La Bikina

Context: Originally composed by Ruben Fuentes in the 1960s, 'La Bikina' has become a staple in mariachi music. The song tells the story of a beautiful woman who captivates everyone around her. It has been performed by various artists, gaining popularity across generations.

'La Bikina' features a rich orchestration typical of mariachi music, including violins, trumpets, and guitars. The song is characterized by its emotive melodies and poignant lyrics that express longing and admiration. The use of syncopation in the rhythm adds a lively feel, while the harmonic structure often follows traditional patterns found in Mexican folk music. The vocal delivery is passionate, often employing techniques such as melisma to enhance emotional expression.

The piece is marked by its vibrant instrumentation and heartfelt lyrics. The melody flows gracefully, often rising and falling in a way that reflects the emotional highs and lows of the narrative. The arrangement typically includes lush strings and brass, creating a full-bodied sound that enhances the lyrical themes of love and beauty. The rhythm is lively yet maintains a sense of elegance, inviting listeners to engage with its cultural roots.

Imagine a bustling plaza in a small Mexican town during the late afternoon. The sun casts a warm golden hue over the cobblestone streets as locals gather for an evening celebration. In the center, a mariachi band performs 'La Bikina,' their colorful outfits contrasting against the vibrant decorations around them. A crowd forms, swaying to the music, while couples dance closely, lost in each other's eyes. The air is filled with laughter and the scent of traditional foods being served at nearby stalls, creating an atmosphere rich with joy and cultural pride.

X:476
T:La Bikina
T:LA BIKINA
T:Rigoberto Alfaro Derechos: Ruben Fuentes
T:Transcripcion: ALBERTO BETANCOURT
T:JAZZ-WALTZ
C:Ruben Fuentes
L:1/4
Q:1/4=184
M:3/4
I:linebreak $
K:G
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
"G" .d' !>!d2- |"Em7" d .d' .d |"Am7" .d' !>!d2- |"D7" d2 z |"G" .d' !>!d2- |"Em7" d .d' .d | %6
w: ||||||
w: ||||||
"Am7" !>!d'3- |"D7" .d'/ z/ D G |:"G" c B B | c/ B A G/ |"F#m7b5" B A2- |"B7" A z B |"Em7" A G B | %13
w: |* So- li-|ta- ria ca-|mi- na la Bi-|ki- na|_ La|gen- te se|
w: |||||||
"A7" A/ G A G/ |"Dm7" =F3- |"G7" F z z |"Cmaj7" E E E |"B7" F E F |"Em" G G2- |"Em7" G2 z | %20
w: po- ne'a mur- mu-|rar|_|Di- cen que|tie- ne'u- na|pe- na|_|
w: |||||||
"A7" !>!B/A/ G/!>!B/ A/G/ | !>!B/A/ G/!>!B/ A/G/ |"D11" !>!A3- |"D7" .A/ z/ D d ||S"G" c B d | %25
w: Di- cen que tie- ne'u- na|pe- na que la'ha- ce llo-|rar.|_ Al- ta-|ne- ra pre-|
w: ||||ta- ria ca-|
 c/ B A G/ |"F#m7b5" B A c- |"B7" c B2 |"Em7" A G B |"A7" A/ G A G/ |"Dm7" =F3- |"G7" F z z | %32
w: cio- sa y'or- gu-|llo- sa No|_ per-|mi- te la|quie- ran con- so-|lar|_|
w: mi- na la Bi-|ki- na Mien-|* tras|tan- to la|gen- te'al mur- mu-|rar|_|
"Cmaj7" E E E |"B7" F E F |"Em" G A B |"F9" c2 z |"G" !>!B/A/ G/"Em7"!>!B/ A/G/ | %37
w: Pa- sa lu-|cien- do su|real ma- jes-|tad|pa- sa ca- mi- na'y los|
w: Di- cen que|al- guien ya|vi- no'y se|fue|Di- cen que pa- sa la|
"Am7" !>!A/G/ F/"D7"!>!A/ G/F/ |"G" G3- | G2"^Fine" z |]"Cm7""_Tempo: 184" G2 z |"F7" A2 z | %42
w: mi- ra sin ver- los ja-|mas.|_|La|Bi-|
w: vi- da so- nan- do con|El.|_|||
"Dm7" A2 z |"Gm7" _B2 z |"Cm7" _B2 B |"F7" c _B c |"Bb" d3- | d2 z |"Cm7" G2 z |"F7" A2 z | %50
w: ki-|na|tie- ne|pe- na'y do-|lor|_|La|Bi-|
w: ||||||||
"Dm7" A2 z |"Gm7" _B2 z |"Em7" G2 G |"A7" G F G |"Am7" A3- |"D7" .A/ z/ D d"^D.S. al Fine" || %56
w: ki-|na|no co-|no- ce'el a-|mor.-||
w: |||||* So- li-|


La Cucaracha

Context: La Cucaracha is a traditional Mexican folk song that became popular during the Mexican Revolution in the early 20th century. Its title translates to 'The Cockroach' and has been associated with various cultural and political meanings over the years, often reflecting social issues and the struggles of the people. The song is characterized by its catchy melody and has been adapted in numerous forms, including as a children's song and in mariachi music.

Musically, La Cucaracha is typically performed in a lively 4/4 time signature, featuring syncopated rhythms that enhance its danceable quality. The melody is simple yet memorable, often utilizing a pentatonic scale which is common in folk music. The lyrics have varied interpretations, often reflecting themes of loss, resilience, and social commentary. The song's adaptability allows it to be performed in different styles, from mariachi to modern pop interpretations, showcasing its enduring relevance in Mexican culture.

This piece features a lively and upbeat melody that captures the essence of traditional Mexican music. It typically employs a straightforward structure with repetitive phrases that make it easy to sing along. The instrumentation often includes guitars, trumpets, and violins, creating a festive atmosphere. The rhythm is infectious, encouraging movement and dance, making it a staple at celebrations and gatherings.

The music plays during a vibrant street festival in a small Mexican town, where colorful papel picado banners flutter overhead in the warm afternoon sun. Families gather around food stalls selling tacos and churros while children run about laughing. A group of musicians dressed in traditional charro outfits begins to play La Cucaracha on guitars and trumpets, drawing everyone into the square. As the lively tune fills the air, people start dancing joyfully, clapping their hands and singing along, embodying the spirit of community and celebration.

X:477
T:LA CUCARACHA
T: Laukens Music Productions
T:LA CUCARACHA
T:D. Savino
T:Cha Cha
C:Unknown
L:1/8
Q:1/4=165
M:4/4
I:linebreak $
K:G
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
"D7" [FAcd]2 [FAcd][FAcd]"Am7" [GAce]2 [GAce][GAce] | %1
"D7" [Acdf][Acdf][Acdf][Acdf]"Am7" [Aceg]2 [Aceg][Aceg] | %2
"D7" [cdfa]2 [cdfa]2"Cm6" [Ac_eg][Aceg][Aceg][Aceg] |"D7" [Acdf]2 z2 z DDDS ||"G" G2 z B- BDDD | %5
 G2 z B- B4 | z G2 F GFG^G |"D7" A4 z DDD | F2 z A- ADDD | F2 z A- A4 | z d2 e dcBA | %11
"G" B3 G z DDD | G2 z B- BDDD | G2 z B- B4 | z G2 F GFG^G |"D7" A4 z DDD | F2 z A- ADDD | %17
 F2 z A- A4 | z d2 e dcBAO |"G" G8 ||"G" z2 DD GGBB | d3 B- B4 | z2 dd"E7" edcB |"Am" c3 A- A4 | %24
"D7" z2 DD FFAA | c3 A- A4 | z2 de dcBA |"G" B3 G- G4 | z2 DD GGBB | d3 B- B4 | z2 dd"E7" edcB | %31
"Am" c3 A- A4 |"D7" z2 DD FFAA | c3 A- A4 | z2 de dcBA |"G" G4 z DDSD ||O"G" G2 z2 z4 |] %37


La Cumparsita

Context: La Cumparsita, composed by Gerardo Matos Rodríguez in 1916, is one of the most famous tangos in history. Originally written as a piano composition, it gained popularity with the addition of lyrics by lyricist Alberto Vacarezza. The piece has been covered by numerous artists and remains a staple in tango music, often associated with themes of love and loss.

Musically, La Cumparsita is characterized by its melancholic melody and rich harmonic structure typical of tango music. The piece employs a 2/4 time signature, which is common in tango, allowing for a rhythmic yet flowing style. The use of minor keys contributes to its emotional depth, evoking feelings of longing and nostalgia. The interplay between the piano and orchestral strings creates a dynamic texture, enhancing the dramatic effect of the melody. The song's form typically follows an A-B-A structure, where the contrasting sections highlight the emotional shifts in the narrative conveyed through the music.

The music features a poignant melody that unfolds with graceful phrases, often punctuated by expressive pauses. The instrumentation combines strings with piano, creating a lush soundscape that captures the essence of tango. The rhythmic elements drive the piece forward while maintaining an air of elegance and sorrow. Overall, it encapsulates the bittersweet nature of love and heartache.

The scene unfolds in a dimly lit tango hall in Buenos Aires during the late evening. Couples dressed in elegant attire glide across the polished wooden floor, their movements synchronized with the music's passionate rhythm. The air is thick with anticipation and emotion as a spotlight illuminates a couple at the center of the dance floor. Their expressions reveal deep connection and longing as they execute intricate steps, embodying both joy and sadness. Around them, other dancers swirl in a haze of swirling dresses and sharp suits, all captivated by the evocative strains of La Cumparsita that echo through the hall.

X:478
T:La Cumparsita
T:La Cumparsita
T:Rodriguez
C:Gerardo Matos Rodriguez
L:1/8
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"D7" D2 c2 A2 ^F2 | z DED ^C2 D2 |"Gm" D2 d2 B2 G2 | z DED ^C2 D2 |"D7" D2 c2 A2 ^F2 | %5
 z DED ^C2 D2 |"Gm" D2 d2 B2 G2 | z DED ^C2 D2 |"Cm" z2 g2 f2 g2 | z fgf g2 a2 |"Gm" b2 g2 ^f2 g2 | %11
 z ^fg^f g2 a2 |"D7" b2 g2 ^f2 g2 | z ^fgf z g2 b | A2 d2 c2 d2 | z cBA GE^FC | %16
"Gm" G2 e"D7"d c z BA |"Gm" G2 z d"^(fine)" g2 z2 || GA B2 BGAB | AB/A/ G6 |"G7" z ggf feed | %21
"Cm" d4 c4 |"C" z aag g^f f2 |"D7" z eed d4 |"Cm" z c z c"D7" z B z A |"Gm" G2 D4 z2 | GA B2 BGAB | %27
 AB/A/ G6 |"G7" z ggf feed |"Cm" c6 z2 | ce z g g^f g2 |"Gm" Bd z g g^f g2 |"D7" z da^f d c2 f | %33
"Gm" g2"D7" d2 e"^D.C.alfine"^f"Gm" g2 |] %34


La Habanera

Context: La Habanera is an aria from the opera 'Carmen' by Georges Bizet, first performed in 1875. The piece is based on the Cuban dance form known as the habanera, which reflects the cultural influences of Cuba on Spanish music. It is sung by the character Carmen, who expresses her views on love and freedom.

The musical structure of La Habanera features a distinctive rhythm that mimics the habanera dance, characterized by its syncopated patterns. The piece is set in a minor key, contributing to its sultry and seductive atmosphere. The use of chromaticism and dynamic contrasts enhances the emotional depth of Carmen's character, illustrating her passionate yet rebellious nature. The aria's melodic line is lyrical and flowing, with frequent ornamentation that showcases the singer's vocal agility. Harmonically, it moves through various tonalities, reflecting the complexities of love as portrayed in the opera.

This piece is marked by its rich, melodic lines and rhythmic vitality. It opens with a slow, languorous introduction that sets a sultry mood, followed by a more lively tempo that evokes the dance-like quality of the habanera. The instrumentation typically includes strings and woodwinds, providing a lush backdrop for the vocal performance. The singer's delivery is expressive, capturing both longing and defiance as she articulates her thoughts on love.

The scene unfolds in a bustling outdoor market in Seville during a warm summer evening. Colorful stalls are adorned with vibrant fabrics and fresh flowers, while townsfolk engage in lively conversations and laughter fills the air. Carmen, dressed in a flowing red dress that sways with her movements, stands confidently at the center of attention. Her eyes sparkle with mischief as she sings La Habanera, captivating the crowd with her magnetic presence. As she dances playfully among them, her voice rises above the chatter, drawing in listeners who are entranced by her boldness and charm. The sun sets behind her, casting a golden hue over the scene, accentuating the tension between desire and freedom that permeates her song.

X:479
T:La Habanera
T:Carmen
C:adapated by Georges Bizet adapted from the habanera El Arreglito, composed by the Spanish musician Sebastian Yradier
L:1/8
M:2/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 40
V:1
 d^c |"Dm" (3=ccc =B_B | AA/A/ ^G=G | (3F/G/F/ E/F/ GF |"Gm6" E2 d^c |"Gm6" (3=ccc =B_B | %6
 A/A/ z/ A/"Gm" GF |"A7" (3E/F/E/ D/E/ FE |"Dm" D2 d^c |"Dm" (3=ccc =B_B | A>A ^G=G | %11
 (3F/G/F/ E/F/ GF |"Gm" E2 d^c | (3=ccc =B_B | A/A/ z/ A/ GF |"A7" (3E/F/E/ D/E/ FE || %16
[K:D]"Dm" D2"D" dc |"D" (3=ccc B_B | A z/ A/ ^G=G | (3F/G/F/ E/F/ GF |"G6" E2 dc | %21
"G6" (3=c=cc B^A | A z/ A/"G" GF |"A7" (3E/F/E/ D/E/ FE |"D" D>A D"A"E |"D" F>A F"A"E | %26
"D" D>E F"A7"G |"D" A/A/A/A/"G" B"D"A |"Em" G>B E"B7"F |"Em" G>B G"B7"F |"Em" E>F G"B7"A | %31
"Em" B/B/B/B/"A7" cB |"D" A>A d"A"e |"D" f>A F"A"E |"D" D>E F"A7"G |"D" A/A/A/A/"Bm" d"Fm"c | %36
"Em" G>B e"B7"f |"Em" g>B G"B7"F |"Em" E>F G"B7"A |"A7" c/B/^G/A/ f3/2 (3e/4f/4e/4 |"D" d>A d z |] %41


La Marseillaise

Context: La Marseillaise was composed in 1792 by Claude Joseph Rouget de Lisle as a revolutionary song for the French army. It became the national anthem of France and is known for its powerful lyrics that call for unity and resistance against tyranny. The song's stirring melody and passionate lyrics have made it a symbol of freedom and the fight against oppression.

Musically, La Marseillaise is characterized by its strong, martial rhythm and a melody that ascends dramatically, reflecting the themes of struggle and heroism. The song is written in a minor key, which conveys a sense of urgency and solemnity. The use of dynamic contrasts between the verses and the chorus enhances its emotional impact, with the chorus being particularly powerful and anthemic. The harmonic structure is relatively simple yet effective, allowing the lyrics to take center stage and resonate with listeners. The repetition of phrases in the chorus reinforces its call to arms, making it memorable and impactful.

This piece features a bold and assertive melody that captures the spirit of revolution. The rhythmic drive is consistent throughout, giving it a sense of urgency and determination. The vocal lines are often powerful and soaring, designed to inspire and rally listeners. Instrumentally, it typically includes brass and percussion that enhance its martial quality, creating an atmosphere of strength and unity.

The music plays as a group of determined revolutionaries march through the streets of Paris at dawn. The sun rises over the city, casting a golden glow on the cobblestones. The characters are dressed in period attire, their faces marked with resolve and passion as they chant the lyrics together. Flags wave proudly above them, fluttering in the crisp morning air. Around them, citizens emerge from their homes, drawn by the sound of the anthem, joining in solidarity with those marching forward towards change.

X:480
T:La Marseillaise
T:La Marseillaise
T:hymne national francais
T:Jean-Claude Rouget de Lisle (1792)
T:(Public domain? written in 1792)
C:Jean-Claude Rouget de Lisle (1792)
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 52
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z4 z3/2 D/ D>D |"G" G2 G2"C" A2"D7" A2 |"G" (d3 B) G z/ G/ B>G |"C" E2 c4"D7" A>F |"G" G4 z2 G>A | %5
w: Al- lons en-|fants de la Pa-|tri- * e, le jour de|gloire est ar- ri-|ve Con- tre|
"G" B2 B2 B2 c>B |"D" B2 A2 z2 A>B |"D7" c2 c2 c2 d>c |"G" B4 z2 d>d | (d2 B>)G d2 B>G | %10
w: nous de la ty- ran-|ni- e L'e- ten-|dard sang- lant est le-|ve L'e- ten-|dard _ sang- lant est le-|
 D4 z3/2 D/ D>F |"D7" A4 c2 A>F |"G" A2 G2 =F4 |"C" E2 G>G"A7" G2 F>G |"D" A6 z A | %15
w: ve. En- ten- dez-|vous dans nos cam-|pag- nes Mu-|gir ces fe- ro- ces sol-|dats? Ils|
"^Gmi" _B3 B BBcd |"D7" A6 _BA |"^Gmi." G3 G G_B"A7"AG |"D" G2 F z z2 z3/2 d/ |"G" (d4 d>)d B>G | %20
w: vien- nent jus- que dans nos|bras, e- gor-|ger vos fils, * vos com-|pag- nes! Aux|ar- * mes ci- toy-|
"D" A6 z3/2 d/ |"G" (d4 d>)d B>G |"D" (A4 A) z D2 |"G" G4 z2"D7" A2 |"G" B6 z2 |"C" c4 d2 e2 | %26
w: ens! For-|mez _ vos bat- tail-|ons! * Mar-|chons, mar-|chons,|Qu'un sang im-|
"D" (A4 A) z e2 |"G" (d4 d>)B"D7" c>A |"G" G8 |] %29
w: pur _ A-|breu- * ve nos sil-|lons.|


Lady Madonna

Context: Released in 1968, 'Lady Madonna' is a song by the Beatles that showcases the band's versatility and ability to blend various musical styles. It features a prominent piano riff and was inspired by the working-class women of the time. The song reflects themes of motherhood and resilience.

'Lady Madonna' employs a distinctive boogie-woogie piano rhythm that is reminiscent of early rock and roll. The song's structure follows a verse-chorus format, with each verse narrating different aspects of a woman's life, particularly focusing on the struggles and joys of motherhood. The use of harmonized vocals adds depth to the narrative, while the lyrics convey a sense of nostalgia and respect for the everyday experiences of women. The instrumentation is rich, featuring brass and woodwind arrangements that complement the piano, creating a lively and uplifting sound. Thematically, it addresses social issues such as economic hardship and the strength of women, making it both a personal and universal anthem.

The music piece features an upbeat tempo with a strong rhythmic foundation provided by the piano. The melody is catchy and memorable, characterized by its repetitive yet engaging structure. Instrumentation includes lively brass sections that enhance the overall joyful atmosphere. Lyrically, it tells a story through vivid imagery, focusing on daily life experiences and emotional resilience.

In a bustling urban neighborhood during the late afternoon, sunlight filters through the trees lining the street, casting dappled shadows on the pavement. A woman in her thirties, dressed in casual yet stylish attire, juggles grocery bags while playfully engaging with her children who are riding bicycles nearby. Laughter fills the air as they race each other down the street. The scene captures a moment of joy amidst everyday challenges, embodying the spirit of resilience and love that resonates with the music.

X:481
T:Lady Madonna
C:John Lennon, Paul McCartney
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble nm="Alto Saxophone"
%%MIDI program 5
V:1
"A""^Intro" z2"A" z2"D" z4 |"A" z2"A" z2"D" z4 |"A" z2"A" z2"D" z4 |"F" z2"G" z2"A" z4 || %4
w: ||||
w: ||||
"A" cc-"A" cc/B/-"D" B<A z2 |"A" cc/B/-"A" BF"D" A2 z2 |"A" cc"A"ec"D" fe"D"cA- | %7
w: La- dy * Ma- Don- * na|chil- dren at * your feet|Won- der how you man- age to make|
w: |||
"F" A"G" A3"A" (=c A3) ||"A" cc-"A" cc/B/-"D" B<A z2 |"A" cc"A" BF/A/-"D" A2 z2 | %10
w: * ends meet *|Who finds * the mo- * ney|when you pay the rent *|
w: |||
"A" cc"A"ec"D" f/ec/-"D" c2 |"F" A2"G" =G(=c"A" A2) z2 || %12
w: Did you think that mo- ney was *|hea- ven sent *|
w: ||
"Dm7" dd/d/-"Dm7" d=c/d/-"Dm7" dc/d/-"Dm" dc |"G7" d2"G7" =G2"G7" z2"G7" z2 | %14
w: Fri- day night * ar- rives * with- out * a|suit- case|
w: ||
"C" =cc/c/-"C" cA"C" cc"C"ce |"Am7" (=cA)"Am7" z2"Am7" z2"Am7" z2 | %16
w: sun- day mor- * ning cree- ping like a|nun *|
w: ||
"Dm7" dd"Dm7"d=c"Dm7" dc/d/-"Dm" dc |"G7" d2"G7" (B/A/=G-)"G7" G2"G7" z2 |"C" e4"Bm7" d2 B2 | %19
w: Mon- day's child has learned to tie * his|boot- legs * * *|See how they|
w: |||
"E7sus4" e4-"E7" e2 z2 ||"A" cc-"A" cc/B/-"D" B<A z2 |"A" cc/B/-"A" BF"D" A2 z2 | %22
w: run *|La- dy * Ma- Don- * na|ba- by at * your breast|
w: |||
"A" cc"A"ec"D" fe"D"cA- |"F" A3"G" =G"A" (=cA a2) |"A""^Solo" AA"A"=c^c"D" dd =f/^f/a | %25
w: won- ders how you ma- nage to feed|* the rest * *||
w: * * * * * * to *|||
"A" z A"A"=c^c"D" dd =f/^f/a |"A""A" z A"A"=c^c"D" dd"D"ee |"F" =ff"G"=gg"A" a4 || %28
w: |||
w: |||
"Dm7" dd"Dm7"dd-"Dm7" d2"Dm" d=c |"G7" dd"G7" d2-"G7" d2"G7" z2 |"C" =cc"C"cc-"C" c2"C" e=g | %31
w: pa pa pa pa * pa pa|pa pa pa *|pa pa pa pa * pa pa|
w: |||
"Am7" =c'2"Am7" b=g-"Am7" ga"Am7" e2 |"Dm7" dd"Dm7"dd-"Dm7" d2"Dm" d=c | %33
w: pa pa pa * pa pa|pa pa pa pa * pa pa|
w: ||
"G7" dd"G7" d2-"G7" d2"G7" z2 |"C" e4"Bm7" f2 f2 |"E7sus4" c4"E7" B4 || %36
w: pa pa pa *|See how how|they run!|
w: |||
"A" cc-"A" cc/B/-"D" B<A z2 |"A" cc/B/-"A" BF"D" A2 z2 |"A" cc"A"ec"D" fe"D"cF | %39
w: La- dy * Ma- Don- * na|ly- ing on * the bed|List- en to the mu- sic play- ing|
w: |||
"F" A"G" A3"A" (=cA a2) |"A""^Solo" AA"A"=c^c"D" dd =f/^f/a |"A" z A"A"=c^c"D" dd =f/^f/a | %42
w: in your head * *|||
w: |||
"A" z A"A"=c^c"D" dd"D"ee |"F" =ff"G"=gg"A" a4 ||"Dm7" dd/d/-"Dm7" d=c/d/-"Dm7" dc/d/-"Dm" dc | %45
w: ||Tues- day af- * ter- noon * is ne- * ver|
w: |||
"G7" d2"G7" =G2"G7" z2"G7" z2 |"C" =cc/c/-"C" cc"C" cc"C" d<e |"Am7" =c2"Am7" z2"Am7" z2"Am7" z2 | %48
w: end- ing|wednes- day- mor- * ning pa- pers did- n't|come|
w: |||
"Dm7" dd/d/-"Dm7" d=c"Dm7" d<d"Dm" dc |"G7" d2"G7" =G2"G7" z2"G7" z2 |"C" e4"Bm7" d2 B2 | %51
w: Thurs- day night * you stock- ings need- ed|men- ding|See how they|
w: |||
"E7sus4" e4-"E7" e2 z2 ||"A" cc-"A" cc/B/-"D" B<A z2 |"A" cc/B/-"A" BF"D" A2 z2 | %54
w: run *|La- dy * Ma- Don- * na|chil- dren at * your feet|
w: |||
"A" cc"A"ec"D" fe"D"cA- |"F" A"G" A3"A" (=cA a2-) |"Bm7" a4"C6" z4 | z4"A" z4 | %58
w: Won- der how you man- age to make|* ends meet * *|||
w: ||||
"Bm7" z4"C6" z2"Bm7" z"A" z | z8 |] %60
w: ||
w: ||


Lady Of Spain

Tolchard Evans
Stanley J. Damerell
Robert Hargreaves

Context: Originally composed in the early 20th century, 'Lady of Spain' has become a popular standard in various musical genres. It is often performed in a romantic context and has been covered by numerous artists across different styles, showcasing its enduring appeal.

The piece features a simple yet emotive melody characterized by its lyrical quality, which evokes feelings of longing and nostalgia. The harmonic structure typically revolves around traditional Spanish chord progressions, often utilizing major and minor tonalities to enhance the emotional depth. The instrumentation varies widely, but it often includes string instruments and piano, which contribute to its lush sound. The song's rhythm is generally moderate, allowing for expressive phrasing that mirrors the lyrical content, which often speaks to themes of love and loss.

This music piece is characterized by a flowing melody that captures the essence of romantic yearning. It features a moderate tempo with a smooth, lyrical quality that invites emotional engagement. The harmonic framework supports the melody with rich chords that often alternate between major and minor keys, creating a sense of tension and resolution. The arrangement typically includes orchestral elements that enhance its dramatic effect, making it suitable for both solo performances and larger ensembles.

Imagine a dimly lit Spanish courtyard at twilight, where an intimate gathering unfolds. Lanterns flicker softly, casting warm glows on the cobblestone path. A couple stands close together, their expressions filled with deep emotion as they sway gently to the music. Surrounding them are friends and family, their faces illuminated by the lantern light, reflecting joy and nostalgia. The air is fragrant with blooming jasmine, and the soft strumming of a guitar accompanies the heartfelt vocals that resonate through the evening, weaving a tapestry of memories shared under the starry sky.

X:482
T:Lady Of Spain
T:Lady Of Spain
C:Tolchard Evans
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"C" c4 B2 A2 | A4 B2 c2 |"G7" (3(B/c/B/ A-) A6- | A8 | B4 A2 G2 |"G+" G4 A2 B2 | %6
w: Lad- y of|Spain, I a-|dore _ _ you _|_|Right from the|night I first|
"C" (3(A/B/A/) G- G6- | G8 |"A7" A4 G2 F2 | E4 F2 G2 |"Dm" (3(G/A/G/ F-) F6- | F8 |"D7" c4 B2 A2 | %13
w: saw _ _ you. _|_|My heart has|been yearn- ing|for _ _ you. _|_|What else can|
 A4 B2 c2 |"Fm" d8- |"G7" dG^FG ^GA^AB |"C" c4 B2 A2 | A4 B2 c2 |"G7" (3(B/c/B/ A-) A6- | A8 | %20
w: an- y heart|do?||Lad- y of|Spain, I'm ap-|peal- * * ing. _|_|
 B4 A2 G2 |"G+" G4 A2 B2 |"C" (3(A/B/A/ G-) G6- | G8 |"A7" A4 G2 F2 | E4 F2 G2 | %26
w: Why should my|lips be con-|ceal- * * ing. _|_|All that my|eyes are re-|
"Dm" (3(G/A/G/ F-) F6- | F8 |"D7" c4 B2 A2 |"G7" B4 c2 d2 |1"C" c4"Am7" dcBA | %31
w: veal- * * ing _|_|La- dy of|Spain I love|you. * * * *|
"D+7" _A3 _B"G7" G4 :|2"C" c8- | c6 z2 || %34
w: |you.|_|


Last Night On The Back Porch

Context: This song reflects the themes of nostalgia and longing for simpler times, often associated with rural American life. It captures the essence of warm evenings spent outdoors, evoking a sense of peace and contentment.

Musically, 'Last Night On The Back Porch' features a simple yet effective chord progression that supports the lyrical narrative. The use of acoustic instruments such as guitar and banjo creates an authentic folk sound, enhancing the storytelling aspect of the song. The melody is memorable and singable, which contributes to its appeal in social settings. Lyrically, the song employs vivid imagery to evoke emotions tied to memory and place, effectively transporting listeners to a serene outdoor setting. The structure typically follows a verse-chorus format, allowing for repetition that reinforces its central themes.

The piece is characterized by its gentle melody and soothing rhythm, creating an inviting atmosphere. The instrumentation is primarily acoustic, featuring guitars that strum softly alongside light percussion. The vocals are warm and expressive, conveying a sense of longing and reflection. The lyrics paint a picture of idyllic moments spent in nature, emphasizing themes of love and reminiscence without overt complexity.

Imagine a tranquil summer evening in a rural setting, just as the sun begins to set, casting a golden hue over the landscape. A couple sits on a wooden porch, surrounded by lush greenery and the distant sounds of crickets chirping. They share stories and laughter, their faces illuminated by soft lantern light. A gentle breeze rustles through the trees as they reminisce about past adventures, creating an atmosphere filled with warmth and intimacy. The scene encapsulates a moment of connection and peace, perfectly complemented by the soothing melodies of the music.

X:483
T:Last Night On The Back Porch
T:Last night on the back porch
T:Lew Brown,Carl Schraubstader
C:Carl Schraubstader
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 z G |"C" A A2 G/^G/ | A A2 =G/^G/ |"G7" A A2 =G | D3 G | A A2 G/^G/ | A A2 G/^G/ | %7
w: I|love her in the|morn- ing and I|love her at|night I|love her yes I|love her when the|
"C" A A A =G | E3"C7" c | d d2 c/^c/ | d d2 =c/d/ |"D7" e e d c | D3 G |"G7" A A2 G/^G/ | A A2 =G | %15
w: stars are shin- ing|bright I|love her in the|spring- time and I|love her in the|fall but|last night on the|back porch I|
"D7" A A"G7" B B |"C" c3 z |] %17
w: loved her best of|all.|


Laughter In The Rain

Context: Released in 1975, 'Laughter In The Rain' showcases Neil Sedaka's signature blend of pop melodies and heartfelt lyrics. The song became a major hit, reaching the top of the charts and solidifying Sedaka's comeback in the music industry after a period of decline. It reflects themes of love, joy, and the bittersweet nature of relationships.

'Laughter In The Rain' is characterized by its lush melodic structure and emotional depth. The song features a moderate tempo and is built around a simple yet effective chord progression that enhances its lyrical content. The use of piano as a primary instrument provides a warm, inviting sound that complements Sedaka's smooth vocal delivery. The lyrics convey a sense of nostalgia and happiness intertwined with the complexities of love, often using imagery related to rain as a metaphor for both joy and sorrow. The arrangement includes rich harmonies and background vocals that add to the overall emotional impact, making it resonate with listeners on multiple levels.

The piece is marked by its gentle piano introduction, which sets a reflective mood. Sedaka's vocals are soft yet expressive, delivering lyrics that evoke feelings of warmth and longing. The instrumentation gradually builds, incorporating strings and light percussion to create a fuller sound as the song progresses. The chorus is particularly memorable, featuring catchy melodies that invite sing-alongs and enhance the song's romantic theme.

The music plays during a serene moment in a quaint park at dusk, where a couple sits on a bench under an old oak tree. Soft golden light filters through the leaves, casting playful shadows on their faces. They share laughter and tender glances, surrounded by the gentle sound of rustling leaves and distant birdsong. As they reminisce about their past together, the mood is filled with both joy and a hint of melancholy, reflecting on cherished memories while embracing the present moment.

X:484
T:Laughter In The Rain
T:Laughter in the rain
T:Neil Sedaka and Phil Cody
C:Neil Sedaka
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"F""^Rock" cd f2 dc A2 |"Gm" AG c2 A2 G2 |"C" AG c2 AG C2 |"F" DA A4 c2 | cd f2 dc A2 | %5
w: Stroll- ing a- long coun- try|roads with my ba- by|it starts to rain, it be-|gins to pour with-|out an um- brel- la were|
w: Af- ter a while we run|un- der a tree *|I turn to her and she|kiss- es me *|There with the beat of the|
"Gm" AG c2 A2 z2 |"C" AG c2 AG C2 |"F" DF F4 z2 |"Dm7" F2 FF FF F2 |"G7" f6 d2 |"C7" d2 c4 z2 | %11
w: soaked to the skin|I feel a shiv- er run|up my spine.|I feel the warmth of her|hand in|mine *|
w: rain on the leaves|soft- ly she breathes and I|close my eyes|shar ing our love un der|storm y|skies. *|
"Bbm" _a4"Eb" g2 g2 |"Ab" g_eee e2 z2 |"Bbm" c_AAA"Eb" AF F2 |"Ab" F_E E4 z2 |"Bbm" _a4"Eb" g2 g2 | %16
w: OO I hear|laugh- ter in the rain|walk- ing hand in hand with the|one I love|Oo how I|
w: |||||
"Ab" g_eee eccc |"Db" _A2 A2 A_BA z |"C7" c8- | c4 z4 :| %20
w: love the rain- y days and the hap-|py way I feel in-|side-||
w: ||||


Lay Down Beside Me

Context: Originally released in 1978, 'Lay Down Beside Me' is one of Don Williams' signature songs, showcasing his smooth baritone voice and simple yet poignant lyrics. The song reflects themes of love and intimacy, resonating with audiences for its heartfelt expression.

The song features a gentle melody characterized by its use of acoustic guitar and soft instrumentation, creating an intimate atmosphere. The lyrical structure employs straightforward language, allowing listeners to connect emotionally with the themes of longing and companionship. Harmonies enhance the vocal delivery, adding depth to the emotional narrative. The song's tempo is moderate, contributing to its reflective quality, while the use of repetition in the chorus emphasizes the desire for closeness.

This piece is characterized by a soothing melody and a heartfelt vocal performance that evokes feelings of warmth and intimacy. The instrumentation is primarily acoustic, featuring gentle strumming patterns that complement the soft vocals. Lyrically, it explores themes of love and longing, with a focus on the desire for physical closeness and emotional connection. The overall mood is tender and reflective, making it suitable for quiet moments or romantic settings.

The music plays softly in a dimly lit room where two figures are seated on a cozy couch, surrounded by soft pillows and warm blankets. The atmosphere is intimate, with the flickering light from candles casting gentle shadows on the walls. One character leans closer to the other, their expressions filled with affection and vulnerability. Outside, the sound of rain patters against the window, enhancing the feeling of warmth inside. As they share whispered words and soft laughter, the music underscores their connection, creating a moment that feels timeless and deeply personal.

X:485
T:Lay Down Beside Me
T:Lay down beside me
T:unknown
C:Don Williams
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"C" G G3/2 G/ |"F" A3 |"G" G G3/2 F/ |"C" E3 | G G3/2 G/ |"F" A3 | A/A/"G" G G | F/"C" E2 C/ | %8
w: I spent my|life|search- ing for|you|find- ing my|way|was- n't ea- sy|to do but|
w: Morn- ing and|ev'ning|al- ways the|same|there was no|mu-|sic till I heard|your name but|
"G" D D E | F E D |"C" C3 |"F" c2 c | A3 | E/F/"G" G2 | z2"C" G | G e3/2 e/ | e d2 |"F" c c3/2 d/ | %18
w: I knew there~was|you all the|while|It's been|worth|ev- ry mile|so|lay down be|side me|love me and|
w: I knew when|I saw you|smile|Now I|can~rest|for a while|so||||
 c B3/2 A/ |"C" G c c | c G c | c B c |"G" d3 |"C" G e e | e2 d |"F" c2 c/d/ | c B A |"C" G2 c/c/ | %28
w: hide me and|kiss all the|hurt- ing of|this world a-|way|hold me so|close that|I feel your|heart beat and|don't ev- er|
w: ||||||||||
"G" B c3/2 d/ |"C" c3 |] %30
w: wan- der a-|way|
w: ||


Layla

Context: Originally written by Eric Clapton for the band Derek and the Dominos, 'Layla' was inspired by Clapton's unrequited love for Pattie Boyd, the wife of his friend George Harrison. The song features a distinctive guitar riff and a piano coda composed by Jim Gordon.

'Layla' is characterized by its intricate guitar work and emotional depth. The song features a dual guitar harmony that creates a sense of longing and urgency, reflecting Clapton's feelings of love and despair. The first half of the song is driven by a powerful rock rhythm, while the second half transitions into a softer, more contemplative piano section. This contrast mirrors the tumultuous nature of love and loss, making it a quintessential example of blues-infused rock music. The use of modal interchange in the chord progressions adds to the song's emotional complexity, allowing listeners to feel both the joy and pain associated with love.

The piece opens with a prominent guitar riff that sets an intense emotional tone. As the vocals enter, they convey a sense of yearning and heartache, supported by rhythmic drumming and bass lines that enhance the song's driving energy. The instrumentation features electric guitars that weave in and out of syncopated rhythms, creating a rich tapestry of sound. The transition to the piano coda introduces a more reflective mood, characterized by soft melodies that evoke feelings of nostalgia and sorrow.

The music plays in a dimly lit bar during late evening hours, where patrons sit at wooden tables nursing drinks. A couple at the bar appears lost in conversation, their expressions revealing a mix of joy and sadness as they reminisce about their past together. Outside, rain patters against the window, casting soft shadows inside. The atmosphere is thick with emotion; laughter occasionally breaks through the melancholic undertone as friends share stories. The music swells during pivotal moments in their conversation, amplifying their feelings of longing and connection.

X:486
T:Layla
C:Eric Clapton
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble
V:1
"^Intro" z A,CD- |:"Dm" DDC"Bb" B,4- z |"C" C z"Dm" D2 z A,CD- |"Dm" DDC"Bb"B, z2 CA, |1 %4
w: ||||
w: ||||
w: ||||
"C" CD z2"Dm" z A,CD :|2 z4 A,2 C2 ||[K:E]"^A""C#m7" z2 (3ccB (3:2:2c2 B GF |"G#7" GB z2 z4 | %8
w: ||What will you do when you get|lone- ly|
w: ||I tried to give you con- sul-|a- tion|
w: ||Let's make the best of the sit-|ua- tion|
"C#m7" z ccc"C2" cB"C"GF |"E7" E z z2 z4 |"F#m" z ccB"B" BBGG |"E" FFE"A" z z4 | %12
w: and no one wait ing by your|side|you've been runn ing and hid ing|much too long|
w: when your old man had let you|down|like a fool * I fell in|love with you|
w: Be- fore I fin- ally go in-|sane|please don't say * we'll ne- ver|find a way|
"F#m" z ccc"B" BBGB |"E" G4"A" A4 |[K:F]"^B""Dm" D4"Bb" z3 D |"C" GGFE"Dm" D2 C2 | %16
w: you know it's just your fool ish|pride Lay|la you've|got me on my kness Lay-|
w: you turned my whole world up- side|down *|||
w: and tell me all my love's in|vain *|||
"Dm" D4"Bb" z3 D |"C" GGFE"Dm" D2 C2 |"Dm" D4"Bb" z4 |"C" GGFG"Dm" AGFE |"Dm" D4"Bb" z4 | %21
w: la I'm|beg- ging dar- ling please Lay-|la|dar- ling won't you ease my wor- ried|mind|
w: |||||
w: |||||
"C" z4"A" z2"C" z2 |] %22
w: |
w: |
w: |


Lazy River

Context: Originally composed in 1930, 'Lazy River' has become a standard in the jazz repertoire, often performed by various artists across multiple genres. The song evokes a sense of tranquility and leisure, reflecting the laid-back lifestyle associated with river life.

Musically, 'Lazy River' is characterized by its flowing melody and simple chord progressions, typically in the key of C major. The song features a syncopated rhythm that enhances its relaxed feel. Its structure often includes a verse-chorus format, allowing for improvisation, which is a hallmark of jazz performance. The lyrical content paints a vivid picture of leisurely living, using imagery associated with nature and water, creating an atmosphere that invites listeners to unwind. The harmonic choices often utilize seventh chords, adding a rich texture to the sound.

The piece is marked by its smooth and flowing melody that captures the essence of relaxation. The instrumentation typically includes piano, brass, and woodwinds, creating a warm and inviting soundscape. The rhythm is gentle and swaying, reminiscent of a slow-moving river. The overall mood is light-hearted and nostalgic, evoking images of sunny days spent by the water.

Picture a serene riverside setting at dusk; the sun casts golden hues across the water's surface. A group of friends sits on a wooden dock, their laughter mingling with the soft sounds of nature. They are casually dressed in summer attire, sipping lemonade while the gentle breeze rustles through the trees. As 'Lazy River' plays in the background, the scene is filled with warmth and camaraderie, embodying a carefree moment where time seems to stand still.

X:487
T:Lazy River
T:Lazy River
C:Hoagy Carmichael, Sidney Arodin
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"D7" D>^FA>_e d>c^C>D |"Am7b5" c2 _c2"D+7" B3 A |"G7" =B,>DF>A G>F_B,>=B, |"Dm7" E2 _E2"G7" D4 | %4
w: Up a laz- y ri- er by the|old mill- run that|laz- y laz- y riv- er in the|noon day sun.|
"C7" E>dc>=B _B2 ^C>D |"Gm7" A2 _A2"C7" G4 |"Fmaj7" ^G>AC>=B,"Gm7" _B,>=G"C7"D>E | %7
w: Lin- ger in the shade of a|kind old tree;|throw a- way your trou- bles dream a|
"Fmaj7" F2 A,C- C4 |"D7" D>^FA>_e d>c^C>D |"Am7b5" c2 _c2"D+7" B3 A |"G7" =B,>DF>A G>F_B,>=B, | %11
w: dream of me. *|Up a laz- y riv- er where the|rob- in's song a-|wakes a bright new morn- in we can|
"Dm7" E2 _E2"G7" D4 |"Bbmaj7" d>cB>A"Bdim7" _A4 |"Fmaj7" f>ed>_d"D7" c4 |"G9" d>fd>A"C7" c A2 C | %15
w: loaf a- long.|Blue skies up a- bove,-|ev- 'ry- ones in love;|up a laz- y riv- er how|
"Fmaj7" F>FE>F"D7" ^F4 |"G9" d>fd>A"C7" c A2 C |"Fmaj7" F6 z2 |] %18
w: hap- py you can be,|up a laz- y riv- er with|me.|


Learning the Blues

Context: Delores Vicky Silvers is known for her contributions to the jazz and blues genres, often incorporating personal narratives into her music. 'Learning the Blues' reflects a common theme in blues music, dealing with heartache and emotional resilience.

The piece features a slow tempo characteristic of traditional blues, utilizing a 12-bar blues structure. The harmonic progression often follows the I-IV-V pattern, allowing for expressive vocal improvisation. Silvers' vocal delivery is marked by a rich timbre and emotional depth, employing techniques such as call-and-response and melisma to convey feelings of longing and sorrow. Instrumentally, the arrangement typically includes piano, bass, and subtle brass accents, which enhance the melancholic atmosphere. The lyrics explore themes of loss and the learning process associated with heartache, a common motif in both jazz and blues music.

This music piece is characterized by a soulful vocal performance that conveys deep emotional resonance. The instrumentation typically includes smooth piano lines accompanied by a steady rhythm section, creating a warm yet melancholic soundscape. The lyrics reflect on personal experiences of love and loss, often employing metaphors related to learning and growth. The overall mood is introspective, inviting listeners to connect with their own experiences of heartache.

The music plays in a dimly lit jazz club during the late evening hours. The atmosphere is intimate, with patrons seated at small round tables, their faces illuminated by soft candlelight. A lone singer stands center stage, bathed in a warm spotlight, her expression reflecting both pain and resilience as she pours her heart into the performance. The audience listens intently, some swaying gently to the rhythm while others close their eyes, lost in reflection. The faint sound of clinking glasses and whispered conversations adds to the ambiance, creating a shared space of emotional vulnerability.

X:489
T:Learning the Blues
T:Learnin' the Blues
T:Dolores "Vicki" Silvers
C:Delores Vicky Silvers
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
"^N.C." E F/E/ F z |:"Dm" G z A2- |"G7" A B c/A/ G |"C" A E3 | z2 F/E/ F |"Dm" G z A2- | %6
w: The ta- bles are|emp- ty,|* the dance floor's de-|sert- ed|play the same|love song,|
"G7" A G/A/ B A/G/ |"C" A e z2 |"C7" z e e c |"F" e d3- |"Fm" d c _e d/c/ |"C" G4 | z E F/E/ F | %13
w: * its the tenth time you've|heard it.|That's the be-|gin- ning,|* just one of the|clues,|You've had your first|
"Dm" G A2 z |"G7" A _e _e/d/c/A/ |"C" c4 | z E"G7" F/E/ F :|"C7" z c d c |"F" d c"Fm" _e c | %19
w: les- son|* in learn- in' the blues.||The cig- a- rettes|When you're out|in a crowd, the|
"F" d c"F7" _e/d/c/A/ |"C" G4 | z c"C7" d c |"F" d c"Fm" _e/ z/ c |"F" d c"F7" _e/d/c/A/ |"G7" G4 | %25
w: blues will taunt you con- stant-|ly.|When you're out|in a crowd, the|blues will haunt your mem- o-|ry|
 z E F/E/ F |"Dm" G A3- |"G7" A B B/A/ G |"C" A E3 | z E F/E/ F |"Dm" G A3- | %31
w: The nights when you|dont sleep,|* the whole night you're|cry- in'|But you cant for-|get her,|
"G7" A/G/A/B/ A/ G z/ |"C" A e3 | z e"C7" e c |"F" e d3- |"Fm" d c _e d/c/ |"C" G4 | E E F/E/ F | %38
w: * soon you e- ven stop|try- in'|You'll walk the|floor *|* and wear out your|shoes,|When you feel * your|
"Dm" G z A2- |"G7" A _e"F7" _e/d/c/A/ |"C" c4 |] %41
w: |* * you're learn- in' the||


Leaving on a jet plane

Context: Originally written by John Denver and later popularized by Peter, Paul and Mary, 'Leaving on a Jet Plane' reflects themes of love and separation. The song was released in 1969 and became a major hit, symbolizing the emotional weight of farewells.

The song features a simple yet poignant melody that complements its heartfelt lyrics. The structure is straightforward, predominantly following a verse-chorus form, which enhances its accessibility. The use of first-person narrative creates an intimate connection with the listener, allowing them to empathize with the feelings of longing and regret. The harmonic progression is typical of folk music, utilizing common chords that evoke a sense of familiarity and nostalgia. Lyrically, the song captures the essence of parting, with phrases that convey both hope and sorrow, making it resonate deeply with anyone who has experienced separation.

This music piece is characterized by its gentle acoustic guitar strumming and soft vocal delivery. The melody flows smoothly, creating an atmosphere of warmth and melancholy. The lyrical content revolves around themes of departure and emotional turmoil, expressed through vivid imagery of travel and longing. The arrangement is minimalistic, allowing the vocals to take center stage while supporting instrumentation enhances the emotional depth without overwhelming the listener.

The music plays during a poignant airport farewell scene at dusk. The sky is painted in hues of orange and purple as the sun sets behind the horizon. A young couple stands close together, their faces reflecting a mix of joy and sadness. The woman clutches a small suitcase while the man holds her hand tightly, their eyes locked in a moment of silent understanding. Surrounding them are other travelers rushing to catch their flights, but time seems to stand still for this couple. As the boarding call echoes in the background, they share a bittersweet embrace, knowing that this goodbye may be long or even permanent.

X:490
T:Leaving on a jet plane
T:Leaving on a jet plane
T:John Denver
C:John Denver
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 z z c d |"C" f e c G |"F" A/A/c/ z/ d c |"C" f e c G |"F" A c d3/2 c/ |"C" f e d c | %6
w: All my|bags are packed I'm|read- y to go I'm|stand- ing here out-|side your door I|hate to wake you|
"F" f e d/c/c/d/ |"Dm" d4 |"G7" z z c d |"C" f e c G/G/ |"F" A c d c |"C" f e c/G/G/ z/ | %12
w: up to say * good *|bye.|But the|dawn is break- in' its|ear- ly morn, the|tax- i's wait- ing he's|
"A" A/A/ c d3/2 c/ |"C" f e d c |"F" f e d/c/c/d/ |"Dm" d4- |"G7" d z2 g |"C" g2 e g |"F" f e c2 | %19
w: blow- in his horn, al-|read- y I'm so|lone- some I * could *|die|* So|kiss me and|smile for me|
"C" g f e f |"F" f e c2 |"C" g f e g |"F" f e d c |"Dm" d3"G7" z | z z2 g |:"C" g2 e2 | %26
w: tell me that you'll|wait for me,|Hold me like you"ll|nev- er let me|go|I'm|leav- ing|
"F" a g f g |"C" z g e g |"F" f g f/e/c/ z/ |"C" z/ z/ z/ z/ z g | %30
w: on a jet plane,|Dont know when|I'll be back a- gain|Oh,|
"F" f e/e/ d/"^fade"c/c/"^and"d/ |"Dm" d4- |"G7" d2"^Repeat" g z :| %33
w: babe, * I hate * to *|go.|* I'm|


Let Me Be There

Context: Originally written by John Rostill, 'Let Me Be There' was popularized by Elvis Presley in 1974. The song expresses themes of love and the desire for freedom, resonating with listeners through its heartfelt lyrics and melodic structure.

The song features a simple yet effective chord progression that complements its lyrical content. It utilizes a verse-chorus structure typical of pop and country music of the era. The instrumentation includes acoustic guitars, strings, and soft percussion, creating an uplifting and warm sound. The vocal delivery is emotive, with a focus on conveying longing and hope. The use of harmonies in the chorus enhances the emotional impact, inviting the listener to connect deeply with the sentiments expressed.

This piece is characterized by its melodic simplicity and emotional depth. The music unfolds gently, with a steady rhythm that supports a heartfelt vocal performance. The lyrics convey a yearning for connection and the bittersweet nature of love, encapsulating feelings of both joy and longing. Instrumentally, it balances acoustic elements with subtle orchestration, creating an inviting atmosphere that resonates with themes of nostalgia and desire.

The music plays during a serene sunset scene at a quiet beach, where two figures stand hand in hand, gazing at the horizon. The sky is painted in hues of orange and pink as waves gently lap at their feet. They share soft smiles, reflecting on their journey together, while distant seagulls call out. A light breeze stirs their hair as they reminisce about cherished moments, embodying a sense of peace and connection that perfectly aligns with the song's themes.

X:491
T:Let Me Be There
T:Let Me Be There
T:John Rostill
C:John Rostill
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z2 G2 GA c2 ||"C" e2 c2 e d2 c- | c2 GG AcEC- | C4 G^F=F^D | E3"^Verse 1" G, G,A,CE- || %5
w: ||||* Wher- ev- er you go|
"C" E2 C2 G,A,CA, | z3 C DEDC |"F" D2 C2- CF,A,G,- |"C" G,4 G,A,CE- | E2 C2 G,A,CA, | %10
w: |wher- ev- er you may|wan- der * in your life|* sure- ly you know||
 C2 z G, EEFE |"G" E2 D2 B,B,A,G,- | G,4 G,A,CE- |"C" E2 C2 G,A,CD | E3 C"C7" DEDC | %15
w: * I'ii al- ways wan- na|be there, * * * *|* hold- ing your hand||* and stand- ing by to|
"F" D2 C2- CF,A,G,- |"C" G,4 G,A,CE- | E2 C2 G,A,CE |"G7" D3 G, ED"G11"CA, |"C" D2 C2 G^F=F^D | %20
w: catch you * when you fall|* see- ing you through||* in ev- 'ry- thing you|do. * * * * *|
 E4 E G2 G- ||S"C" G2"^Chorus" G2 G G2 A- | A2 G2"C7" E D2 C- |"F" C2 C2 CCA,F- | F2 C2 z EGG- | %25
w: * Let me be|* there in your morn-|* ing, Let me be|* there in your * night.|* * Let me change|
"C" G2 G2 G G2 A- | A2 G2 z EFE |"D7" ED-"D7b5" D6 |"G7" z4 E G2 G- |"C" G2 G2 G G2 A- | %30
w: * what- ev- er's wrong|* * and make it|right * *|Let me take|* you through that won-|
 A G2 E-"C7" EDCC- |"F" C2 C2 CCA,F- | F4 z EGG- |"C" G2 E2 DCA,G,- | G,2"G7" z G, EDCD-!dacoda! || %35
w: * der- land * * that on-|* ly two can * share|* All I ask|* you- oo * * *|* is let me be there,|
O"C" D2 C2 AGEG | C2 G2 GA c2 ||"C" e2 c2 e d2 c- | c2 GG AcEC- | C4 G^F=F^D | %40
w: |||||
"F" E4"^Verse 2" G,A,CE- ||"C" E2 C2 G,A,CA, | C3 C DEDC |"F" D2 C2- CF,A,G,- |"C" G,4 G,A,CE | %45
w: * Watch- ing you grow||* and go- ing thru' the|chang- es * in your life|* that's how I know|
 E2 C2 G,A,CA, | C2 z G, EEFE |"G" E2 D2 B,B,A,G,- | G,3 G, G,A,CE- |"C" E2 C2 G,A,CD | %50
w: |* I'll al- ways wan- na|be there, * * * *|* when- ev- er you feel||
 E2 E(E"C7" E)DDC |"F" D2 C2 C2 A,G,- |"C" G,3 G, G,A,CE- | E2 C2 G,A,CE |"G7" D3 G, ED"G11"CD- | %55
w: * you need * a friend to|lean on here I am|* When- ev- er you call||* you know I'll be there|
"C" D2 C2 G^F=F^D | E4 E G2 G!D.S.! ||O"C" D2"^Coda" C2 AECD- |"F" D2 C2 F G2 G- |"C" G2 E2 DCAG- | %60
w: |* Let me be||* * All I ask|* yoo- oo * * *|
"G7" G3 G, EGED- |"C" D2 C2 G^F=F^D | E8 |] %63
w: * Is let me be there.-|||


Let Me Call You Sweetheart

Context: Originally published in 1910, 'Let Me Call You Sweetheart' has become a classic love song, often associated with the Tin Pan Alley era. It has been covered by numerous artists over the decades, reflecting its enduring popularity.

The piece is characterized by its simple yet heartfelt melody and lyrics that express longing and affection. The harmonic structure typically follows a straightforward AABA form, which is common in traditional pop music. The use of major keys contributes to its uplifting and romantic feel, while the lyrical content evokes a sense of nostalgia and intimacy. The song's repetitive phrases enhance its emotional impact, making it memorable and singable.

This music piece features a gentle and melodic tune that conveys deep feelings of love and affection. The instrumentation is typically light, often including piano or guitar accompaniment, which supports the vocal line without overshadowing it. The lyrics are sweet and expressive, focusing on themes of romance and devotion. The overall tempo is moderate, creating a warm and inviting atmosphere that resonates with listeners.

Imagine a cozy, dimly lit café in the early evening, where couples sit at small tables adorned with flickering candles. Soft golden light casts gentle shadows across the room as a singer takes the stage, strumming a guitar. The audience is captivated, swaying slightly to the rhythm as the singer's voice fills the air with tender notes. A couple at the front table gazes into each other's eyes, their expressions reflecting love and nostalgia as they reminisce about their own romantic moments. Outside, the sun sets slowly, painting the sky in hues of pink and orange, enhancing the intimate ambiance of the scene.

X:492
T:Let Me Call You Sweetheart
T:Let Me Call You Sweetheart
C:Leo Friedman
L:1/4
M:3/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"Bb" d2 A | c2 B |"Dbdim7" A2 G | F2 z | B3 |"Dbdim7" G3 |"F7" A3- | A2 z |"Cm" e2 =B | d2 c | %10
w: I am|dream- ing|dear, of|you,|day|by|day.|_|Dream- ing|when the|
"F7" A2 G | F2 z | c3 |"F+7" ^c3 |"Bb" d3- | d2 z |"D7" d2 c | d2 c |"Gm" B2 c | d2 z |"C7" c2 d | %21
w: skies are|blue,|When|they're|gray;|_|When thc|sil- v'ry|moon- light|gleams.|Still I|
 c2 B |"F7" A2 B | c2 z |"Bb6" G2 A |"Bbm6" B2 G |"F" A2 B |"D7" c2 z |"G7" G3 |"C7" c3 |"F7" c3- | %31
w: wan- der|on in|dreams|In a|land of|love it|seems|Just|with|you.|
 c2 z |:"Bb" D2 F |"Eb9" B2 c |"Bb" d F2 |"Bbdim" =E2"Bb" F |"Eb/Bb" G3 |"G7/B" G3 |"C7/Bb" G3- | %39
w: _|Let me|call you|swet- heart|I'm in|love|with|you|
 G2 z |"F7/C" A2 ^G | A2 B | c A2 |"Eb/Bb" G2 A |"Bb" F3 |"Bdim7" F3 |"F7/A" F3- | F2 z | %48
w: _|Let me|hear you|whis- per|that you|love|me|too||
"Bb" D2 F | B2 c | d F2 |"Bbdim" =E2"Bb" F |"Eb/Bb" G3 |"G7/B" G3 |"C7" c3- | c3 |"Eb6" c2 B | %57
w: Keep the|love- light|glow- ing|in your|eyes|so|true|_|Let me|
"Ebdim" A2 B |"Bb/F" d F2 |"G+" e2"G" d |"Eb/Bb" G3 |"F7/C" A3 |1"Bb" B3- |"Adim""Cm" B2"F7" z :|2 %64
w: call you|sweet- heart|I'm in|love|with|you.|_|
"Bb" B3- | B2 z |] %66
w: you.|_|


Let Me Go Lover

Context: Originally recorded in the 1940s, this song has been covered by various artists, showcasing its enduring appeal. It reflects themes of love and longing, characteristic of the country genre during that era.

The song employs a simple yet poignant melodic structure typical of mid-20th century country music. Its lyrical content revolves around themes of separation and emotional turmoil, conveyed through a narrative style. The use of a straightforward chord progression allows the emotional weight of the lyrics to shine through. The instrumentation typically features acoustic guitar and piano, complementing the heartfelt vocal delivery. The song's pacing and dynamics contribute to its overall melancholic feel, with crescendos that enhance the intensity of the emotional message.

This piece is characterized by its heartfelt melody and poignant lyrics that explore themes of love and loss. The vocal delivery is emotive, often conveying a sense of yearning and nostalgia. Instrumentally, it features a blend of traditional country elements with soft harmonies that enhance the lyrical narrative. The arrangement is typically simple yet effective, allowing the emotional depth of the lyrics to resonate with listeners.

The music plays softly in a dimly lit room where a woman sits alone at a vintage wooden table, her hands clasped tightly around a steaming cup of coffee. Outside, rain patters against the window, casting a melancholic ambiance. She gazes out into the gray landscape, lost in thought as memories flood her mind. A photograph lies on the table, capturing a moment of joy from a past relationship. Her expression shifts from wistfulness to sorrow as she recalls laughter and shared dreams now faded into silence. The music swells gently, mirroring her internal struggle as she grapples with feelings of longing and heartache.

X:493
T:Let Me Go Lover
T:Let me go lover
T:Jenny Lou Carson
T:(Special lyrics by Al Hill)l
C:Jenny Lou Carson
L:1/8
M:3/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 z c cc |:"C" cG- G2 GG |"Cmaj7" GE- E2 (3EFG |"Dm7" F6 |"G7" D F3 BB |"G7" BA- A2 AA | %6
w: Oh let me|go * * let me|go * * let * me|go|lov- er let me|be * * set me|
 AG- G2 (3FGA |"C" G6- |"G7" G2 z c cc |"C" cG- G2 GG |"C" GE- E2 (3EFG |"Dm7" F6 |"G7" D F3 BB | %13
w: fre * * from * your|spell|* you made me|weep * * cut me|deep * * I * cant|sleep|lov- er I was|
 BA- A2 AG | B4 (3Bcd |"C" c6- |"F" c4"C" CC |"F" FA- A2 CC | FA- A2 cc |"C" AG- G2 AA | %20
w: cursed * * from the|first day * I|fell|* you dont|want me * but you|want me * to go|on * * want- ing|
"C" G4"C7" CC |"F" FA- A2 CC | FA- A2 d2 |"G7" B6- | B2 z c cc |"C" cG- G2 GG | GE- E2 (3EFG | %27
w: you how I|pray that * you will|ay that * we're|through|* please turn me|loose * * whats the|use * * let * me|
"Dm7" F6 |"G7" D F3 BB |"G7" BA- A2 AG |"C" B4 (3Bcd |"C" c6- |"F" c2"C" z"C" c"F" c"C"c :| %33
w: go|lov- er let me|go * * let me|go let * me|go|* oh let me|
"C" c6- |"C" c6 |] %35
w: go||


Let's Do It (Let's Fall in Love)

Context: Written by Cole Porter in 1928, this song became a standard in the Great American Songbook. It has been covered by numerous artists and featured in various films and musicals. The song's playful lyrics explore the theme of love and attraction, emphasizing the universal desire to fall in love.

The song is characterized by its clever wordplay and rhythmic structure, typical of Porter's style. The use of syncopation and unexpected chord changes adds to its charm. Lyrically, it reflects the carefree attitude of the Jazz Age, with references to various locations and cultures that celebrate romance. The refrain 'Let's do it' serves as a catchy hook that encapsulates the song's central theme of love's spontaneity. The harmonic progression often shifts between major and minor keys, creating a sense of movement that mirrors the excitement of falling in love.

This piece features a lively tempo with a swinging rhythm that invites listeners to tap their feet. The melody is bright and engaging, with a playful interplay between the vocal line and instrumental accompaniment. The instrumentation typically includes piano, brass, and woodwinds, contributing to a rich, textured sound. The lyrics are infused with humor and charm, making it a delightful listening experience that captures the essence of romantic enthusiasm.

Picture a vibrant jazz club in the 1920s, filled with elegantly dressed patrons enjoying an evening of music and dance. Soft golden lights illuminate the stage where a charismatic singer performs this lively tune. Couples sway to the rhythm, their laughter mingling with the upbeat melody. In one corner, a couple exchanges flirtatious glances, embodying the spirit of romance that permeates the air. Outside, the city buzzes with life as night falls, but inside this intimate venue, time seems to stand still as everyone revels in the joy of love.

X:494
T:Let's Do It (Let's Fall in Love)
T:Let's Do It (Let's Fall in Love)
T:								Cole Porter
C:Cole Porter
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"C""^A" A z _A G |"Dm7" A z"G7" _A G |"C" z A/^G/"C7" A/B/c/c/ |"Dm7" d z _d c | %4
w: Birds do it,|bees do it,|E- ven ed- u- cat- ed|fleas do it,|
w: spon- ges they|say, do it,|Oy- sters down in Oy- ster|Bay, do it,|
w: ||||
w: ||||
"Em7" A z"A7" _A G |"Dm7" A z"G7" _A G |"C" E4 |"G7" E A A A |"C" A z _A G |"G7" A z _A G | %10
w: Let's do it|Let's fall in|love,|* In Spain the|best up- per|sets do it,|
w: Let's do it,|Let's fall in|love.|* Cold Cape Cod|clams 'gainst their|wish, do it,|
w: ||||||
w: ||||||
"C" z A/^G/ A/B/c/^c/ |"Dm7" d z _d c |"C" A z _A G |"G7" A z _A G |"C" c4- | c c c c | %16
w: Lith- u- an- i- ans and|Letts do it,|Let's do it,|Let's fall in|love.|* The Dutch in|
w: Ev- en la- zy jel- ly-|fish do it,|Let's do it,|Let's fall in|love.|* E- lec- tric|
w: ||||||
w: ||||||
"Am""^B" c2 B A |"Dm7" c2 B A |"Em7" z B/^A/ B/A/ G |"Gm7""C7" _B4 |"F" A2 G F | %21
w: old Am- ster-|dam do it||||
w: eels, I might|add, do it|Not to men- tion the|Finns.|Folks in Si-|
w: ||Though it shocks them, I|know,|Why ask if|
w: |||||
"Fm7" _A2"Bb7" G F |"Eb6" z G/^F/ G/F/_E/ z/ |"G7" G A A A |"C""^C" A z _A G |"G7" A z _A G | %26
w: |||||
w: am do it,|Think of Si- am- ese|twins. Some Ar- gen-|tines with- out|means do it|
w: shad do it,|Wait- er, bring me shad-|roe. In shal- low|shoals do it,|soles do it|
w: |||||
"Am" A/^G/A/B/ c/B/c/d/ |"F7" _e z d c |"C" e z d c |"F" f z"G7" e d |"C" c3 z |1 %31
w: |||||
w: Peo- ple say in Bos- ton e- ven|beans do it|Let's do it,|Let's fall in|love.|
w: |||Let's fall in|love.|
w: Gold- fish in the pri- va- cy of|bowls do it|Let's do it,|||
"Dm7" z A"G7" A A :|2 z z z z |] %33
w: ||
w: Ro- man- tic||
w: ||
w: ||


Let's Face The Music And Dance

Context: Written by Irving Berlin, this song was first introduced in the 1936 film 'Follow the Fleet' and has since become a standard in the American songbook. It reflects the optimism and escapism of the era, encouraging listeners to embrace life and dance despite challenges.

The composition features a lively tempo and syncopated rhythms typical of jazz standards, with a structure that allows for both vocal expression and instrumental interludes. The lyrics convey themes of resilience and joy, inviting listeners to face life's uncertainties with a positive attitude. The use of playful language and catchy melodies enhances its appeal, making it a favorite in dance venues and theatrical performances. Harmonically, it employs common jazz progressions that facilitate improvisation, showcasing Berlin's mastery in blending lyrical storytelling with musical sophistication.

This piece is characterized by its upbeat tempo and lively orchestration, featuring prominent brass and rhythm sections that create an inviting atmosphere for dancing. The vocals are delivered with a sense of exuberance, emphasizing the carefree spirit of the lyrics. Melodically, it incorporates playful motifs that are easy to remember, enhancing its sing-along quality. The overall arrangement balances between structured verses and more free-form choruses, allowing for dynamic shifts in energy throughout the performance.

Imagine a vibrant ballroom filled with elegantly dressed couples swirling across a polished wooden floor under shimmering chandeliers. The scene is set during a glamorous evening event, where soft golden lights create an inviting ambiance. As the music begins to play, laughter and chatter fade into the background, replaced by the infectious rhythm of the song. Couples move gracefully, their expressions reflecting joy and abandon as they dance together. The air is filled with a sense of celebration and connection, as everyone is united by the uplifting melody that encourages them to forget their worries and simply enjoy the moment.

X:495
T:Let's Face The Music And Dance
T:Let's Face The Music And Dance
C:Irving Berlin
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
"Cm" z C D _E | _A G2 _E |"Cm6" G4- |"Cm7" G4 |"Cm" z C D _E | _A G2 _E |"Dm7b5" G"G7" F2 D | %7
w: There may be|trou- ble a-|head.|_|But while there's|moon- light and|mus- ic and|
"C" F E2 C |"Cmaj7" E4- |"C7" E2 z2 |"F6" z D D D |"Fm6" D C C C- |"C""Ab9" C4- | %13
w: love and ro-|mance,|_|let's face tthe|mus- ic and dance.|_|
"Dm7b5" C2"G+7" z2 |"Cm" z C D _E | _A G2 _E |"Cm6" G4- |"Cm7" G4 |"G7" z G A B |"Ab7" _e d2 c | %20
w: |Be- fore the|fid- dlers have|fled,|_|be- fore they|ask us to|
"D7" d2 A"Dm7" c- | c3 A |"G7" B2 G A- | A E E E- |"Em7b5" E4- |"A7b9" E2 z2 |"F" z D D D | %27
w: pay the bill,|_ and|while we still|_ have the chance,|_||Let's face the|
"Bb6" D C C C- |"C6" C4- | C4 ||"Ab" c4- | c2"Eb7" (3_B c B |"Ab" _A2 C D- | D2"Eb7" (3_B c B | %34
w: mus- ic and dance.|_||Soon|_ we'll be with-|out the moon,|_ hum- ming a|
"Ab" _A2 C _E- | E2 F2 |"G7" G4- | G4 |"Cm" z C D _E | _A G2 _E |"Cm6" G4- |"Cm7" G4 | %42
w: dif- f''rent tune,|_ and|then|_|there may be|tear- drops to|shed.|_|
"Cm" z C D _E | _A G2 _E |"Dm7b5" G"G7" F2 D |"C" F E2 C |"Cmaj7" E4- |"C7" E2 z2 |"F" z D D D | %49
w: So while there's|moon- light and|mus- ic and|love and ro-|mance,|_|let's face the|
"Fm6" D C"C/E" C c- |"D7" c4 |"Ab13b5" d4 |"C/G" z e e e |"Dm7" e c"Dm7/G" c c- |"C6""Ebm6" c4 | %55
w: mu- sc and dance,|_|dance.|let's face the|mus- ic and dance.|_|
"Dm7b5""G+7" z4 :|"C6""G7#5b9" c4- |"C6" c3 z |] %58
w: |dance.|_|


Let's Fall In Love

Context: Originally written for the 1933 musical 'Born to Dance', 'Let's Fall In Love' has been covered by numerous artists over the decades, becoming a jazz standard. The song's catchy melody and romantic lyrics have made it a favorite in both live performances and recordings.

'Let's Fall In Love' features a typical AABA song structure common in the Great American Songbook. The A sections present a light-hearted, optimistic theme about love, characterized by a swinging rhythm and playful lyrics. The B section introduces a contrasting mood, often reflecting on the complexities of love, which adds depth to the overall composition. The harmonic progressions incorporate jazz chords that enhance the song's emotional appeal, while the melodic lines are designed to be both memorable and singable, making it a staple for vocalists and instrumentalists alike.

This piece is characterized by its upbeat tempo and smooth melodic lines, creating an inviting atmosphere. The instrumentation typically includes piano, brass, and rhythm sections, contributing to a lively swing feel. The lyrics convey an optimistic view of love, encouraging listeners to embrace romance with joy and enthusiasm. The vocal delivery often features expressive phrasing and playful dynamics, enhancing the song's charm.

The music plays in a cozy jazz club during the early evening, with dim lighting casting soft shadows across the room. Couples are seated at small tables, some sharing intimate conversations while others sway gently to the rhythm. A singer stands on stage, dressed elegantly, pouring emotion into each note as they perform. The audience is captivated, their faces illuminated by candlelight, reflecting feelings of nostalgia and warmth as they enjoy this timeless classic.

X:496
T:Let's Fall In Love
T:Let's Fall In Love
C:Harold Arlen
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"C" G2 FE F2 G2 | FE F2"C7" G2 FE | F2"G7" G2 FE F2 |"C" E8 |"F" d2 cB c2"Fm" d2 | cB c2"C" d2 cB | %6
w: I have a feel- ing,|it's a feel- ing I'm con-|ceal- ing, I don't knw|why.|It's just a men- tal,|in- ci- den- tal, sen- ti-|
"Cdim" c2 d2"Dm" c2"G7" d2 |"C" c6 G2 |"Dm" A4"G7" e4 |"C" d4 G4 |"Dm" A4"Ddim" d4 | %11
w: men- tal al- i-|bi; but|I a-|dore you,|so strong|
"C" c4"G7" !fermata!G4 |"C" G2 FE F2 G2 | FE F2"C7" G2 FE |"G7" F2"Dm" G2 F2"G7" G2 |"C" E8 |: %16
w: for you,|why go on stal- lin'?|I am fall- in', love is|call- in', why be|shy?|
"C6" c4"Am7" G2 E2 |"Dm7" A4"G7" GBd c- |"C6" c4"Am7" G2 E2 |"Dm7" A4"G7" FED G- | %20
w: Let's fall in|love, Why should- n't we|* fall in|love? Our hearts are made|
"Em7" GG G2"Am7" EDCF- |"Dm7" F4"G7" DCB,E- |"E7" E3 E"A7" E4- |"D9""G13" E8 |"C6" c4"Am7" G2 E2 | %25
w: * of it, let's take a chance|* Why be a- fraid|* of it?||Let's close our|
"Dm7" A4"G7" GBd c- |"C6" c4"Am7" G2 E2 |"Dm7" A4"G7" FED G- |"Em7" GG G2"Am7" EDCF- | %29
w: eyes, and make our own|* par- a-|dise, Lit tle we know|* of it Still we can try|
"Dm7" F4"G7" DCB, E- |"Bm7" E3 E"E7" E4- |"Bm7""E7" E8 |"Am" e8 |"Am7" (3d2 c2 B2 A2 EF | %34
w: * to make a *|go of it.||We|might have been meant for each|
"D13" ^F4"Am9" B4- |"D13" B4"D#dim7" A4 |"Em7""Am7" d8 |"Dm7" (3c2 B2 A2"G7" G2 EF | %38
w: oth er|* To|be|or not to be, let our|
"Em7" G4"A7b9" _B4 |"Dm7" A4"G7" B4 |"C6" c4"Am7" G2 E2 |"Dm7" A4"G7" GBdc- |"C6" c4"Am7" G2 E2 | %43
w: hearts dis-|cov- er.|Let's fall in|love, Why should- n't we|* fall in|
"Dm7" A4"G7" FEDG- |"Em7" GG G2"Am7" (3E2 D2 C2 |"Dm7" A4"G7" FE D2 |1"C6""Am7" c8- | %47
w: love? Now is the time|* for it, while we are|young, Let's fall in|love.|
"Dm7" c4 z4 :|2"C6" c8- | c6 z2 |] %50
w: |love.||


Let's Get Away From It All

Context: Written in the 1940s, this song reflects a desire to escape from the stresses of daily life. It has been covered by various artists and remains a classic in the American songbook. The piece is often associated with themes of leisure and adventure, evoking a sense of wanderlust.

Musically, 'Let's Get Away From It All' features a standard AABA form typical of the era, with a melodic line that flows smoothly over a swinging rhythm. The harmony is rooted in traditional jazz progressions, often utilizing major seventh chords that create a relaxed and uplifting atmosphere. Lyrically, the song expresses a yearning for freedom and adventure, encapsulating the post-war sentiment of seeking joy and simplicity in life. The interplay between the vocal line and instrumental accompaniment highlights the song's playful and optimistic character.

This piece is characterized by its smooth, flowing melodies and upbeat tempo. The instrumentation typically includes piano, bass, and light percussion, creating a warm and inviting sound. The vocal delivery is expressive, often featuring embellishments that enhance the emotional quality of the lyrics. The overall mood is one of lightheartedness and nostalgia, inviting listeners to dream of carefree days away from their routines.

The music plays during a sun-drenched afternoon at a bustling seaside resort. Families are gathered on the sandy beach, children building sandcastles while couples stroll hand-in-hand along the shoreline. The sun casts a golden hue over the scene as laughter mingles with the sound of waves crashing gently. In the background, colorful beach umbrellas dot the landscape, and a vintage convertible parked nearby hints at spontaneous adventures waiting to unfold. As the music swells, it captures the essence of carefree summer days filled with joy and exploration.

X:497
T:Let's Get Away From It All
T:Let's Get Away From It All
C:Matt Dennis
L:1/8
M:2/2
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"Eb" GGGA-"Bb7b9" ABAG- |"Eb7" GE- E6 |"Ab" cccc-"Adim" cdcB- |"Eb" B8 |"Fm" AAGA-"Bb7" A B2 A | %5
w: Let's take a boat * to Ber- mu-|* da, _|Let's take a plane * to Saint Paul,||Let's take a kay- * ak to|
"Db9" GG^F"C7"G- G"C+7" A3 |"F9" GGGG- GcGF- |"Bb11""Bb7" F8 |"Eb" GGGA-"Bb7b9" ABAG- | %9
w: Quin- cy or Ny- * ack,|Let's get a- way * from it all.||Let's take a trip * in a trail-|
"Eb7" GE- E6 |"Ab" cccc-"Adim" cdcB- |"Eb" B8 |"Fm" AAGA-"Bb7" A B2 A |"Db9" GG^F"C7"G- G"C+7" A3 | %14
w: * er, _|No need to come * back at all,||Let's take a pow- * der to|Bos- ton for chow- * der,|
"F9" GGGF-"Bb7" FEDE- |"Eb" E6"Eb7" E2 |"Ab" c2 c2"Adim" c2 c2 |"Eb/Bb" c d2 B-"C7" B2 c2 | %18
w: Let's get a- way * from it all.|* We'll|trav- el 'round from|town to town, * We'll|
"Fm" A B2"Bb13" G- G2"Bb9#5" ^F2 |"Eb""Eb6""Edim" G8 |"Bb/F" F2 d2"G7b9" d2 d2 | %21
w: vis- it ev- * 'ry|state.|I'll re- peat, "I|
"Cm" d e2 c-"F9" c4 |"Bb7" z _dcB"Bbdim" c B2 B- |"Bb7""Bb9#5" B8 |"Eb" GGGA-"Bb7b9" ABAG- | %25
w: love you sweet!" *|In all the for- ty- eight.||Let's go a- gain * to Ni- a-|
"Eb7" GE- E6 |"Ab" cccc-"Adim" cdcB- |"Eb" B8 |"Fm" AAGA-"Bb7" A B2 A |"Db9" GABc-"C+" c"C7" c3 | %30
w: * 'gra, *|This time we'll look * at the fall,||Let's leave our hut * dear, Get|out of our rut * dear,|
"F7" cccd-"E9" ddd"Eb"e- | e8 |] %32
w: Let's get a- way * from it all.||


Let's Just Praise the Lord

Context: Written in 1972, 'Let's Just Praise the Lord' is a popular gospel song by William and Gloria Gaither, known for their contributions to contemporary Christian music. The song emphasizes themes of worship and gratitude, often performed in church settings and at religious gatherings.

Musically, 'Let's Just Praise the Lord' features a simple yet uplifting melody that encourages congregational singing. The song is structured with repetitive phrases that enhance memorability and participation. Harmonically, it employs common chords found in traditional gospel music, creating a warm and inviting atmosphere. Lyrically, the song expresses a heartfelt call to worship, reflecting a deep sense of devotion and community among believers. The use of syncopation in the rhythm adds a lively character, making it suitable for both solemn worship and joyful celebration.

The music is characterized by its uplifting melody and rhythmic drive, often marked by handclaps or piano accompaniment that enhances its joyous nature. The lyrics convey a message of praise and thanksgiving, inviting listeners to reflect on their faith and express their gratitude through song. The overall tone is celebratory, fostering a sense of unity among participants as they engage in collective worship.

In a sunlit church sanctuary filled with wooden pews, the congregation gathers for Sunday service. The air is fragrant with fresh flowers placed at the altar. As the music begins, the choir stands at the front, dressed in matching robes, their faces glowing with enthusiasm. The pianist strikes the keys energetically, while the congregation sways gently to the rhythm. Some members raise their hands in worship, while others close their eyes in reflection. Laughter and joyful voices fill the room as they sing together, creating an atmosphere of warmth and community.

X:498
T:Let's Just Praise the Lord
T:Let's Just Praise the Lord
T:William & Gloria Gaither, 1972
C:William & Gloria Gaither 1972
L:1/8
M:3/4
I:linebreak $
K:F
V:1 treble nm="Voice"
%%MIDI channel 2
%%MIDI program 54
V:1
 z6 | z6 | z6 | z6 | z6 |[Q:1/4=90] z4 CF |"F" A3 ^G AG | A F3"D7" ^F2 |"G7" G3 G AG | D4 G2 | %10
w: |||||we _|thank you for your|kind ness we|thank you for your|love we've|
"C7" G3 G GG | A G3 C2 |"Bb" D F3 FF | D"F" C3 CF | A3 ^G Ac |"F7" AG F3"D7" ^F |"G7" G3 G AG | %17
w: been in hea venly|plac es felt|bles sings from _|a bove we've been|shar ing all the|good _ things the|family can af _|
 D4 GG |"C7" G3 G GG | A G3 C2 | B2 A2 G2 |"F" F6- | F2 F2 A2 | c4- cd |"F7" c6 |"Bb" B4- Bc | %26
w: ford let's just|turn our praise towanrd|hea ven and|praise _ the|Lord|_ Let's just|praise _ the|Lord|praise _ the|
"Bbm6" B4 FG |"F" A3 ^G Ac |"D7" d c3 A2 |"G7" A4- A_A |"C7" G z"Bb/C" F2"C7" A2 |"F" c4- cd | %32
w: Lord let's just|lift our hands to|heav en and|praise _ the|Lord let's just|praise _ the|
"F7" c6 |"Bb" B4- Bc |"Bbm" B4 FG |"F/C" A3 A"D7" BA |"G7" G D2 D"C7" EG |"F" F6- | F2 z2 CF | %39
w: Lord|praise _ the|Lord lets jut|lift our hand to|hea ven and praise the|Lord|_ Just the|
"F" A3 ^G AG | A F3"D7" ^F2 |"G7" G3 G AG | D4 G2 |"C7" G3 G GG | A G3 C2 |"Bb" D F3 FF | %46
w: pre cious name of|Je sus is|wor thy of our|praise let|us bow our knee|be fore Him|our hands to heav|
 D"F" C3 CF | A3 ^G Ac |"F7" AG F3"D7" ^F |"G7" G3 G AG | D4 GG |"C7" G3 G GG | A G3 C2 | %53
w: en raise when He|comes in clouds of|gl o ry with|Him to ev er|reign Let's _|lift our hap py|voi ces and|
 B2 A2 G2 |"F" F6- | F2 F2 A2 | c4- cd |"F7" c6 |"Bb" B4- Bc |"Bbm6" B4 FG |"F" A3 ^G Ac | %61
w: praie His dear|name|_ Let's just|praise _ the|Lord|praise _ the|Lord let's just|lift our hands to|
"D7" d c3 A2 |"G7" A4- A_A |"C7" G z"Bb/C" F2"C7" A2 |"F" c4- cd |"F7" c6 |"Bb" B4- Bc | %67
w: heav en and|praise _ the|Lord let's just|praise _ the|Lord|praise _ the|
"Bbm" B4 FG |"F/C" A3 A"D7" BA |"G7" G D2 D"C7" EG |"F" F6- | F4 z2 | z6 | z6 | z6 | z6 |] %76
w: Lord lets jut|lift our hand to|hea ven and praise the|Lord|_|||||


Let's Misbehave

Context: Written in 1927, 'Let's Misbehave' is a popular song by Cole Porter that captures the spirit of the Roaring Twenties. The song encapsulates the era's carefree attitude towards love and romance, often associated with jazz music and Broadway performances. It has been covered by numerous artists over the decades, reflecting its enduring appeal.

'Let's Misbehave' features a lively tempo and playful lyrics that invite listeners to embrace spontaneity and flirtation. The song is structured around a series of verses that build on the theme of mischief in romantic pursuits. The use of syncopation in the melody creates a sense of excitement, while Porter's clever wordplay adds depth to the seemingly lighthearted subject matter. Harmonically, the song employs common jazz progressions, allowing for improvisation during performances, which is a hallmark of jazz music. The playful nature of the lyrics is complemented by a bright orchestration typical of the jazz genre, enhancing its overall buoyancy.

The music is characterized by an upbeat tempo and a playful melody that embodies the carefree spirit of its era. The instrumentation typically includes brass and woodwinds, creating a rich, vibrant sound. The lyrics convey themes of romance and spontaneity, inviting listeners to indulge in lighthearted mischief. The overall mood is joyful and flirtatious, making it a favorite in dance halls and theatrical performances.

Set in a bustling speakeasy during the 1920s, the scene is filled with elegantly dressed patrons enjoying a night out. Dimly lit with soft golden hues, couples sway to the lively rhythm of the music. A group of flappers giggle as they flirt with dapper gentlemen at the bar, while waiters weave through the crowd with trays of cocktails. The atmosphere is electric with laughter and conversation, perfectly matching the playful essence of the music as it encourages everyone to embrace their desires and misbehave.

X:499
T:Let's Misbehave
T:COLE PORTER
C:Cole Porter
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
V:1
"G""^In slow fox-trot time" G"F/A" G/ G"G7/B" E/- |:"C" E G G/ G ^D/- |"G+" ^D A A/ A3/2 | %3
w: We're all a- lone,|_ No chap- er- on|_ Can get our|
w: |* And while I wait,|_ My poor heart|
"C6" A2 E2 |"C" z e e/ e3/2 |"D7" e2 A2 |"G7" z e e/ e c/- |"C""C#dim" c4 | %8
w: num- ber,|The world's in|slum- ber,|Let's Mis- be- have!|_|
w: aches on,|Why keep the|brakes on?|||
"G7" z G"Dm7/A" G/"E7/B" G E/- |"C" E G G/ G ^D/- |"G+" ^D A A/ A3/2 |"C6" A2"E7/B" E2 | %12
w: There's some- thing wild|_ A- bout you, child,|_ That's so con-|ta- gious,|
w: I feel quite sure,|_ Un peu d'a- mour|_ Would be at-|trac- tive,|
"Am" z e e/"C#dim" e3/2 |"G/D" e2 B2 |"D7" z d d/ d d/- |"G11""G9" d4 |"G7" z"G" G"Gmaj7" A"G7" B | %17
w: Let's be out-|ra- gious,|Let's Mis- be- have|_|When Ad- am|
w: While we're still|ac- tive,-|||You know my|
"C7" c/ d d/- d G |"D#dim" A/ c c/-"C7/E" c C |"F" D2 F2 | z A"E" B"Eb6" c | %21
w: won Eve's hand, _ He|would- n't stand _ for|teas- in';|He did- n't|
w: heart is true, _ And|you say you _ for|me care;|Some- bod- y's|
"D7" d/ e"C/E" e/- e A |"Fdim" B/ d"D7/F#" d/- d D |"G7" E2 G2 | z G"F/A" G/G/-"G7/B" G/E/- | %25
w: care a- bout _ Those|ap- ples, out _ of|sea- son.|They say the _ Spring|
w: sure to tell, _ But|what the heck _ do|we care!|They say that _ bears|
"C" E G G/ G ^D/- |"G+" ^D A A/ A3/2 |"C6" A2"E7/B" E2 |"A7" z"A" e"Amaj7" e/"A7" e3/2 | %29
w: _ means just one thing|_ To lit- tle|love- birds;|We're not a-|
w: _ have love af- fairs,|_ And e- ven|cam- els;|We're mere- ly|
"D7" e2 A2 |"G7" z g ^d/ e c/- |1"C""C#dim" c3 z |"G7" z"G" G"F/A" G/G/-"G7/B" G/E/ :|2 %33
w: bove birds,|Let's Mis- be- have.|_|It's get- ting _ late|
w: mam- mals,||||
"C""Dm7" c3"G7" z |"C" z4 |] %35
w: _||
w: ||


Li'l Darlin'

Context: Originally composed by Neal Hefti for the Count Basie Orchestra in the late 1950s, 'Li'l Darlin'' has become a jazz standard celebrated for its smooth melodies and laid-back swing feel. The piece is often associated with the big band era and has been covered by numerous artists over the decades.

The composition features a relaxed tempo and a distinctive use of syncopation, which gives it a playful yet sophisticated character. The melody is primarily carried by the brass section, with rich harmonies that create a warm, inviting sound. The piece employs call-and-response techniques between sections, showcasing Hefti's skill in orchestration. The use of dynamics is particularly notable; softer passages contrast with more pronounced sections, enhancing emotional depth. The overall structure adheres to traditional jazz forms while allowing for improvisational solos that highlight individual musicians' virtuosity.

This instrumental piece is characterized by its smooth, flowing melody that evokes a sense of nostalgia. It features a prominent brass section, complemented by rhythmic support from the rhythm section. The arrangement is marked by playful syncopation and a relaxed swing feel, creating an inviting atmosphere. The overall sound is rich and warm, with layers of harmonies that contribute to its timeless appeal.

Imagine a dimly lit jazz club in the heart of New York City during the late evening hours. The room is filled with patrons dressed in elegant attire, sipping cocktails and engaging in soft conversation. On stage, a big band performs 'Li'l Darlin'' under soft amber lights that create an intimate ambiance. The brass players sway gently as they deliver the smooth melody, while the rhythm section keeps a steady pulse that invites listeners to tap their feet. In the audience, couples share smiles and laughter, lost in the music's nostalgic charm as the warm notes fill the air.


Life Is Just a Bowl of Cherries

Ray Henderson
Buddy G. DeSylva
Lew Brown

Context: Originally written in 1931, this song has been performed by various artists over the decades, becoming a standard in American music. It reflects a carefree attitude towards life and has been featured in numerous films and television shows.

The song is characterized by its upbeat tempo and simple, catchy melody, which reinforces its theme of embracing life's joys and sorrows. The lyrics convey a sense of optimism despite life's challenges, using the metaphor of a bowl of cherries to symbolize the sweetness and bitterness of existence. Musically, it employs a straightforward verse-chorus structure with playful syncopation, typical of early 20th-century popular music. The harmonic progression is simple yet effective, often utilizing major chords that evoke a sense of happiness and lightness.

This piece features a lively and cheerful melody that invites listeners to reflect on the ups and downs of life with a playful spirit. The instrumentation typically includes piano, brass, and woodwinds, creating a rich, vibrant sound that complements the optimistic lyrics. The vocal delivery is often characterized by a light-hearted and engaging style, enhancing the song's overall charm.

Set in a sunlit park during a warm afternoon, the scene depicts families enjoying picnics on lush green grass. Children are playing games nearby, their laughter mingling with the soft sounds of music from a nearby bandstand. Couples stroll hand-in-hand, sharing smiles and light conversation. The atmosphere is filled with joy as people savor their moments together, embodying the essence of the song's message about cherishing life's simple pleasures.

X:501
T:Life Is Just a Bowl of Cherries
T:Life is just a bowl of cherries
T:Lew Brown, Ray Henderson
C:Ray Henderson
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
|:"C" G3 E GEGE | G2 A,2- A,A,A,A, | ^A,A, A,2- A,A,A,A, |"G7" B,B, B,2- B,3 F | %4
w: Life is just a bowl of|cher- ries * dont make it|se- ri- ous * lifes too mys-|te- ri- ous * you|
"Dm7" A3 F"G7" A3 B |"C" c2 G2"A7" G2 AG |"Dm" F2 EF EFGF |"D" E2 C2"G7" D2 G,2 |"C" G3 E GEGE | %9
w: work you save you|wor- ry so but you|cant * take your dough when you|go go go so|keep re- peat- ing its the|
 G2 A,4 G2 |"Gm" _B2 =B2"A7" E2 E2 |"Dm" c4- c3 B |"F7" cA^F^D-"B7" ^D3 c |"Em7" BGE^C-"A7" ^C3 B | %14
w: ber- ries the|strong- est oak must|fall * the|sweet things in life * to|you were just loaned * so|
"Dm7" AFDB,-"G7" B,3 C |"D" EDC"G"D- D4 |"C" G3 E"Em" GEGE |"A7" A2 E4 A2 | %18
w: how can you lose * what|you've nev- er owned *|life is just a bowl of|cher- ries so|
"D" c3 A"Dm7" AG"G7" A2 |1"C" c4- c2- c2 :|2 c4- c2 z2 |] %21
w: live and laugh at it|all. * *||


Life's Railway to Heaven

Context: Originally published in 1890, 'Life's Railway to Heaven' is a gospel song that reflects themes of life's journey and the hope of reaching a heavenly destination. The song has been performed by various artists over the years and is often associated with Southern gospel music.

The song employs a simple yet profound structure, typically featuring a repetitive verse and chorus format that enhances its sing-along quality. Thematically, it utilizes metaphorical language comparing life to a railway journey, suggesting both the inevitability of life's challenges and the promise of salvation. The use of imagery related to trains evokes a sense of movement and progression, symbolizing the passage through life's trials towards a hopeful afterlife. Harmonically, the piece often incorporates major chords that contribute to its uplifting spirit, while the melody is characterized by a straightforward, memorable contour that facilitates communal singing.

This piece features a steady tempo and a clear melodic line that is easy to follow. The instrumentation typically includes piano or organ accompaniment, providing a rich harmonic backdrop. The vocal parts are often arranged in simple harmonies, allowing for group participation. The lyrics convey messages of perseverance and faith, using accessible language that resonates with listeners across generations.

The music plays during a serene outdoor gathering at dusk, where families and friends gather around a small bonfire. The setting sun casts warm hues across the sky, creating an atmosphere of nostalgia and reflection. Participants, dressed in casual yet respectful attire, sit on blankets and lawn chairs, some holding hands while others sway gently to the rhythm of the music. Children play nearby, their laughter blending with the harmonies as adults share stories of loved ones who have passed on. The air is filled with the scent of roasted marshmallows and pine trees, enhancing the sense of community and shared experience as everyone joins in singing the familiar verses.

X:502
T:Life's Railway to Heaven
T:Life's Railway to Heaven
C:Charles D. Tillman 1890
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Ab
V:1 treble nm="Voice"
%%MIDI channel 4
%%MIDI program 54
V:1
 z8 | z8 | z8 | z8 | z8 |!fff! z6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF |"Ab" E6 EE | %10
w: |||||life is|like a moun tian|rail road with an|en gineer that's _|brave we must|
 A4 E2 AB | c2 c4 AA |"Bb" B4 B2 Ac |"Eb7" B6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF | %17
w: make the run suc|cess ful from the|crad le to the|grave watch the|curves the fills the|tun nels ne ver|fal ter ne ver|
"Ab" E6 EE | A4 E2 AB | c2 c4 AB | c4 A2"Eb7" BB |"Ab" A6 dd |"Db" d4 d2 AB |"Ab" c2 c4 ee | %24
w: quail keep your|hand up on the|throt tle and your|eye up on the|rail bles sed|sav ior thou wilt|guide us till we|
 e4 c2 BA |"Eb7" B6 cd |"Ab" e4 c2 BA |"Db" F2 A4 AB |"Ab" c4 A2"Eb7" BB |"Ab" A6 cc | %30
w: reach that blis sful|shore where the|an gels wait to|join us in Thy|praise for ev er|more you will|
"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF |"Ab" E6 EE | A4 E2 AB | c2 c4 AA |"Bb" B4 B2 Ac | %37
w: roll up grades of|tri al you will|cross the bridge of|strife make sure|Christ is your con|duc tor on this|light ening train of|
"Eb7" B6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF |"Ab" E6 EE | A4 E2 AB | c2 c4 AB | %44
w: life al ways|mind ful of ob|struct ions do your|du ty nev er|fail keep your|hand up on the|throt tle and your|
 c4 A2"Eb7" BB |"Ab" A6 dd |"Db" d4 d2 AB |"Ab" c2 c4 ee | e4 c2 BA |"Eb7" B6 cd |"Ab" e4 c2 BA | %51
w: eye up on the|rail bles sed|sav ior thou wilt|guide us till we|reach that blis sful|shore where the|an gels wait to|
"Db" F2 A4 AB |"Ab" c4 A2"Eb7" BB |"Ab" A6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF | %57
w: join us in Thy|praise for ev er|more you will|oft en find ob|struc tions look for|storms of wind and|
"Ab" E6 EE | A4 E2 AB | c2 c4 AA |"Bb" B4 B2 Ac |"Eb7" B6 cc |"Ab" c4 A2 Bc | B2 A4 AA | %64
w: rain on a|fill or curve or|tres tle they will|all most ditch your|train put your|trust a lone in|Je sus nev er|
"Db" A4 B2 AF |"Ab" E6 EE | A4 E2 AB | c2 c4 AB | c4 A2"Eb7" BB |"Ab" A6 dd |"Db" d4 d2 AB | %71
w: fal ter nev er|quail keep your|hand up on the|throt tle and your|eye up on the|rail bles sed|sav ior thou wilt|
"Ab" c2 c4 ee | e4 c2 BA |"Eb7" B6 cd |"Ab" e4 c2 BA |"Db" F2 A4 AB |"Ab" c4 A2"Eb7" BB | %77
w: guide us till we|reach that blis sful|shore where the|an gels wait to|join us in Thy|praise for ev er|
"Ab" A6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF |"Ab" E6 EE | A4 E2 AB | c2 c4 AA | %84
w: more as you|roll a cross the|tres sle cros sing|jor dan's swel ling|tide you be|hold the un ion|dep ot in to|
"Bb" B4 B2 Ac |"Eb7" B6 cc |"Ab" c4 A2 Bc | B2 A4 AA |"Db" A4 B2 AF |"Ab" E6 EE | A4 E2 AB | %91
w: which your train will|glide there you'll|meet the sup erin|tend ent God the|Fath er God the|Son with a|hear ty joy ous|
 c2 c4 AB | c4 A2"Eb7" BB |"Ab" A6 dd |"Db" d4 d2 AB |"Ab" c2 c4 ee | e4 c2 BA |"Eb7" B6 cd | %98
w: plaud it wea ry|pil grim wel come|home bles sed|sav ior thou wilt|guide us till we|reach that blis sful|shore where the|
"Ab" e4 c2 BA |"Db" F2 A4 AB |"Ab" c4 A2"Eb7" BB |"Ab" A8 | z8 | z8 | z8 |] %105
w: an gels wait to|join us in Thy|praise for ev er|more||||


Like A Hobo

Context: Released in 2009, 'Like A Hobo' is a poignant song by Charlie Winston that gained popularity for its heartfelt lyrics and catchy melody. The song reflects themes of longing and self-discovery, resonating with listeners through its relatable narrative.

Musically, 'Like A Hobo' features a blend of folk and pop elements characterized by its acoustic guitar-driven sound. The song employs a moderate tempo and a simple chord progression that creates an inviting atmosphere. Lyrically, the narrative unfolds through vivid imagery and personal reflections, highlighting the emotional journey of the protagonist. The use of repetition in the chorus reinforces the themes of yearning and introspection. The arrangement includes dynamic shifts that enhance the storytelling aspect, culminating in a climactic bridge that evokes a sense of urgency and desire for freedom.

The piece is characterized by its melodic structure that intertwines gentle acoustic guitar strumming with expressive vocal delivery. The instrumentation is minimalistic yet effective, allowing the lyrics to take center stage. The overall sound is warm and inviting, creating an intimate connection with the listener.

In a sunlit park during early afternoon, a young man sits on a weathered bench, strumming his guitar softly. The trees sway gently in the breeze, their leaves shimmering in shades of green. Around him, people stroll leisurely, some laughing while others are lost in thought. He gazes into the distance, reflecting on his journey and the choices that brought him here. As he sings, his voice carries a blend of nostalgia and hope, capturing the essence of wandering souls searching for their place in the world.

X:503
T:Like A Hobo
C:Charlie Winston
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
V:1
|:"Am" E3 _E (3=E2 G2 ^F2 |"F" F3 E F2 A2- |"Am" A4 z4 |1 z8 :|2 z4 z E GA- || Ac- c2 z4 | %6
w: ||||I've al- ways|_ known, _|
"F" GAAG A2 c2- |"Am" c4 z4 |"Am" z4"F" z2 GA- |"Am" Ac- c2 z4 |"F" cAAG A A2 (A |"Am" E2) z2 z4 | %12
w: since I was a young boy,|_|in this|_ world _|eve- ry- thing's as good as bad|_|
 z4 z2 GA | c c2 c2 c2 c |"F" A2 AG A2"Am" c2 | z8 | z4"F" z2 GA |"Am" c c2 c2 c cc | %18
w: Now my|fa- ther told me: "al-|ways speak a true word"||And I|have to say that is the|
"E" A A2 A2 A2 (A |"Am" E2) z2 z4 | z4 z2 GA |"F" d d2 d2 c AG |"Am" A2 z2 z2 z A | %23
w: best ad- vice I've had|_|Be- cause|some- thing burns in- side of|me, It's|
"F" d d2 d2 c AG |"Am" (AE- E2) z2 A2 |"Dm" d3 d (3G2 G2 c2 |"Am" A3 A A A2 (A |"E" E2) z2 z4 | %28
w: eve- ry- thing I long to|be _ _ And|lies; they on- ly stop|me from feel- ing free|_|
 z2 z A2- A z2 |"Am" GA c2 c2 GA |"F" d d2 c- c2 z G- |"Dm" GAcA d2 (AG- |"G" G2) z2 z4 | %33
w: Oh _|Like a ho- bo from a|bro- ken home _ no-|* thing gon- na stop me _|_|
"Dm" GA c2 c2 GA |"F" d d2 c- c2 z A- |"Am9" AAAA A2 (AE- |"E" E2) z ^G2 A2- A |: %37
w: Like a ho- bo from a|bro- ken home _ no-|* thing gon- na stop me _|_ Oh, oh _|
"Am" e3 ^d (3e2 g2 ^f2 |"F" f3 e f2 a2- |"Am" a2 z2 z4 | z8 :| %41
w: _ _ _ _ _||||


Like Someone In Love

Context: Originally written for the 1944 film 'Going My Way', this song has been covered by numerous artists, including Frank Sinatra and Ella Fitzgerald. It is celebrated for its lush melodies and heartfelt lyrics that capture the essence of love and longing.

The song features a standard AABA structure, typical of many jazz standards, which allows for expressive melodic development. The harmonic progression is rich, employing chromaticism that enhances the emotional depth of the lyrics. The use of syncopation in the rhythm adds to the song's playful yet poignant character. The lyrical content reflects themes of vulnerability and romantic idealization, which are common in jazz ballads. The instrumentation often includes lush strings or a soft piano accompaniment, creating an intimate atmosphere that complements the lyrical narrative.

This piece is characterized by its smooth, flowing melody that evokes a sense of nostalgia and tenderness. The vocal delivery is typically soft and emotive, emphasizing the heartfelt nature of the lyrics. Instrumentally, it often features gentle piano chords, subtle brass accents, and a rhythm section that supports the melodic line without overpowering it. The overall sound is warm and inviting, making it a favorite in romantic settings.

Imagine a dimly lit jazz club in the late evening, with soft golden lights casting a warm glow over small round tables adorned with flickering candles. A couple sits close together at one table, their eyes locked in an intimate gaze as they share whispered conversations. On stage, a singer croons 'Like Someone In Love', accompanied by a trio of musicians: a pianist delicately playing the keys, a bassist plucking softly in the background, and a drummer keeping time with gentle brushes. The air is filled with a blend of sweet melodies and the soft murmur of other patrons enjoying their evening. Outside, the city hums quietly as night deepens, but inside this sanctuary of music and romance, time seems to stand still.

X:504
T:Like Someone In Love
T:Like Someone In Love
C:Jimmy van Heusen
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice"
%%MIDI program 52
V:1
|:"Cmaj7" E E2"C/B" E |"C6/A" E A"C/G" G E |"D7/F#" D D2"G7/F" B |"Em7""Eb7" G4 |"Dm7" F F2 c | %5
w: Late- ly I|find my- self out|gaz- ing at|stars,|hear- ing guit-|
"G7" B3"G9#5" A |"Cmaj7" G G2 e |"Gm7""C9""C9#5" d4 |"F6" d d2"F+" ^c |"Bm7" e d"E7" ^c B | %10
w: ars like|some- one in|love.|Some- times the|things I do as-|
"Amaj7" E2 E2- |"A6" E4 |"Am7" c c2 B |"D7" d c B A |"Dm7" D4 |"G+7" ^D4 |"Cmaj7" E E2"C/B" E | %17
w: tound me,||most- ly when-|ev- er you're a-|round|me.|Late- ly I|
"C6/A" E A"C/G" G E |"D7/F#" D D2"G7/F" B |"Em7""Eb7" G4 |"Dm7" F F2 c |"G7" B3"G9#5" A | %22
w: seem to walk as|though I have|wings,|bump in- to|things, like|
"C" G G2 e |"Gm7""C9""C9#5" d4 |"F6" d d2"F+" ^c |"Bm7" e d"E7" ^c B |"Amaj7" E E2 E | %27
w: some- one in|love.|Each time I|look at you I'm|limp as a|
"D9" ^F3"D#dim" F |"Em7" G G2"A7" G |"Dm7" F d2"G7b9" B |"C""Am7" c4 |1"D9""G7" z4 :|2"C" c4 |] %33
w: glove and|feel- ing like|some- one in|love.||love.|


Linus And Lucy

Context: Originally composed for the 1965 animated television special 'A Charlie Brown Christmas', 'Linus and Lucy' has become one of the most recognizable pieces of music associated with the Peanuts franchise. The piece exemplifies Vince Guaraldi's unique blend of jazz and children's music, characterized by its catchy melody and playful rhythm.

'Linus and Lucy' is structured around a simple yet captivating melodic theme that is introduced on the piano. The piece features a syncopated rhythm that creates a lively and upbeat atmosphere, typical of Guaraldi's style. The harmony is primarily built on seventh chords, giving it a jazz-inflected sound. The use of contrasting dynamics throughout the piece enhances its playful character, with sections that build in intensity followed by softer passages. The interplay between the left-hand bass line and the right-hand melody showcases Guaraldi's skill in creating engaging piano compositions that resonate with both children and adults.

This instrumental piece is characterized by a bright, cheerful melody played predominantly on the piano, accompanied by a rhythmic left-hand bass line. The music flows with a lively tempo, featuring syncopation that adds an element of surprise and playfulness. The harmonic structure employs jazz chords, creating a rich texture that complements the melodic lines. Overall, the piece evokes feelings of nostalgia and joy, making it a timeless classic.

In a cozy living room decorated for the holidays, soft twinkling lights illuminate the space as snow gently falls outside the window. A group of children gathers around a small Christmas tree, their faces lit with excitement and wonder. They laugh and play, their movements synchronized with the upbeat tempo of the music playing in the background. Linus sits calmly on the floor, clutching his beloved blanket, while Lucy dances around, trying to get everyone to join her in a festive celebration. The warm glow of the fireplace casts flickering shadows on the walls, enhancing the magical atmosphere of this joyful scene.


Little Boxes

Context: Written in 1962, 'Little Boxes' is a satirical folk song that critiques suburban conformity and the American Dream. It gained popularity during the 1960s and has been used in various media, including television and film.

'Little Boxes' employs a simple melodic structure and repetitive lyrical phrasing to emphasize its themes of uniformity and societal expectations. The song's use of imagery related to suburban homes serves as a metaphor for the lack of individuality among the residents. The contrast between the cheerful melody and the critical lyrics creates a poignant irony, making it an effective protest song. The use of a straightforward narrative style allows listeners to easily grasp the underlying message while also inviting them to reflect on their own lives and choices.

The music features a light, catchy melody characterized by simple chord progressions and a steady rhythm. The instrumentation typically includes acoustic guitar and light percussion, creating an approachable sound. The vocal delivery is clear and straightforward, enhancing the song's accessibility. Lyrically, it describes identical houses filled with people who conform to societal norms, highlighting themes of monotony and loss of individuality.

In a sunlit suburban neighborhood during the late afternoon, rows of identical houses stand neatly aligned. Children play in front yards, their laughter mingling with the distant hum of lawnmowers. Parents chat amiably while sipping iced tea on porches, their expressions reflecting contentment yet hinting at unfulfilled dreams. As the camera pans through this picturesque scene, the music plays softly in the background, underscoring the contrast between the idyllic facade and the underlying critique of conformity that permeates their lives.

X:506
T:Little Boxes
T:Little Boxes
T:M.Reynolds
C:Malvina Reynolds
L:1/8
M:3/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 GA |:"C" E2 D2 GA | E2 C2 GG | c2 c2 cd | ed cc cA | G2 G2 GA |"G7" F2 F2 FG |"C" E2 E2 EF | %8
w: Lit- tle-|box- es on the|hill- side lit- tle|box- es made of|tic- ky tac- ky lit- tle|box- es lit- tle|box- es lit- tle|box- es all the|
w: (1) (2)|peo- ple in the|hou- ses all go|to the u- ni-|ver- sit- y * and they|all get put in|box- es lit- tle|box- es all the|
w: ||||||||
"G7" D4 GA |"C" E2 C2 GA | E2 C2 GG | c2 c2 cd | ed c2 cA | G2 G2 GA |"G7" FF FF FG | %15
w: same theres a|green one and a|pink one and a|blue one and a|yel- low one and they're|all made out of|tic- ky tac- ky and they|
w: same and there|doc- tors ad thers|law- yers and bus'-|ness ex- * *|ec- u- tives and theyre|all made out of|tick- ky tack- ky and they|
w: |||||||
"C" E2 E2"^G7.." DE |1"C" C6 || z6 | z6 | z2 G3 A :|2"C" C6 || z2 G3 A |:"C" E2 C2 GA | E2 C2 G2 | %24
w: all look just the|same,|||and the||and they|all play on the|golf course and|
w: all look just the|||||same.|(3) *|boys go in- to|bus'- ness and|
w: |||||||* (4) * *||
 c2 c2 d2 | ed c2 cA | G3 G AA |"G7" F2 F2 FG |"C" EE E2 F2 |"G7" D4 GA |"C" E2 C2 GA | EE C2 G2 | %32
w: drink their mar|tin- i- dry and they|all have pret- ty|child- ren and their|child- ren go to|school and the|child- ren go to|sum- mer camp and|
w: marry and raise,a|fam- i- ly and they|all get put in|box- es lit- tle|box- es all the|same theres a|green one and a|pink one and a|
w: ||||||||
 c2 cB cd | ed c2 cA | G2 G2 GA |"G7" FF FF FG |"C" E2 E2"G7" DE |1"C" C6 || z2 z2 GA :|2"C" C6 |] %40
w: then to the un- i-|ver si- ty and they|all get put in|box * es * and they|all come out the|same|and the|same|
w: blue one * and a|yel- low one and theyre|all made out of|tic- ky tac- ky and they|all look just the|||same.|
w: ||||||||