" B2 dc-"E+7" c3 B |"A7" AB A4 E2 |"Am7" A6"D7" z2 |"Am7" B3 A"D7" B3 A | %25
w: shamed to show _ your|fun- ny face my|friend.|There they are, they|
"Am7" d2 c2"D7b9" B2 F2 |"Gmaj7" A3 G"C9" A2 G2 |"Bm7""E7b9" D8 |"A7" F3 E"Bb7" F2 EC- | %29
w: fell in love, I|guess you think you're|smart,|oh, you cra- zy moon|
"Am7" C4 (3B2"D7b9" F2 A2 |1"G" G8 ||"E7" z8 :|2"G" G8- || G2 z2 z4 |] %34
w: _ you broke my|heart.||heart.|_|


Okie from Muskogee

Context: Released in 1969, 'Okie from Muskogee' became an anthem for the counterculture movement in America, reflecting the tensions between traditional values and the rising counterculture. The song was inspired by Haggard's experiences growing up in Muskogee, Oklahoma, and it captures the essence of rural American life during a time of significant social change. It critiques the behaviors associated with the hippie movement while celebrating conservative values.

Musically, 'Okie from Muskogee' features a straightforward country arrangement characterized by a simple chord progression and a steady 4/4 time signature. The instrumentation includes electric guitar, steel guitar, bass, and drums, creating a classic country sound. Lyrically, the song employs a narrative style that contrasts the lifestyles of rural Americans with those of urban counterculture figures. The repeated refrain emphasizes a sense of pride in one's roots and a rejection of perceived moral decay, which resonates with listeners who identify with traditional American values. The use of colloquial language and vivid imagery enhances its relatability and emotional impact.

This piece features a strong narrative structure that tells the story of a man reflecting on his hometown and its values. The lyrics convey a sense of pride in local customs and traditions while simultaneously critiquing modern societal changes. The music is upbeat and catchy, with a blend of traditional country instrumentation that supports the vocal storytelling. The overall tone is both celebratory and critical, capturing the complexities of identity in rural America.

The music plays during a sunny afternoon at a county fair in a small town in Oklahoma. Colorful banners flutter in the warm breeze as families gather around food stalls selling corn dogs and lemonade. Children run around with balloons while older folks sit on benches reminiscing about their youth. A local band performs on stage, drawing attention from passersby. As the song plays, an older man stands up, adjusting his cowboy hat, and begins to dance with his wife, their faces lit up with joy as they celebrate their shared memories of simpler times.

X:628
T:Okie from Muskogee
T:Okie from Muskogee
T:unknown
C:Merle Haggard, Ray Edward Burris
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"C" E"^Verse" G G G/G/ | A G F E | D C3- | C4 | E G G G | A G F E |"G7" D4- | D4 |"Dm" F F F F | %9
w: We dont smoke mar- i-|jua- na in Mus-|ko gee||We dont take our|trips on L. S.|D.||We dont burn our|
w: We dont make a *|par- ty out of|lov- ing||We like hold- ing|hands and pitch- ing|woos||we dont let our|
w: Leath- er boots are still|in style from Manley|foot- wear||beads and ro- man|san- dals wont be|seen||foot- balls still the|
 F E D C |"G7" C B,3- | B,4 | G G/A/ G F | E3/2 F/ E D |"C" C4- | C3"^Chorus" G/G/ | G3/2 G/ G G | %17
w: draft cards down on|main street||Cause we like liv- ing|right and be- ing|free|* and I'm|proud to be an|
w: hair grow long and|shag- gy||Like the hip- pies down|in San Fran- cisco|do|||
w: rough- est game on|cam pus||and the kids here still|re- spect the college|dean|||
 A G F E | D C3- | C4 | E E/G/ G G | A G F E |"G7" D4- | D4 |"Dm" F F F F | F E D C | C B,3- | %27
w: Ok- ie from Mus-|ko- gee||A place where ev- en|squares can have a|ball||We still wave old|Glo- ry- at the|court- house|
w: ||||||||||
w: ||||||||||
 B,4 |"G7" G/G/G/A/ G F | E3/2 F/ E D |"C" C4- | C4 |] %32
w: |and white light- nings still the|big- gest thrill of|all||
w: |||||
w: |||||


Old Devil Moon

Context: Originally written for the 1947 musical 'Finian's Rainbow', 'Old Devil Moon' has become a standard in the jazz repertoire, covered by numerous artists over the decades. The song is known for its enchanting melody and lyrical themes that explore love and longing through metaphorical imagery.

Musically, 'Old Devil Moon' features a lush harmonic structure with chromatic progressions that create a dreamlike quality. The song is typically performed in a moderate tempo, allowing for expressive phrasing and emotional delivery. The use of syncopation in the rhythm adds to its jazz feel, while the lyrics employ vivid imagery to convey the complexities of love, likening it to a mystical force that can both enchant and ensnare. The AABA form is prevalent, with the B section providing a contrasting lyrical perspective that deepens the emotional impact.

The piece is characterized by its sweeping melodic lines and rich harmonic textures. It often features a gentle swing rhythm, allowing performers to infuse their interpretations with personal flair. The lyrics evoke a sense of yearning and enchantment, using celestial imagery to symbolize love's elusive nature. The vocal delivery typically ranges from soft and introspective to passionate and soaring, reflecting the emotional highs and lows of romantic experience.

In a dimly lit jazz club, the atmosphere is thick with anticipation as the spotlight shines on a lone singer at the microphone. The audience is captivated, their faces illuminated by soft candlelight, creating an intimate setting. As the music begins, the singer's voice floats through the air like a whisper, expressing deep longing and nostalgia. Around them, patrons sway gently in their seats, lost in their own memories of love and heartache. The backdrop features vintage posters of past performances, enhancing the nostalgic ambiance. A jazz trio accompanies, with a pianist's fingers dancing over the keys, a bassist plucking softly in rhythm, and a drummer brushing lightly on cymbals to maintain an ethereal quality. This scene encapsulates the essence of 'Old Devil Moon', where every note resonates with shared human experiences.

X:629
T:Old Devil Moon
T:Old Devil Moon
C:Burton Lane
L:1/8
M:2/2
I:linebreak $
K:D
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"D6" D8 |"Am7/D" =CCCC C2 E2 |"D6" D8 |"Am7/D" EEEE E2 G2 |"D6" F8 |"Am7/D" GGGG G2 B2 | %6
w: I|look at you and sud- den-|ly|some- thing in your eyes I|see|soon be- gins be- witch- ing|
"Dmaj7" A8- |"Am7" A4"D7" A2 A2 |"Gmaj7" A4 G F2 D- | D4 F2 G2 |"Gm7" A4 G F2 D- |"C7" D4 F2 G2 | %12
w: me.|* It's that|old dev- il moon|* that you|stole from the skies.|* It's that|
"Fm7" _B4"Bb7" ^G =G2 _E- |"Eb" E4"A7" F =E2 D- |"D6" D8 |"Am7/D" z4 =CA,CD- |"D6" D4 CA,=CE- | %17
w: old dev- il moon|* in your eyes.||You and your glance|* make this ro- mance|
"Am7/D" E4 (3=C2 A,2 C2 |"Bmaj7" F4 F4- | F4 DB,DF- |"Bm7" F4 DB,D^G- |"E7" G4 (3D2 B,2 D2 | %22
w: * too hot to|han- dle.|* Stars in the night|* blaz- ing their light|* can't hold a|
"Em7" A4 A4- |"A7" A B2 =F EDB,A, |"D6" D8 |"Am7/D" =CCCC C2 E2 |"D6" D8 |"Am7/D" EEEE E2 G2 | %28
w: can- dle|* to your raza- zle daz- zle.-|You've|got me fly- in' high and|wide|on a mag- ic car- pet|
"D" F8 |"Am7/D" GGGG G2 B2 |"Dmaj7" A8- |"Am7" A4"D7" A2 A2 |"G" A4 G F2 D- | D4 F2 G2 | %34
w: ride|full of but- ter- flies in-|side.|* Wan- na|cry wan- na croon,|* wan- na|
"Gm9" A4 G F2 D- |"C9" D4 F2 G2 |"Fm7" _B4"Bb7" ^G =G2 _E- |"Eb6" E4 F"A7" =E2 D- |"D6" D8 | %39
w: laugh, like a loon.|* It's that|old dev- il moon|* in your eyes.||
"Am7/D" z4 =CA, C2 |"D" D4 D4- | D4"Am7/D" =CA, C2 |"D6" D8- |"Am7/D" D4 (3=c2 c2 c2 | %44
w: Just when I|think I'm|* free as a|dove|* old dev- il|
"D6" A4"Am7/D" (3G2 A2 G2 |"D6" F4"Am7/D" (3D2 =C2 E2 |"D" A8 |] %47
w: moon deep in your|eyes blinds me with|love.|


Old Folks at Home

Context: Written in 1851, 'Old Folks at Home' is one of Stephen Foster's most famous compositions. It was originally written for a minstrel show and has since become a staple of American folk music. The song reflects the longing for a simpler, rural life and is often associated with themes of nostalgia and yearning for home.

'Old Folks at Home' features a simple yet poignant melody that evokes a sense of longing and nostalgia. The song is structured in a strophic form, where each verse is sung to the same music, allowing the lyrics to convey the emotional weight of the narrative. The use of major keys contributes to its uplifting yet melancholic feel, while the lyrical content reflects themes of home, family, and loss. The song's cultural context as a minstrel piece raises discussions about its portrayal of African American life and the complexities surrounding its legacy.

The music is characterized by its gentle, flowing melody that captures the essence of rural life. It employs traditional folk elements, including a straightforward harmonic structure and repetitive phrasing that enhances its sing-along quality. The instrumentation typically includes piano or guitar accompaniment, which supports the vocal line without overshadowing it. The lyrics paint a vivid picture of longing for home and family, evoking strong emotional responses from listeners.

The music plays in a sunlit Southern plantation setting during the late afternoon. The scene is filled with lush greenery and blooming flowers surrounding an old wooden house. A group of elderly folks sit on the porch, reminiscing about their past as they watch children play in the yard. Their faces reflect a mix of joy and sorrow as they share stories of days gone by. The air is warm, filled with the sweet scent of magnolias, creating an atmosphere that perfectly complements the nostalgic tones of the music.

X:630
T:Old Folks at Home
T:Swanee River
T:unknown
C:Stephen Foster
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"C" E4 | D C E D |"F" C2 c2 | A c3 |"C" G4 | E2 C2 |"G7" D4- | D4 |"C" E4 | D C E D |"F" C2 c2 | %11
w: Way|down up- on the|Swa- nee|riv- er|far|far a-|way||theres|where my heart is|turn- ing|
 A c3 |"C" G2 E C |"G7" D2 D2 |"C" C4- | C4 |:"G7" B3 c | d2 G2 |"C" G3 A | G2 c2 |"F" c2 A2 | %21
w: ev- er|theres where the|old folks|stay||All the|world is|sad and|drear- y|ev- ry|
 F2 A2 |"C" G4- |"G7" G4 |"C" E4 |"C" D C E D |"F" C2 c2 | A c3 |"C" G2 E C |"G7" D2 D D |"C" C4- | %31
w: where I|roam||Oh,|Ma- ma how my|heart grows|wear- y|far from the|old folks at||
 C3 z :| %32
w: |


Old Shep

Context: Originally recorded by Red Foley, 'Old Shep' is a poignant country ballad that reflects on the bond between a boy and his dog. The song has been covered by various artists over the years, highlighting its enduring emotional impact.

The song is characterized by its simple yet emotive melody, which effectively conveys themes of nostalgia and loss. The lyrics narrate a story that resonates with the universal experience of companionship and grief. Musically, it employs a straightforward chord progression typical of country music, allowing the lyrical content to take center stage. The use of first-person narrative creates an intimate connection with the listener, while the repetition of key phrases reinforces the emotional weight of the subject matter. The instrumentation typically includes acoustic guitar and piano, which contribute to its heartfelt tone.

This piece features a slow tempo and a melancholic melody that evokes feelings of longing and sadness. The vocal delivery is soft and reflective, enhancing the emotional depth of the lyrics. The instrumentation is minimalistic, focusing on acoustic elements that support the narrative without overshadowing it. The overall atmosphere is one of warmth mixed with sorrow, capturing the essence of cherished memories intertwined with loss.

The music plays in a serene rural setting during twilight, where a young boy sits on the porch of a weathered farmhouse. The sky is painted with hues of orange and purple as the sun sets, casting a gentle glow over the landscape. Beside him lies an old dog, its fur graying and eyes reflecting years of companionship. The boy strokes the dog's head tenderly, reminiscing about their adventures together—running through fields and exploring the woods. As he sings softly, there’s a palpable sense of love and impending farewell in the air, as if both boy and dog understand that their time together is drawing to a close.

X:631
T:Old Shep
T:Old Shep
T:Clyde (Red) Foley
T:Waltz
C:Clyde (Red) Foley
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 G- |"Eb" G3 |"C7" c2 _B/G/ |"F7" F G3/2 _G/ | F2 F/G/ |"Bb" _B2 _B/A/ | _A G ^F |"Eb" G3- | %8
w: When||lad and Old|Shep was a|pup O'er *|hills and *|mead- ows we'd|roam|
w: ||long and at|last he grew|old His *|eye- sight was|fast grow- ing|dim|
 G z G/_A/ | _B2 c/d/ |"^DC7" c2 _B/G/ |"F7" F G3/2 _G/ | F2 F |"Bb" _B _B3/2 A/ | _A G _B, | %15
w: * just a|boy and his|dog we were|both full of|fun we|grew uop to-|geth- er that|
w: * then one|day the *|doc- tor looked|at me and|said I|can't do no|more for him|
"Eb" _E3- | E z _E/_E/ |"Ab" _A _A3/2 _B/ |"Abm" B2 B/B/ |"Eb" c _B G | _B2 _E | _B2 c/_B/ | %22
w: way|* I re-|mem- ber the|time at the|old swim- ming|hole when|I would have|
w: Jim|* with a|hand that was|trem- bling I|picked up my|gun I|aimed it at|
 G2 _A/G/ |"Bb" F3- | F2 z |"Eb" _B c d |"C7" c2 _B/G/ |"F7" F G _G | F2 G |"Bb7" _B _B A | %30
w: drowned with- out|doubt||Shep was right|there to the|res- cue he|came he|jumped in and|
w: Shep's faith- ful|head|I|just could- n't|do it I|want- ed to|run and|wished that they'd|
 _A G F |"Eb" _E3- |"Bb" E z G/G/ :|"Eb" _E3- |"Bb" _E z G |"Eb" _B _B _B |"B7" A2 F/G/ | %37
w: helped pull me|out|* So the|||||
w: shoot me in-|stead||stand|* Now|old Shep is|gone where the|
"Bb7" _A _A _B |"Eb" G2 _E/F/ |"Cm" G G G |"F7" G2 F/_E/ |"Bb" _B3- | _B z G/_A/ |"Eb" _B2 c/_B/ | %44
w: |||||||
w: good dog- gies|go and no|more with old|Shep will I|roam|* but if|dogs have a|
"C" G _A G |"F7" F G F | C2 G |"Bb" _B _B3/2 A/ | _A G F |"Eb" _E3- | E2 z |] %51
w: |||||||
w: heav- en theres|one thing *|know old|Shep has a|won- der- ful|home.||


On A Little Street In Singapore

Context: This song was composed in the early 20th century and has become a classic standard, often associated with the romantic imagery of Singapore's streets. It reflects the era's musical styles and has been covered by various artists over the years, contributing to its enduring popularity.

The piece is characterized by its lush harmonic structure, typical of traditional pop and jazz standards from the early 1900s. The melody features a smooth, flowing line that evokes a sense of longing and nostalgia. The use of chromaticism and extended chords in the harmony adds depth, while the lyrical content paints a vivid picture of romantic encounters in an exotic locale. The song's form typically follows a verse-chorus structure, allowing for expressive vocal interpretations that highlight emotional nuances. Instrumentation often includes piano, strings, and woodwinds, creating a rich tapestry that enhances the lyrical themes.

The music features a gentle tempo with a melodic line that weaves through lush harmonies. The instrumentation is typically soft and warm, creating an intimate atmosphere. The lyrics evoke images of romantic strolls under soft streetlights, with themes of love and longing permeating the sound. The overall mood is reflective, inviting listeners to reminisce about cherished moments.

The music plays softly in a dimly lit café on a rainy evening in Singapore. Outside, raindrops patter against the cobblestone streets, glistening under the warm glow of vintage street lamps. Inside, couples sit at small tables, their faces illuminated by flickering candlelight as they share quiet conversations. A young couple at the corner table leans closer together, their eyes sparkling with affection as they reminisce about their first meeting on these very streets. The air is filled with the scent of jasmine from nearby trees, enhancing the romantic ambiance as the music swells gently in the background.

X:632
T:On A Little Street In Singapore
T:On A Little Street In Singapore
C:Peter DeRose
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"C""Bb" c8- |"C" cBG_B"G+7" AF_AG |"C""Bb" G8- |"C" G6"Bb" G2 |"G""F" G8- | %5
w: On|_ a lit- tle street in Sin- ga-|pore|_ we'e|meet|
"G" G^FD=F"C7b5" EC_ED |"G""F" D8- |"G" D6"F" G2 |"C""Bb" c8- |"C" cBG_B"G+7" AF_AG |"C""Bb" G8- | %11
w: _ be- side a lot- us cov- ered|door.|_ A|veil|_ of moon- light on her lone- ly|face,|
"C" G6"Bb" G2 |"G""F" G8- |"G" G^FD=F"C7b5" EC_ED |"C""Bb" C8- |"C" C6"Bb" C2 |"F" c3 A A2 G2 | %17
w: _ how|pale|_ the hands that held me in em-|brace.|_ My|sails to- night are|
"Gm/C" G3 F"F" (3F2 G2 F2 |"Db" _A3 F D4- | D6 C2 |"F" c3 A A2 G2 | G3 F"Fm" F2 E2 |"Dm7" G8- | %23
w: filled with per- fume of|Shal- i- mar|_ with|tem- ple bells to|guide me to the|shore.|
"G7" GG^FG ^GA_B=B |"C""Bb" c8- |"C" cBG_B"G+7" AF_AG |"C""Bb" G8- |"C" G6"Bb" z2 |"G""F" G8- | %29
w: _ And then I'll hold her in my|arms|_ and love the way I loved be-|fore.|_|On|
"G" G^FDE"C7b5" C_E=ED |1"C6""Am7" C8- |"C6" C2 z2"Dm7""G7" z4 :|2"C" C8- |"Bb""E" C8- |"C" C8 |] %35
w: _ a lit- tle street in Sin- ga-|pore.|_|pore.|_||


On A Slow Boat To China

Context: Written by Frank Loesser in 1948, 'On A Slow Boat To China' has been performed by numerous artists, including the likes of Louis Armstrong and Bing Crosby. The song reflects a longing for love and adventure, often associated with the romantic notion of travel.

The song features a lush, melodic line that evokes a sense of yearning and nostalgia. Its structure is typical of the traditional pop genre, utilizing a verse-chorus format that allows for expressive lyrical delivery. The harmonic progressions are rich, often employing chromaticism to enhance emotional depth. The lyrics convey a desire for escape and intimacy, using the metaphor of a slow boat journey to symbolize a leisurely approach to love and connection. The orchestration typically includes strings and woodwinds, which contribute to its romantic atmosphere.

This piece is characterized by its smooth, flowing melodies and heartfelt lyrics that express a deep yearning for companionship. The instrumentation often features lush strings and gentle brass, creating an inviting soundscape. The rhythm is relaxed, enhancing the sense of leisurely travel and romance. The vocal delivery is typically warm and expressive, emphasizing the emotional weight of the lyrics.

Set on a tranquil evening aboard a vintage boat gliding through calm waters, the scene is bathed in soft golden light as the sun sets on the horizon. A couple sits closely together on the deck, their hands intertwined, gazing into each other's eyes with smiles that reflect both joy and wistfulness. The gentle sound of water lapping against the hull is accompanied by the distant call of seagulls. As they share stories and dreams of distant lands, the atmosphere is filled with an air of adventure and romance, perfectly complemented by the soothing music that plays softly in the background.

X:633
T:On A Slow Boat To China
T:Slow Boat To China
T:Frank Loesser
T:Swing
C:Frank Loesser
L:1/4
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
%%MIDI program 0
V:1
"Bb" D2 F A |"G7" G D2 G/D/ |"Cm7" E2 G/B/ z |"C" A =E2 z |"Bb" F2 B d |"D7" A3 c |"Eb" G4- | %7
w: I'd like to|get you on a|slow boat to|Chi- na|all to my-|self a-|lone|
 G3"G7" z |"Cm7" E2 G B |"A7" A =E2 A/E/ |"Bb" F2 d d |"G7" d3 z |"Gm" c2 c c |"C7" A A z z | %14
w: _|get you and|keep you in my|arms ev- er-|more.|Leave all your|lov- ers|
"Cm7" G/>F/G/>F/ G/>F/_A/>G/- |"F7" G F =E z |"Bb" D2 F A |"G7" G D2 G/D/ |"Cm7" E2 G B | %19
w: weep- ing on the far- a- way shore|_ _ _|Out on the|bri- ny with a|moon big and|
"C" A =E2 z |"Bb" F2 B d |"D7" A3 c |"Eb" G4- |"G7" G2 z2 |"Cm7" c2 d c |"Eb" d c2 A/B/ | %26
w: shin- y-|melt- ing your|heart of|stone|_|I'd love to|get you on a|
"Bb" d2 e d |"G7" e d2 z |"C7" c2 ^F G |"F7" d2 d2 |"Bb" B"Ab7" D/E/ _G/B/ z |"Bb" d2 z2 |] %32
w: slow boat to|Chi- na|all to my-|self a-|lone,- * * * *||


On The Alamo

Context: Originally published in 1920, 'On The Alamo' is a popular song that has been covered by various artists over the decades. Isham Jones composed the music, while Gus Kahn wrote the lyrics. The song reflects themes of love and nostalgia, often associated with the romantic sentiments of the early 20th century.

Musically, 'On The Alamo' features a lush orchestration typical of early 20th-century American popular music. The song is structured in a standard AABA form, where the A sections present a lyrical melody that evokes a sense of longing and sentimentality, while the B section provides a contrasting theme that enhances the emotional depth. The harmonic progression employs common jazz chords, creating a warm and inviting atmosphere. The use of syncopation in the rhythm adds to its charm, making it suitable for both vocal and instrumental interpretations. The lyrics convey a heartfelt message about love and memory, utilizing vivid imagery that resonates with listeners, making it a timeless piece.

The music is characterized by a smooth, flowing melody that evokes feelings of nostalgia and romance. It features rich harmonies and an orchestral arrangement that enhances its emotional depth. The instrumentation typically includes strings, brass, and woodwinds, creating a warm soundscape. The rhythm is gentle yet engaging, allowing for expressive vocal delivery or instrumental solos. Overall, the piece captures an essence of longing and sentimentality, making it appealing across generations.

The scene unfolds in a softly lit ballroom adorned with vintage chandeliers casting a warm glow over elegantly dressed couples dancing closely together. The air is filled with the sweet scent of blooming flowers arranged on tables. A small orchestra plays 'On The Alamo' in the background as couples sway gently to the music, lost in their own worlds of romance and nostalgia. A couple at the center of the dance floor shares a tender moment; their eyes locked as they smile softly at each other, embodying the emotions conveyed through the music. Outside, dusk settles in, painting the sky with hues of orange and purple, enhancing the intimate atmosphere within.

X:634
T:On The Alamo
T:On The Alamo
C:Isham Jones
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z"Eb" E/D/ F E |: G4- | G E/D/ F E |"F7" G4- | G F/E/ G F |"Dm7b5/F" c3 c |"Bb" d3 d |"Eb" B4- | %8
w: Where the moon swings|low|_ On the Al- a-|mo|_ In a gar- den|fair, where|ro- ses|grow.|
 B E/D/ F E | G4- | G B/=A/ c B |"Gm7" d4- | d d/c/ e d |"Bb" f3 d |"F7" c3 d |"Bb7" B4- | %16
w: _ In the ten- der|light|_ of the sum- mer|night.|_ I can see her|wan- der|to and|fro|
"Eb" B E/D/ F E | G4- | G E/D/ F E |"F7" G4- | G F/E/ G F |"Dm7b5/F" c3 c |"Bb" d3 d |"Eb" B4- | %24
w: _ For she said I'll|wait|_ By the gol- den|gate|_ On the night I|said, "I|love you|so."|
"Ebdim" B c/d/"Eb" e"Dm7" c |"Cm" G3 G |"Cm7" e3 e |"Cdim/Ab" c4- | c"Eb" E/D/ F E |"F7" G4 | %30
w: _ and in all my|dream it|seems, I|go|_ Where the moon swings|low|
"Bb7" G3 G |1"Eb" G/F/ E3- | E E/D/ F E :|2"Eb" G/F/ E3- | E z z2 |] %35
w: On the|Al- a- mo.|_ Where the moon swings|Al- a- mo.|_|


Context: Originally written for the 1945 musical 'Shine On, Harvest Moon', this song became popularized by its inclusion in various films and performances. It reflects the American spirit of travel and adventure during the mid-20th century, capturing the essence of train travel across the plains.

The song features a lively tempo and a catchy melody, characteristic of the big band era. Its structure typically follows a verse-chorus form, with a strong emphasis on rhythm that evokes the sound of a train. The lyrics celebrate the romanticism of train travel, using vivid imagery to depict the journey through Kansas. Harmonically, it often employs major keys to create an uplifting feel, while the orchestration includes brass and woodwinds that enhance its energetic quality. The use of syncopation and swing rhythms adds to its danceable quality, making it a staple in both concert and theatrical settings.

This piece is characterized by its upbeat tempo and playful melody. It features lively instrumentation, often including brass and woodwinds, which contribute to a festive atmosphere. The lyrics paint a vivid picture of travel and adventure, invoking imagery associated with trains and the open landscape. The overall sound is joyful and nostalgic, reflecting a sense of freedom and exploration.

The music plays as a vibrant scene unfolds on a sunlit platform at a bustling train station in the early afternoon. Passengers in period clothing—men in hats and women in flowing dresses—hurry to board their trains, laughter and chatter filling the air. A steam locomotive puffs in the background, its whistle cutting through the excitement. Children chase each other around luggage carts while vendors call out offers for snacks. The bright colors of the station contrast with the golden hues of the setting sun, creating an atmosphere brimming with anticipation for journeys ahead.

X:635
T:On The Atchison, Topeka And The Santa Fe
T:On The Atchison, Topeka and Santa Fe
T:From Movie: The Harvey Girls
T:Harry Warreb
T:Johnny Mercer
C:Harry Warren
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
 z4 z2 G>G |:"G7" C2 D2"C" E G3 | e d2 c- c3 d | e>ed>d c>c"F"A>A |"C" G F2"F6" E-"C" E2"G+" G>G | %5
w: Do yuh|hear that whis- tle|down the line? _ I|fig- ure that it's en- gine num- ber|for- ty nine, _ She's the|
"C" C2"G7" D2"C" E2"G7" G>G |"C" e d2"Gdim" c-"Am" c2"Ab7" c>d |"C" e>e"G#dim"d>d"Am" c>c"Dm7"A>A | %8
w: on- ly one that- 'll|sound that way. _ On the|Atch- i- son, To- pe- ka and the|
"G7" G B2"C" c- c2 z2 | z8 | z4 z2"G7" G>G |"C" C2"G7" D2"C" E G3 | e d2 c- c3 d | %13
w: Sna- ta Fe. _||See the|ol' smoke ris- in|'round the bend, _ I|
 e>ed>d c>"F"cA>A |"C" G F2"F6" E-"C" E2"G+" G>G |"C" C2"G7" D2"C" E2"G7" G>G | %16
w: reck- on that she knows she's gon- na|meet a friend, _ Folks a-|round these parts get the|
"C" e d2"G#dim" c-"Am" c2"Ab7" c>d |"C" e>e"G#dim"d>d"Am" c>c"Dm7"A>A | %18
w: time o' day _ From the|Atch- ~i- son, To- pe- ka and the|
"G7" G B2 c-"C" c2"Eb7" c>_B |"Ab6" c8- | c6 (_e>c | _e3) (c e3) (c |"Ebmaj7" _e2) d2"Ab" c3 d | %23
w: San- ta Fe. _ Here she|comes!|_ Ooh, _|_ ooh, _ ooh,|_ _ _ Hey,|
 e>e"Ebmaj7"d>d"Ab6" c _B2"Eb" c- |"Ab6" c6 (_e>c | _e3) (c e3) (c | _e2"Ebmaj7" d2"Ab6" c3) d | %27
w: Jim! you bet- ter git the rig!|_ Ooh, *|* ooh, _ ooh,|_ _ _ She's|
"Cm" _e>e"Ebmaj7"d>d"Fm6" c>c"Gm7"_B>B |"Fm" _A G2"Abmaj7" F-"Fm6" F2"G7" G>G | %29
w: got a list o' pas- sen- gers that's|pret- ty big. _ And they'll|
"C" C2"G7" D2"C" E G3 | e d2 c- c3 d | e>ed>d c>c"F"A>A |"C" G F2"F6" E-"C" E2"G+" G>G | %33
w: all want lifts to|Brown's Ho- tel, _ ''Cause|lots o' them been trav- el- in' for|quite a spell, _ All the|
"C" C2"G7" D2"Cmaj7" E G3 |"C7" e d2 c-"F6" c2"Dm7b5" c>d |"C" e>e"G#dim"d>d"Am" c>c"Dbm7"A>A |1 %36
w: way from Phil- a-|del- phi- ay, _ On the|Atch- i- son, To- pe- ka, and the|
"G7" G B2"C" c- c2 z2 || z8 | z4 z2"G7" G>G :|2"G7" G B2"C" c- c2 z2 |] %40
w: San- ta Fe. _||Do yuh|San- ta- Fe. _|


On The Banks Of The Wabash

Context: Written in 1897, 'On The Banks Of The Wabash' is a sentimental ballad that reflects the longing for home and the beauty of the Indiana landscape. It became one of the most popular songs of its time and has been covered by numerous artists over the decades.

The song is characterized by its simple yet poignant melody, which evokes a sense of nostalgia and yearning. The harmonic structure typically follows a standard folk progression, allowing for emotional expression through its lyrical content. The use of imagery related to nature, particularly the riverbanks, serves as a metaphor for personal memories and connections to one's roots. The lyrical themes explore love, loss, and the passage of time, making it resonate deeply with listeners. The song's form is structured in a strophic manner, enhancing its singability and communal aspect, which is common in folk traditions.

The music features a gentle and flowing melody that mirrors the imagery of a serene riverbank. It employs a straightforward chord progression that supports the lyrical narrative without overshadowing it. The instrumentation often includes piano or guitar, providing a warm backdrop to the vocal line. The overall mood is reflective and tender, inviting listeners to reminisce about their own experiences of home and nature.

Imagine a peaceful late afternoon along a winding river in Indiana. The sun casts a golden hue over the landscape as tall grasses sway gently in the breeze. A figure stands on the riverbank, gazing out at the water reflecting the sky's colors. Nearby, children play, their laughter mingling with the soft sounds of nature. As the music begins to play, it captures this idyllic moment—evoking feelings of warmth and nostalgia for simpler times spent in harmony with nature.

X:636
T:On The Banks Of The Wabash
T:On The Banks Of The Wabash Far Away
C:Paul Dresser
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
 z4 z2 B,>B, |"G" D>DD>D"C" E>FG>E |"G" G2 D4 G>A | B>dB>G"D7" A<^GA>B |"G" G4- G z B,>C | %5
w: 'Round my|In- di- an- a home- stead wave the|corn- fields, In the|dis- tance lies the wood- lands clear and|cool. _ Of- ten|
"G" D>D^C>D"C" E>FG>E |"G" G2 D4 G>A | B>dB>G"D7" A<^GA>B |"G" =G6 z G |"B+7" G>F"B7"F>G F>AG>F | %10
w: times my thoughts re- vert to scenes of|child- hood, Where I|first re- ceived my less- ons, na- tures|school. But|one thing there is miss- ing in the|
"Em" G2 E4 E2 |"A7" A>AE>F G>GF>E |"D7" F4- F z D2 |"G" D>D^C>D"C" E>FG>E |"G" G2 D4 G>A | %15
w: pic- ture, With-|out her face it seems so in- com-|plete. * I|long to see my moth- er in the|door way, As she|
 B>dB>G"D7" A>EA>G |"G" G4- G2 G>A |"G" B>^AB>G"B7" =A>BA>F |"Em" G2 E3 z EE |"A7" A>BA>G F>GF>E | %20
w: stood there years a- go, her boy to|greet. _ Oh, the|moon- light's fair to- night a- long the|Wa- bash, From the|fields there comes the breath of new mown|
"D7" D4- D z GA |"G" B>^AB>G"B7" =A>^GA>F |"Em" G2 E3"A7" z E_E |"G" D2 FG"A7" A<E"D7"F>D | %24
w: hay, _ Through the|sy- ca- mores the can- dle- light's are|gleam- ing, On the|banks of the Wa- bash far- a-|
"G" G4- G z z2 |] %25
w: way _|


On the sunny side of the street

Context: Originally composed in 1930, 'On the Sunny Side of the Street' became a popular standard, covered by numerous artists including Frank Sinatra and Louis Armstrong. The song reflects a carefree attitude and a positive outlook on life, making it a staple in jazz and pop music.

The song is characterized by its upbeat tempo and major key, typically in B♭ major. Its structure follows a simple AABA form, which is common in jazz standards. The melody features a playful syncopation that enhances its cheerful feel. Harmonic progressions are straightforward yet effective, often utilizing ii-V-I cadences that create a sense of resolution. The lyrics convey themes of optimism and joy, encouraging listeners to embrace happiness despite life's challenges. The use of swing rhythms adds to the lively character of the piece, making it suitable for both vocal and instrumental interpretations.

This piece features a lively melody that dances along with an infectious rhythm, often accompanied by bright brass instruments and smooth piano lines. The vocal delivery is typically light-hearted and cheerful, embodying a sense of freedom and joy. Harmonically, it employs simple yet effective chords that support the melodic line without overshadowing it.

Imagine a bustling city street during a warm afternoon in spring. The sun casts golden rays through the trees lining the sidewalk, where people stroll with smiles on their faces. A small jazz band plays at an outdoor café, their instruments glinting in the sunlight. Patrons sip on refreshing drinks while tapping their feet to the rhythm. Nearby, children play with colorful kites that flutter against the clear blue sky, embodying the carefree spirit of youth. The atmosphere is filled with laughter and chatter, perfectly harmonizing with the uplifting sound of 'On the Sunny Side of the Street,' creating an idyllic scene of happiness and community.

X:637
T:On the sunny side of the street
T:On the sunny side of the street
T:Swing
C:Jimmy McHugh
L:1/4
Q:1/8=140
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
 E/>D/ |:"C" C D E G |"E7" e3 e/_e/ |"F" d c A F |"G7" E2"E7" D2 |"Am" C D"Am7" E c | %6
"D7" B3 ^G/A/ |"Dm7" c A/F/-"G7" F/E/ D |"C" C3 E/>D/ | C D E G |"E7" e3 e/_e/ |"F" d c A F | %12
"G7" E2"E7" D2 |"Am" C D"Am7" E c |"D7" B3 ^G/A/ |"Dm7" c A/F/-"G7" F/E/ D |"C" C c"C7" c c | %17
"Gm7" c2 D F |"C7" E2 c c |"F" c2 E G | F3 c |"Am7" c2 E G |"D7" ^F3 A |"G7" B d B E | %24
"Dm7" F A"G7" z E/>D/ |"C" C D E G |"E7" e3 e/_e/ |"F" d c A F |"G7" E2"E7" D2 |"Am" C D"Am7" E c | %30
"D7" B3 ^G/A/ |"Dm7" c A/F/-"G7" F/E/ D |1"C" C3 E/>D/ :|2"C" C2- C z |] %34


On Top of Old Smoky

Context: This song is a traditional American folk song that has been passed down through generations. It is often associated with the Appalachian region and has been performed by various artists, including Pete Seeger and The Weavers. The song's origins are believed to date back to the 19th century, reflecting themes of love, loss, and the beauty of nature.

Musically, 'On Top of Old Smoky' is characterized by its simple yet poignant melody and repetitive structure, which enhances its sing-along quality. The song typically follows a major key, often C major, and employs a straightforward chord progression that supports the lyrical narrative. The use of imagery related to nature and personal loss creates an emotional resonance that is central to its appeal. The lyrics describe a longing for a lost love, intertwined with the natural landscape, suggesting themes of nostalgia and yearning. This duality between personal emotion and the beauty of nature is a hallmark of American folk music.

The piece features a gentle, flowing melody that evokes a sense of longing and nostalgia. It typically employs a simple chord structure that allows for easy accompaniment on instruments such as the guitar or banjo. The lyrics reflect themes of love and loss, with vivid imagery of mountains and nature that enhance the emotional depth of the song. The repetitive nature of the melody invites participation, making it a popular choice for communal singing.

In a serene mountain setting at dusk, the sun sets behind the peaks casting a warm golden light over the landscape. A group of friends gathers around a crackling campfire, their faces illuminated by the flames as they share stories and laughter. The air is filled with the scent of pine and smoke, while crickets begin to chirp in the background. One person picks up a guitar and begins to strum the familiar chords of 'On Top of Old Smoky.' As they sing, others join in, their voices harmonizing beautifully against the backdrop of nature's tranquility. The scene captures a moment of camaraderie and reflection, where music serves as a bridge between personal memories and the timeless beauty surrounding them.

X:639
T:On Top of Old Smoky
T:On Top of Old Smoky
T: traditional
T:arranged by Pete Seeger
T:Dorsey Brothers Music Ltd. (1945)
C:tradtional American folk song
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 52
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|: (C/C/) |"C" C E G |"F" c3 | (A3 | A2) A | F G A |"C" (G3 |"G7" (G3) |"C" G) z C/C/ |"C" C E G | %10
w: 1.~On *|top of old|Smo-|ky,|_ All|cov- ered with|snow,|_|* I *|lost my true|
w: 2.~A- *|cour- tin's a|plea-|sure,|_ A-|flirt- in's a|grief,|_|* And a|false hear- ted|
w: 3.~For a|thief he will|rob|you,|_ And|take what you|have,|_|* But a|false hear- ted|
w: 4.~And the|grave will de-|cay|you,|_ And|turn you to|dust;|_|* Not one|boy in a|
w: 5.~They will|hug you and|kiss|you,|_ And|tell you more|lies|_|* Than the|ties on the|
w: 6.~So come|all you young|maid-|ens,|_ And|list- en to|me,|_|* Ne- ver|place your af-|
w: 7.~For~ the|leaves they will|with-|er,|_ The|roots they will|die,|_|* You will|all be for-|
"G7" G3 | (D3 | D2) E | F E D |"C" (C3 |"F" (C3) |"C" C) z :| %17
w: lo-|ver|_ For|cour- tin' too|slow.|_||
w: lo-|ver|_ Is|worse than a|thief.|_||
w: lo-|ver|_ Sends|you to your|grave.|_||
w: hun-|dred|_ A|poor girl can|trust.|_||
w: rail-|road,|_ Or|stars in the|skies.|_||
w: fec-|tions|_ On~a|green wil- low|tree.|_||
w: sa-|ken,|_ and|ne- ver know|why.|_||


Once I Loved

Context: Originally composed by Antonio Carlos Jobim with English lyrics by Ray Gilbert, 'Once I Loved' is a classic Bossa Nova piece that reflects the genre's signature blend of samba and jazz influences. It has been performed by numerous artists, contributing to its enduring popularity.

The piece features a lush harmonic structure typical of Jobim's compositions, utilizing extended chords and rich melodies that evoke a sense of longing and nostalgia. The arrangement often includes gentle guitar strumming, soft piano lines, and smooth vocal delivery, creating an intimate atmosphere. The use of syncopation in the rhythm adds to the fluidity characteristic of Bossa Nova, while the lyrical content explores themes of love and loss, enhancing the emotional depth of the music.

This music piece is characterized by its smooth, flowing melodies that intertwine with intricate harmonies. The instrumentation typically includes soft guitar, light percussion, and gentle piano, creating a soothing soundscape. The vocal performance is often tender and expressive, conveying deep emotions through subtle nuances. The overall feel is both romantic and reflective, inviting listeners to immerse themselves in its melancholic beauty.

The music plays in a dimly lit café on a warm evening in Rio de Janeiro. The soft glow of candles flickers on tables adorned with delicate flowers. A couple sits close together, their expressions a mix of joy and sadness as they reminisce about their past. Outside, the sounds of the bustling city fade into the background as the gentle rhythms of Bossa Nova fill the air. The scene captures a moment of intimacy as the couple shares quiet laughter and tender glances, embodying the very essence of love intertwined with nostalgia.

X:640
T:Once I Loved
T:Once I Loved
C:Antonio Carlos Jobim
L:1/4
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"Gm7""^Medium Bossa Nova" d4- |"C+7" d2- d/ c A/- |"Fmaj7" A4- |"F#dim7" A2 (3z B c | %4
w: Once|_ _ I loved,|_|* and I|
w: Then|_ _ one day,|_|* from my|
"Gm7" (3d d d (3d d d |"G#dim7" d2 (3f e d |"Am7" (3e c A- A2- |"Am7/G" A3 z |"Fm7" c4- | %9
w: gave so much love to this|love, you were the|world to me. _|_|Once|
w: in- fin- ite sad- ness you|came and brought me|love a- gain. _|_|Now|
"Bb+7" c2- c/ B G/- |"Ebmaj7" G4- | G2 (3z G A |"Em7b5" (3B B A (3c c B |"A7b9" A2 (3G B A |1 %14
w: _ _ I cried,|_|* at the|thought I was fool- ish and|proud and let you|
w: _ _ I know,|_|* that no|mat- ter what ev- er be-|falls I'll nev- er|
"Dmaj7" G/ ^F A/- A2- |"D7b9" A2 z2 :|2"Dmaj7" G/ ^F A/- A2 |"G7" G/ =F A/- A/ G E/- ||"Cmaj7" E4 | %19
w: say good- bye. *||let you go, _|I will hold _ you close,|_|
w: |||||
"F7" G2- G/ F D/- |"Bbmaj7" D4- | D2 (3z D E |"Bdim7" (3F F E- (3E G _G |"Bbm6" F2- F/ F _D/ | %24
w: make _ you stay.|_|* Be- cause|love is the _ sad- est|thing _ when it|
w: |||||
"Am6" E =D/D/- D2- |"Ab7b5" D2 (3z D E |"G7" (3F F E (3E G _G |"Gm7" F2-"A7b9" F/ F ^C/ | %28
w: goes a- way _|_ Be- cause|love is the _ sad- est|thing _ when it|
w: ||||
"Dm6" E3/2 D/ D2- | D4 |] %30
w: goes a- way.|_|
w: ||


Once in royal Davids city

Context: This hymn is traditionally sung during Christmas services and is based on a poem written by Cecil Frances Alexander in 1848. The music was composed by Henry John Gauntlett in the mid-19th century, becoming a staple of Christmas caroling and church services.

The hymn is characterized by its simple yet poignant melody, which is often performed in a 4/4 time signature. The harmonic structure typically follows a diatonic progression, creating a sense of warmth and familiarity. The text reflects themes of humility and the nativity, emphasizing the significance of Christ's birth in a humble setting. The use of dynamics often crescendos towards the refrain, enhancing the emotional impact of the lyrics, which convey both reverence and joy.

The music features a gentle, flowing melody that evokes a sense of peace and serenity. The verses are structured to build gradually, with each line leading into the next, creating an inviting atmosphere. The harmony is primarily diatonic, with occasional chromatic embellishments that add richness to the overall sound. The instrumentation typically includes piano or organ accompaniment, supporting the vocal lines without overpowering them.

The music plays softly in a dimly lit church adorned with flickering candles and evergreen decorations. A congregation gathers, their faces illuminated by the warm glow of candlelight, as they stand in reverent silence. Children dressed in white robes hold small lanterns, their eyes wide with wonder. As the hymn begins, the choir's harmonious voices rise gently, filling the space with a sense of hope and joy. Outside, snowflakes drift down silently, adding to the serene ambiance of this sacred moment.

X:641
T:Once in royal Davids city
T:Once in Royal Davids city
T:H.J.Gauntlett
T:Cecil Frances Alexander
C:H.J. Gauntlett
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"G" D2 F2 G3 G |"D7" GFGA"G" A2 G2 | G2 B2 d3 B |"D7" BAGF"G" G4 | D2 F2 G3 G |"D7" GFGA"G" A2 G2 | %6
w: Once in roy- al|Dav- * ids * ci- ty|~~~Stood a low- ly|cat * tle * shed|where a moth- er|laid * her * ba- by|
w: He came down to|earth * from * heav- en|who is God and|Lord * of * all|and his shel- ter|was * a * sta- ble|
w: ||||||
 G2 B2 d3 B |"D7" BAGF"G" G4 |"C" e2 e2"G" d3 G |"D7" c2 c2"G" B2- B2 |"C" e2 e2"G" d3 B | %11
w: in a man- ger|for * his * bed|Ma- ry was that|moth- er mild, *|Je sus Christ her|
w: and his cra- dle|was * a * stall|with the poor and|mean and low- ly|lived on earth our|
w: |||||
"D7" BAGF"G" G4 |] %12
w: lit * tle * child|
w: |
w: sav * iour * holy|


One Alone

Sigmund Romberg
Otto Harbach
Oscar Hammerstein II

Context: Originally composed for the musical 'The Desert Song' in 1926, 'One Alone' is a poignant ballad that reflects themes of love and longing. The song has been covered by various artists and remains a staple in musical theatre repertoire.

'One Alone' employs a lyrical structure that emphasizes emotional depth through its use of melodic contour and harmonic progression. The piece is characterized by its sweeping melodies that evoke feelings of nostalgia and yearning. The text, which speaks to the isolation felt in love, is supported by rich orchestration that enhances the dramatic effect. The interplay between the vocal line and accompaniment creates a sense of intimacy, allowing the performer to convey profound emotional resonance. The song's use of dynamics and tempo variations further accentuates its expressive qualities, making it a powerful moment within the musical context.

The music features a lush orchestral arrangement that complements a soaring vocal line. It begins softly, creating an intimate atmosphere, before building to a climactic expression of longing. The harmonic language is rich, employing chromaticism and modulations that enhance the emotional narrative. The overall tone is reflective and bittersweet, capturing the essence of unfulfilled desire.

Set in a dimly lit room adorned with vintage decor, the scene unfolds during twilight. A solitary figure stands by a window, gazing out at the fading light. Their expression is one of deep contemplation, reflecting on lost love. Soft shadows dance across the walls as the music swells, filling the space with an air of melancholy. Outside, leaves rustle gently in the breeze, mirroring the character's internal turmoil as they clutch a faded photograph, embodying memories of happier times.

X:642
T:One alone
T:One alone
C:Sigmund Romberg
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble
%%MIDI program 40
V:1
"G" B,>D B2- B3 B |"B7" B>F B6 |"E7" B>E B2- B>B (3Bc_A |"A7" B4 A4 |"D7" B,>C A2- A3 A | %5
w: One a- lone * to|be my own|I a- lone * to know her car-|ess- es|One to be * e-|
 G>F A2- A3 F |"Am7" ED (3=F^FA"D7" d3 A |"Gdim" _B4"G" =B4 |"G" B,>D B2- B3 B |"B7" B>F B6 | %10
w: ter- nal- ly * the|one my wor- ship- ping soul po-|sess- es-|At her call * I'd|give my all|
"E7" BE =F/E/_A/B/ e3 B |"Am" d4 c4 |"Cm" G>_E G3 AGA |"G/D" Bd d3 DEG |"A7" A4"D7" B4 |"G" G8 |] %16
w: All my life and all my love en-|dur- ing|This would be a mag- ic|world to me If she were|mine a-|lone|


One For My Baby

Context: Written in 1943, 'One For My Baby' is a standard in the Great American Songbook, often associated with jazz and pop music. It has been performed by numerous artists, including Frank Sinatra, who popularized it further. The song reflects themes of heartache and longing, often performed in a slow, melancholic style.

'One For My Baby' features a classic AABA structure typical of many standards from the era. The lyrics convey a deep sense of melancholy and resignation, as the protagonist addresses a bartender while reflecting on lost love. Musically, it employs rich harmonic progressions that enhance the emotional weight of the lyrics. The use of minor keys and chromaticism contributes to its somber mood, while the vocal delivery often emphasizes the poignant phrasing inherent in the text.

The music is characterized by a slow tempo and smooth melodic lines that evoke feelings of nostalgia and sadness. The instrumentation typically includes piano, bass, and light percussion, creating an intimate atmosphere. The vocal delivery is often heartfelt and expressive, with an emphasis on lyrical storytelling.

In a dimly lit jazz club late at night, a solitary figure sits at the bar nursing a drink. The soft glow of candlelight flickers across their face, revealing traces of sorrow. Around them, patrons engage in hushed conversations, but the focus remains on the singer at the small stage. As they perform 'One For My Baby,' the melancholic notes resonate through the room. The singer's eyes reflect a deep yearning as they recount tales of love lost, drawing in listeners who share in the bittersweet emotion of the moment.

X:643
T:One For My Baby
C:Harold Arlen
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble
V:1
 ^F2 ||"Ebmaj7""^A" G^FG=F-"Bbm7" F3 ^F |"Ebmaj7" G^FGA"Fm7" B2"Bb7" A2 | %3
w: It's|quart- er to three, _ There's|no- one in the place ex-|
"Ebmaj7" G^FG=F-"Bbm7" F4- |"Ebmaj7""Bbm7" F6- F^F |"Ebmaj7" G^FG=F-"Bbm7" F3 ^F | %6
w: cept you and me, _|_ _ So|set 'em up, Joe _ I've|
"Ebmaj7" G^FGA"Fm7" B2"Bb7" A2 |"Ebmaj7" G^FG"Bbm7"=F- F4- |"Bbm7" F6-"Eb7" F=B | %9
w: got a lit- tle sto- ry|you ought- a know, _|_ _ We're|
"Abmaj7" c=Bc"Gbmaj7"_B- B4 |"Abmaj7" c2 _cB-"Db13" BA F2 |"Ebmaj7" GA=AB-"Fm7" B4- | %12
w: drink- ing, my friend, _|to the end _ of a|brief ep- i- sode, _|
"Gm7""Fm7""Ebmaj7" B6 EE |"G+7" G G2 B"C7#9#11" (_G/F/) E2 E | %14
w: _ Make it|one for my ba- * by and|
"Fm7" A2"Gm7" =G2"Ab6" E2"Bb9sus4" E2 |"Eb6" E8 |"Am7b5" z4"D7" z2 z ^A || %17
w: one more for the|road.|I|
[K:G]"Gmaj7""^B" B^AB"Dm7"=A- A3 ^A |"Gmaj7" B^ABc"Am7" d2"D7" c2 |"Gmaj7" B^AB"Dm7"=A- A4- | %20
w: got the rou- tine, _ so|drop an- oth- er nick- el|in the ma- chine, _|
"Gmaj7""Dm7" A6- A^A |"Gmaj7" B^AB"Dm7"=A- A3 ^A |"Gmaj7" B^ABc"Am7" d2"D7" c2 | %23
w: _ _ I'm|feel- in' so bad _ I|wish you'd made the mu- sic|
"Gmaj7" B^AB"Dm7"=A- A4- |"Dm7""G7" A6- A^d |"Cmaj7" e^de"Bbmaj7"=d- d4 | %26
w: dream- y and sad, _|_ _ Could|tell you a- lot, _|
"Cmaj7" e2 _ed-"F13" dc A2 |"Gmaj7" Bc^cd-"Am7" d4- |"Bm7""Am7""Gmaj7" d6 GG | %29
w: But you've got _ to be|true to your code, _|_ Make it|
"B+7" B B2 d"E7#9#11" (_B/A/) G2 G |"Am7" c2"Bm7" =B2"C6" G2"D9sus4" G2 |"G6" G8 | %32
w: one for my ba- * by and|one more for the|road.|
"Dm7" z4"G7" z2 G2 ||"C9sus4""^C" c3 _B"C9" d G2 G |"C9sus4" c/_B/c/B/ cB"C9" dGGG | %35
w: You'd|nev- er know it, But|bud- dy, I'm a kind of po- et and I've|
"B+7" =B/d/"E7" c2 B"A7" G2"D9sus4" G2 |"G6""G7" G6- GG |"C9sus4" c3 _B"C9" d G2 G | %38
w: got- ta lot- ta things to|say; _ And|when I'm gloom- y you|
"C9sus4" c/_B/c/B/ cB"C9" d G2 G |"A7" A3 G"Eb9#11" A3 G |"D+7" _B6- BB || %41
w: sim- ply got- ta lis- ten to me un-|til it's talked a-|way. _ Well,|
"Gmaj7""^D" B^A B"Dm7"=A- A3 ^A |"Gmaj7" B^ABc"Am7" d2"D7" c2 |"Gmaj7" B^AB"Dm7"=A- A4- | %44
w: that how it goes _ And|Joe, I know you're get- ting|anx- ious to close, _|
"Gmaj7""Dm7" A6- A^A |"Gmaj7" B^AB"Dm7"=A- A3 ^A |"Gmaj7" B^ABc"Am7" d2"D7" c2 | %47
w: _ _ So,|thanks for the cheer _ I|hope you did- n't mind my|
"Gmaj7" B^AB"Dm7"=A- A4- |"Dm7""G7" A6- A^d |"Cmaj7" e^de"Bbmaj7"=d- d4 | %50
w: bend- ing your ear, _|_ _ This|torch that I've found _|
"Cmaj7" e2 _ed-"F13" dc A2 |"Gmaj7" Bc^cd-"Am7" d4- |"Bm7""Am7""Gmaj7" d6 GG | %53
w: must be drowned _ or it|soon might ex- plode, _|_ Make it|
"B+7" B B2 d"E7#9#11" (_B/A/) G2 G |"Am7" c2"Bm7" B2"C6" G2"D9sus4" G2 |"B+7""B7""E7b9" B6"A7" G2 | %56
w: one for my ba- * by and|one more for the|road that|
"D913sus4" B4"D13" B4 |"G6" G8 |"F9""Bb13" z8 |] %59
w: long, long|road.||


One Note Samba

Context: One Note Samba, composed by Antonio Carlos Jobim with lyrics by Vinicius de Moraes, is a quintessential Bossa Nova song that was first recorded in 1960. It has since become a jazz standard, covered by numerous artists worldwide. The song's title reflects its musical structure, which revolves around a single note that serves as the foundation for its melodic and harmonic development. The piece exemplifies the fusion of samba rhythms with jazz harmonies, characteristic of the Bossa Nova genre.

The song is structured around a simple yet effective harmonic progression that emphasizes the interplay between melody and rhythm. The use of syncopation and off-beat accents creates a laid-back groove typical of Bossa Nova. The melodic line often features chromaticism and unexpected shifts, which contribute to its distinctive sound. The lyrics express themes of longing and unrequited love, using playful yet poignant imagery to convey emotional depth. The combination of Jobim's sophisticated harmonic language and de Moraes' evocative lyrics results in a piece that is both musically intricate and emotionally resonant.

This music piece is characterized by its smooth, flowing melodies intertwined with intricate harmonies. The rhythmic foundation is laid down by gentle percussion and guitar strumming, creating a relaxed yet engaging atmosphere. The melodic lines often glide seamlessly over the chord changes, incorporating elements of improvisation that are common in jazz. The overall feel is warm and inviting, making it suitable for both lively gatherings and intimate moments.

The music plays in a sun-drenched café on a bustling street in Rio de Janeiro during early evening. The golden light casts soft shadows as patrons sip on their drinks, engaged in lively conversations. A couple at a corner table shares a quiet moment, their expressions reflecting both joy and nostalgia. In the background, the sounds of laughter mingle with the gentle strumming of an acoustic guitar, while a waiter glides between tables, adding to the vibrant atmosphere. The scene captures the essence of Brazilian culture, where music serves as the heartbeat of social interaction.

X:644
T:One Note Samba
T:One Note Samba
T:Antonio Carlos Jobim
C:Antonio Carlos Jobim
L:1/8
M:4/4
I:linebreak $
K:Bb
V:1 treble
%%MIDI program 65
V:1
 x z F2 F |: F2"Dm7" FF- F F2 F- | F"Db7" F3 z F2 F | F2"Cm7" FF- F F2 F- |"^B7(b5)" F4 z F2 F | %5
 F2"Dm7" FF- F F2 F- | F"Db7" F3 z F2 F |"Cm7" F2 FF- F F2 F- |"^B7(b5)" F4 z B2 B ||1 %9
"Fm7" B2 BB- B B2 B- || B"Bb7" B3 z B2 B |"Ebmaj7" B2 BB- B B2 B- |"Ab7" B4 z F2 F | %13
 F2"Dm7" FF- F F2 F- | F"Db7" F2 F- FF F2 | F2"Cm7" FF- F"^B7(b5)" F2 B |"Bb6" z8 || %17
 B"Ebm7"c_de dcB_A | _G"Ab7"FE_D CDEF |"Dbmaj7" C3 B,zC DF | C3 B, z4 | _A"Dbm7"B_c_d cBA_G | %22
 _F"Gb7"E_D_C B,CDE |"Cbmaj7" B,3 _A,zB, _CE | _G3"^Cm7(b5)" F z"^B7(b5)" F2 F :|2 %25
"Fm7" B2 BB- B B2 B- | B"Bb7" B3 z B2 B ||"Ebmaj7" B2 BB- B B2 B- |"Ab7" B4 z B2 B | %29
"Db6" B2 BB- B B2 B- | B"C7" B2 B B2 B2- |"Cbmaj7" B2 BB- B B2"Bb6" B | z8 |] %33


One Summer Night

Context: The song 'One Summer Night' by Danny Webb encapsulates the essence of summer romance and nostalgia. It has been featured in various playlists that evoke feelings of warmth and longing, often associated with memories of carefree summer evenings.

Musically, 'One Summer Night' employs a soft acoustic arrangement that highlights Webb's emotive vocal delivery. The use of gentle guitar strumming creates a serene atmosphere, while the lyrical content reflects themes of love and reminiscence. The song's structure follows a traditional verse-chorus form, allowing for a build-up of emotional intensity in the chorus, where harmonies enhance the feeling of yearning. The instrumentation is minimalistic, focusing on the vocals and guitar, which effectively conveys the intimate nature of the lyrics. The overall mood is reflective and soothing, making it suitable for contemplative listening.

The music features a mellow acoustic guitar melody complemented by soft vocal harmonies. The arrangement is characterized by its simplicity, allowing the emotional weight of the lyrics to take center stage. The song conveys a sense of longing and warmth, with lyrical imagery that evokes memories of summer nights filled with love and connection. The pacing is relaxed, inviting listeners to reflect on their own experiences of romance and nostalgia.

The music plays during a serene summer evening in a quiet park. The sun sets slowly, casting a golden hue over the landscape as fireflies begin to dance in the air. A couple sits on a blanket under a large oak tree, their faces illuminated by the soft glow of string lights hanging above them. They share whispered secrets and laughter, their hands intertwined as they watch the stars emerge in the twilight sky. The atmosphere is filled with warmth and intimacy, capturing the fleeting beauty of young love amidst the backdrop of nature's tranquility.

X:645
T:One Summer Night
T:One Summer Night
C:Danny Webb
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble nm="Melody" snm="Choir"
%%MIDI program 53
V:1
"A " z e2 c/B/ (3cBA- A2 |"D " z F2 G/A/"E7" cB- B2 |"A " z e2 c/B/ (3cBA- A2 | %3
w: One sum- mer ni- gh- t *|we fell in lo- ve. *|One sum- mer ni- gh- t *|
"D " z F2 G/A/"E7" cB- B2 |"A " AB- Bc (3cBA- A2 |"E " z F2 G/A/ cB- Bc |"A " (3cBA- A4 z2 | %7
w: I held you ti- ght. *|Yo- u * and I\- I\- I *|un- der the mo- on * of|lo- o \-ve. *|
"D " d4"E " e4 |"A " z e2 c/B/ (3cBA- A2 |"D " z F2 G/A/"E7" cB- B2 |"A " z e2 c/B/ (3cBA- A2 | %11
w: |One sum- mer ni- gh- t *|I kissed your li- ps. *|One sum- mer ni- gh- t *|
"D " z F2 G/A/"E7" cB- B2 |"A " AB- Bc (3cBA- A2 |"E " z F2 G/A/ cB- Bc |"A " (3cBA- A2 Bc- cB | %15
w: I held you clo- ose. *|Yo- u * and I\- I\- I *|Un- der the mo- on * of|lo- o\- ove, * mo- on * of|
"Bmin7" (3cBA- A2"A " z2 A2 |"D/A" ff- f2 z"Bmin7" f ed |"D " (3fed- d2"G " z a2 f/e/ | %18
w: lo- o\- ove. * You|kissed me * O\- oh so|ten- der- ly * and I\- I|
"A " (3afe- e2 z f2 e |"A " (3fec e4 (3cBA |"G " dd- d4 (3dBA |"D " (3dBA- A4 z e | %22
w: kn- ew- ew * this was|lo- o\- o\- ove and as I|held you * o\- oh so|clo- o\- ose * I|
"E9" ff ff ff gf |"E7" (3gfe (3gfe e2 e/f/e/c/ |"A " z e2 c/B/ (3cBA- A2 | %25
w: knew no one could e\- ver take your|pl- a\- a\- a\- a\- a\- ace. O\- o\- o\- oh|one sum- mer ni- gh- t *|
"D " z F2 G/A/"E7" cB- B2 |"A " z e2 c/B/ (3cBA- A2 |"D " z F2 G/A/"E7" cB- B2 | %28
w: we fell in lo- ve. *|One sum- mer ni- gh- t *|I held you ti- ght. *|
"A " AB- Bc (3cBA- A2 |"D " z F GA"E7" (3BcB- Bc |"A " (3cBA- A4 z2 |"Bmin7" f4"D " f4 |"A " a8 |] %33
w: Yo- u * and I\- I\- I *|un- der the mo- o\- on * of|lo- o \-ve. *|Moon of|Love!|


One Tin Soldier

Context: Originally recorded by The Original Caste in 1969, 'One Tin Soldier' gained popularity as a protest song during the Vietnam War era. It was later covered by various artists, including Coven, which contributed to its association with the counterculture movement.

'One Tin Soldier' employs a narrative style to convey its anti-war message, utilizing a simple yet poignant melody that enhances the emotional weight of the lyrics. The song's structure features a repetitive chorus that reinforces its themes of peace and the futility of conflict. The use of imagery, such as the 'tin soldier' and the contrasting 'mountain,' symbolizes the loss of innocence and the destructive nature of greed and violence. The harmonic progression is straightforward, primarily revolving around major chords that evoke a sense of nostalgia and longing.

The music features a gentle acoustic arrangement characterized by strummed guitars and soft harmonies. The vocals are delivered in a heartfelt manner, emphasizing the song's reflective tone. The lyrical content tells a story of conflict and moral lessons, with an emphasis on the consequences of greed and war. Throughout the piece, there is a consistent use of melodic hooks that make it memorable while also serving to underline the song's thematic elements.

The music plays during a serene sunset over a peaceful valley, where two opposing factions prepare for battle. In the foreground, soldiers clad in simple uniforms stand resolutely, their faces reflecting determination mixed with doubt. As the music swells, the camera pans to show families in nearby homes, unaware of the impending conflict. The colors shift from warm oranges to deep purples as night falls, symbolizing the transition from hope to despair. In this moment, the juxtaposition of nature's beauty against the backdrop of human conflict creates an emotional tension that aligns perfectly with the song's message.

X:646
T:One Tin Soldier
T:One Tin Soldier
C:Brian Potter
L:1/16
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"F" A2<c2c2A2"C" G2c2 c2<G2 |"Dm" F2A2 A2<F2 F2AA- A4 |"Bb" D2FF-F2(DC)"F" C2FF-F2C2 | %3
w: Lis- ten chil- dren to a sto- ry|that was writ- ten long a- go _|bout a king- * dom _ on a moun- * tain|
w: So the peo- ple of the val- ley|sent a mes- sage up the hill _|ask- ing for _ the _ bur- ried treas- * ure|
w: Now the val- ley cried with an- ger,|mount your hor- ses, draw your sword, _|and they killed _ the _ moun- tain peo- * ple|
"Gm7" D2FF- F2<A2 G2(GF) G4 |"F" A2cc-c2A2"C" G2cc- c2<G2 |"Dm" F2A2A2FF- F2AA- A4 | %6
w: and the val- * ley folk be- * low.|On the moun- * tain was a trea- * sure|bur- ried deep be- neath _ a stone _|
w: tons of gold _ for which they'd _ kill.|Came the an- * swer from * * * dom,|"With our broth- ers we _ will share _|
w: so they won _ ther just re- * ward.|Now they stood _ be- side the trea- * sure|on the moun- tain, dark _ and red, _|
"Bb" D2FF-F2D2"F" CF2F2-<F2C |[M:3/4]"Gm7" DF2F- F2A2 G2F2 |[M:4/4]"F""Bb""F" F16 || %9
w: and the val- * ley peo- ple swore _ they'd|have it for _ their ver- y|own.|
w: all the sec- * crets of our moun- * tain,|all the rich- * es bur- ried|there."|
w: turned the stone _ and looked be- neath _ it,|"Peace on earth" _ was all it|said.|
 fffgf2f2"Am" (edc2 c4) |"Bb" dcdc (dc)c"F"c- c8 | ffff f2<g2"Am" (edcc-) c4 | %12
w: Go a- head and hate your neigh _ _ bor,|go a- head and cheat _ a friend. _|Do it in the name of heav- * * en. _|
w: |||
w: |||
"Bb" dcdcd2cc-"F" c4 z3 c |"Bb" ffff f2<g2"Am" (edc2-) c4 |"Bb" d2dc-c2B2"F" c4 z2 FF | %15
w: Jus- ti- fy it in the end. _ There|won't be an- y trum- pets blow- * in' _|come the judge- * ment day. On the|
w: |||
w: |||
 A2<c2c2c2"Bb" d2 f6- | f8 z4 F2F2 |1[M:2/4]"Bb" (AG)F2 F2FF- ||[M:4/4]"F""Bb" F16 | %19
w: blood- y morn- ing af- ter|_ one tin|sol- * dier rides a way.|_|
w: ||||
w: ||||
"F" z8"Bb""F" z8 :|2[M:2/4]"Bb" (AG)F2 F2FF- ||[M:4/4]"F""Bb" F16 |"F""Bb" z8"F" z8 :|3 %23
w: |sol- * dier rides a- way.|||
w: ||||
w: ||||
[M:2/4]"Bb" (AG)F2 F2FF- ||[M:4/4]"F""Bb" F16- |"F""Bb""F" !fermata!F16 |] %26
w: sol- * dier rides a- way.|||
w: |||
w: |||


Only Love Can Break A Heart

Context: Originally recorded by Gene Pitney in 1962, this song showcases the collaboration between composer Burt Bacharach and lyricist Hal David, who were known for their sophisticated melodies and poignant lyrics. The song became a hit and has been covered by various artists over the years.

The song features a classic pop structure with a verse-chorus form, characterized by its emotive melody and lush orchestration typical of Bacharach's style. The use of minor keys creates a sense of longing and melancholy, while the lyrical content explores themes of love and loss. The harmonic progressions are intricate, often utilizing unexpected modulations that enhance the emotional weight of the lyrics. The arrangement typically includes strings, piano, and gentle percussion, contributing to its soft rock aesthetic.

This piece is marked by a smooth, flowing melody that evokes feelings of nostalgia and heartache. The instrumentation is rich yet understated, allowing the vocals to take center stage. The lyrics convey a deep sense of yearning and vulnerability, reflecting on the fragility of love and the pain that can accompany it. The overall mood is contemplative and bittersweet, drawing listeners into an emotional landscape filled with longing.

Imagine a dimly lit room in a quaint café during the late evening hours. Soft golden light spills from hanging lamps, casting gentle shadows on the walls. A lone figure sits at a small table, gazing out the window as raindrops trickle down the glass. Their expression is one of deep contemplation, reflecting on a past relationship filled with both joy and sorrow. Nearby, couples converse quietly, their laughter contrasting with the solitude of the lone listener. As the music plays softly in the background, it enhances the atmosphere of nostalgia and introspection, wrapping around the scene like a warm embrace.

X:647
T:Only Love Can Break A Heart
T:Only Love Can Break A Heart
C:Burt Bacharach
L:1/4
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"Bb" z B A"Bb7" _A |"Eb" _A G2 c |"F7" B A2 G |"Bb" F2"Ab" E2 |"G7" D4 |"Eb6" z c/>e/ e3/2 c/ | %6
w: Last night I|hurt you, but|dar- ling, re-|mem- ber|this,|On- ly Love Can|
"F" F c/c/- c2 |"Eb6" z c/>e/ e3/2 c/ |"F" d2"F7" c c |"Bb" B2 A2 |"Bb7" _A B =A _A |"Eb" _A G2 c | %12
w: Break A Heart. _|On- ly love can|mend it a-|gain. _|_ You know I'm|sor- ry, I'll|
"F7" B A2 G |"Bb" F2"Ab" E2 |"G7" D4 |"Eb6" z c/>e/ e3/2 c/ |"F" F c/c/- c2 | %17
w: prove it with|just one|kiss.|On- ly Love Can|Break A Heart. _|
"Eb6" z c/>e/ e3/2 c/ |"F" d2"F7" c c |"Bb" B2"F7" c2 |"Bb" d B"Bb7" c d |"Eb" f e2 d | %22
w: On- ly love can|mend it a-|gain. _|_ Give me a|chance to make|
"Cm" d c2 B |"Bb" A2 G2 | A B"Bb7" c d |"Eb" f e2 d |"C7" d c2 B |"F7" A2"Eb" B B |"F7" c4- | %29
w: up for the|harm I've|done. Try to for-|give me and|let's keep the|two of us|one!|
 c z/ B/ A _A |"Eb" _A G2 c |"F7" B A2 G |"Bb" G F2 d |"G7" c =B3 |"Eb6" z c/>e/ e3/2 c/ | %35
w: _ Please let me|hold you and|love you for|al- ways and|al- ways.|On- ly love can|
"F" F c/c/- c2 |"Eb6" z c/>e/ e3/2 c/ |"F" d2"F7" c c |"Bb""Eb" B4- |"Bb" !fermata!B z z2 |] %40
w: break a heart, _|on- ly love can|mend it a-|gain.|_|


Only the Good Die Young

Context: Released in 1977 as part of the album 'The Stranger', this song became one of Billy Joel's signature hits, often celebrated for its catchy melody and upbeat tempo. The song's lyrics explore themes of youthful rebellion and the desire to live life to the fullest, encouraging listeners to seize the moment.

Musically, 'Only the Good Die Young' features a lively piano-driven arrangement typical of Joel's style, characterized by a strong backbeat and a melodic hook that enhances its sing-along quality. The song employs a mix of major and minor chords, creating a sense of tension and release that mirrors the lyrical themes of temptation and defiance. The use of brass instruments adds a celebratory feel, while the vocal delivery is both playful and assertive, reflecting the narrator's persuasive tone. Thematically, the lyrics juxtapose societal expectations with personal freedom, encapsulating a youthful desire to rebel against conventional norms.

This piece is characterized by its upbeat tempo and engaging melody, featuring prominent piano riffs and rhythmic percussion. The instrumentation includes brass elements that contribute to an energetic atmosphere. Lyrically, it presents a narrative voice that challenges traditional values and promotes a carefree lifestyle, appealing to themes of youthfulness and spontaneity.

The music plays during a vibrant summer party in a suburban backyard. The sun sets low in the sky, casting golden hues over the scene where young adults gather around a grill, laughter echoing through the air. Characters are animatedly engaging in conversation, some dancing while others enjoy drinks. The atmosphere is filled with excitement and freedom as they celebrate life, embodying the essence of youth and rebellion that resonates with the song.

X:648
T:Only the Good Die Young
T:Only The Good Die Young
C:Billy Joel
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
V:1
"F" [Ac] z cc c c3 |"C/G" edcc-"Am" c3 G- |"F" Gccc c2 d2 |"G" B A2 G-"C" G2 cG |"F" Accc- cA G2 | %5
"C/G" edcc"Am" c3 G |"F" Ac c2 c2 dc |1"G" B6 cc ||2 B6 z G || efge- e2 B2 |"C" c8- |"F" c4 ed c2 | %12
"G" d8 |"C" z2 z2 dfge- | e2 e4 c2 |"F" c4 ed c2 |"G" d B2 G- G4 |"C" z2 z2 cc c2 | %18
"F" A c2 c c2 AG |"C/G" edcc-"Am" c3 G |"F" A2 c2 cc G2 |"G" d B2 G-"C" G2 z G |"F" A2 c2 cA G2 | %23
"G" e2 dc"Am" c z2 G |"F" A2 cc c2 dB- |"G" B4 z2 ee |"F" g2 ee- e e3 |"C/G" edcc- c2 z2 | %28
"F" Accc cc c2 |"G" dBAG"C" G3 E |"F" A2 c2 cc G2 |"C/G" edcc"Am" c3 z |"F" Ac c2 c2 dc | %33
"G" B6 AG | efge- e2 c2 |"C" c8 |"F" c4 ed c2 |"G" d8- |"C" d2 z2 efge | e2 e4 c2- |"F" c4 ed c2 | %41
"G" d B2 G G4- |"C" G2 z3 ggg |"G" g2 g2 f2 ff |"F" gfff f2 df |"C" fe e6 | e4 z eee | %47
"D" e d2 d- d4 | d4 z2 dd |"F" d c2 A- A4- | A z z4 gg |"G" gggg- ggff |"F" gf f2 a2 df- | %53
"C" fe e6 | e4 z eee- |"D" e d2 d d4 | deee- eeee |"F" e2 dd d2 z2 |"C" e2"Dm" d2"C" c2"G" cc | %59
"G" B4 z GGG | efge e2 c2- |"C" c8 |"F" c4 z edc |"G" d2 z2 z4 |"C" z2 z2 efge- | e2 e4 c2 | %66
"F" c4 ed c2 |"G" d c2 G G4- |"C" G2 z2 z4 |] %69


Only The Lonely

Context: Released in 1960, 'Only The Lonely' was a significant hit for Roy Orbison, showcasing his unique vocal style and emotional depth. The song reached number two on the Billboard Hot 100 and solidified Orbison's place as a prominent figure in the music industry. It is often noted for its orchestral arrangement and poignant lyrics that reflect themes of loneliness and longing.

'Only The Lonely' features a classic pop ballad structure with a slow tempo that enhances the emotional weight of the lyrics. The song is characterized by its use of rich harmonies and orchestral instrumentation, which contribute to its dramatic effect. Orbison's vocal delivery is marked by a powerful falsetto, particularly in the chorus, where he expresses deep sorrow and vulnerability. The chord progressions are typical of early 1960s pop music, employing minor keys to evoke a sense of melancholy. The lyrical content explores feelings of isolation and heartache, resonating with listeners who have experienced similar emotions. This combination of lyrical depth and musical sophistication has led to its enduring appeal.

The music piece is marked by a slow tempo and features lush orchestration that creates an atmospheric backdrop for the heartfelt lyrics. It employs a blend of major and minor chords to evoke feelings of sadness and reflection. The singer's voice is characterized by its emotional intensity, with soaring melodies that capture the essence of longing. The instrumentation includes strings and subtle percussion, enhancing the overall mood without overpowering the vocal line.

The music plays during a quiet evening in a dimly lit room, where a solitary figure sits by a window, gazing out at the rain-soaked streets below. The soft glow of streetlights casts shadows across the room, creating an intimate yet melancholic atmosphere. The character, dressed in casual attire, appears lost in thought, reflecting on past relationships and moments of joy now overshadowed by loneliness. Outside, raindrops gently tap against the glass, mirroring the emotional turmoil within. As the music swells, it captures the essence of heartache, emphasizing the character's yearning for connection amidst their solitude.

X:649
T:Only The Lonely
C:Roy Orbison, Joe Melson
L:1/4
M:2/2
I:linebreak $
K:G
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 d/ B A/ |:"G" A B2 G/A/ | B B c B |"Am" A4- | A2 c/ d c/ |"D7" B A2 A/c/ |"Am7" e e2"D7" d | %7
w: On- ly The|Lone- ly Know The|Way I Feel to-|night.|_ On- ly The|Lone- ly know the|feel- ing ain't|
w: |Lone- ly know the|heart- aches I've been|through.|_ On- ly The|Lone- ly know I|cry and cry|
"G" B4- | B2 G/ A G/ | B D3- | D2 B/ c B/ |"G7" d4- | d2 c/ B A/ |"C" c c3- | c2 c/ B A/ | %15
w: right,|_ There goes my|ba- by.|_ There goes my|heart.|_ They've gone for-|ev- er|_ so far a-|
w: for|you. May- be to-|mor- row,|_ a new ro-|mance.|_ No more sor-|row _|_ but that's the|
"A7" (^c4 |"D7" d/) z/ z/ D/ d/ B A/ |"G" A G3- |"G7" G2 (A B) |"C" (A G C2- | C3) G |"D7" F4- | %22
w: part.|_ But On- ly The|Lone- ly|_ know _|why _ _|_ I|cry.|
w: chance.|_ You've got to take|if you're|_ lone- *|ly, _ _|_ heart-|break.|
 F2 F/ G A/ |1"G" A G3- |"D7" G2 d/ B A/ :|2"G" A G3- | G3 z |] %27
w: _ On- ly The|Lone- ly.|_ On- ly The|||
w: _ On- ly The|||Lone- ly.|_|