Early One Morning

Context: This traditional English folk song is often associated with themes of love and loss. It has been sung in various adaptations and has appeared in numerous collections of folk music. The song's origins trace back to the 19th century, reflecting the rural life and emotional experiences of its time.

Musically, 'Early One Morning' is characterized by its simple yet poignant melody, typically set in a major key that conveys a sense of nostalgia and longing. The song often employs a straightforward verse-chorus structure, making it accessible for communal singing. Lyrically, it explores themes of unrequited love and the bittersweet nature of memories, often using vivid imagery to evoke feelings associated with early morning settings. The use of repetition in the lyrics enhances the emotional weight, allowing listeners to connect deeply with the sentiments expressed.

The piece features a gentle, flowing melody that captures the essence of early morning tranquility. Its instrumentation is typically minimalistic, often featuring acoustic guitar or piano, which complements the lyrical themes of love and reflection. The rhythm is steady and unhurried, mirroring the calmness of dawn. The vocal delivery is usually soft and emotive, inviting listeners to reflect on their own experiences of love and loss.

In a serene countryside setting at dawn, the sun begins to rise, casting a warm golden hue over the dewy fields. A solitary figure stands by a rustic wooden fence, gazing out over the landscape with a look of deep contemplation. The air is crisp and filled with the sounds of chirping birds welcoming the new day. As the music plays softly in the background, the figure clutches a letter in hand, reminiscing about a lost love. The gentle breeze rustles through the leaves, enhancing the atmosphere of nostalgia and longing as memories flood back with each note.

X:255
T:Early One Morning
T:Early one morning
T:unknown
C:Traditional English
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"F" F2 F F | F A c c |"Bb" d _B G F |"C7" E G C C | F3/2 F/ F2 | F A c c |"Bb" d _B"C7" G E | %7
w: Ear- ly one|morn * ing just|as the sun was|ris * ing I|heard a maid|sing * in the|val * ley be-|
w: Re- mem- ber|re- mem- ber the|vows you made to|Mar * y *|mem- ber re|mem * ber you|vowed * to be|
w: Thus sang the|poor maid en her|sorr * ows be|wail * ing thus|sang the poor|maid- den in the|vall- * ey be-|
"F" F2 z2 |"C7" G2 A _B |"F" c A F2 |"C7" G2 A _B |"F" c A F2 | F A c f |"Bb" e d c _B | %14
w: low|Oh dont de-|ceive * me|oh nev- er|leave * me|how * could you|use * a *|
w: true|||||||
w: low|||||||
"C7" A G F E |"F" F3 C | F2 F F | F A c c |"Bb" d _B G F |"C7" E G C C |"F" F2 F F | F A c c | %22
w: poor * maid- en-|so oh|gay is the|gar * land and|fresh * are the|flow * ers I've|culled from the|gar * ~den to|
w: ||||||||
w: ||||||||
"Bb" d _B"C7" G E |"F" F4 |"C7" G2 A _B |"F" c A F2 |"C7" G2 A _B |"F" c A F2 | F A c f | %29
w: bind * on thy|brow|Oh dont de|ceive * me|oh nev- er|leave * me|How * could you|
w: |||||||
w: |||||||
"Bb" e d c _B |"C7" A G F E |"F" F4 |] %32
w: use * a *|poor * maid- en|so.|
w: |||
w: |||


Eight Days A Week

Context: Released in 1964, 'Eight Days A Week' is one of The Beatles' most famous songs, characterized by its catchy melody and harmonious vocals. The song was a commercial success, reaching number one on the Billboard Hot 100 chart in the United States.

'Eight Days A Week' features a distinctive structure with a strong emphasis on rhythm and harmony. The song employs a clever use of syncopation and features a prominent guitar riff that drives the melody forward. The lyrics express a sense of longing and devotion, encapsulating the youthful exuberance of love. The use of vocal harmonies showcases the group's dynamic sound, while the upbeat tempo contributes to its infectious energy. Thematically, the song reflects the overwhelming nature of love and desire, suggesting that for true love, one would wish for more than just the conventional seven days in a week.

The music is characterized by an upbeat tempo and lively instrumentation, featuring jangly guitars and driving percussion. The vocal arrangement includes tight harmonies that create a rich soundscape. Lyrically, it conveys themes of love and devotion, with an emphasis on longing and emotional expression. The overall mood is joyful and celebratory, making it a quintessential example of 1960s pop music.

The music plays during a vibrant summer afternoon in a bustling park filled with people enjoying leisurely activities. Sunlight filters through the trees, casting playful shadows on the ground. Couples stroll hand-in-hand, children laugh as they play games nearby, and friends gather for picnics on colorful blankets. The atmosphere is filled with joy and warmth, perfectly matching the upbeat rhythm of the song as it enhances the sense of carefree happiness that permeates the scene.

X:256
T:Eight Days A Week
T:Eight days a week
T:John Lennon and Paul McCartney
C:John Lennon, Paul McCartney
L:1/4
Q:1/4=60
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"C""_Rock" e d c d |"D7" d2 A2 |"F" A c f f |"C" e4 | e d c d |"D7" d2 A2 |"F" A c f f |"C" e4 | %8
w: Ooh I need your|love babe,|guess you know its|true|Hope you need my|love babe|just like I need|you|
w: Love you ev- ry|day girl|al- ways on my|mind|One thing I can|say girl|love you all the|time|
"Am" e2 c2 |"F" d2 A2 |"Am" e2 c2 |"D7" d2 A2 |"C" e d c/c/ d |"D7" d2 A2 |"F" z f f f |1 %15
w: Hold me|love me|hold me|love me|aint got noth- in' but|love babe|Eight days a|
w: |||||||
"C" e/d/ c3!dacoda! :|2"C" e/d/ c3 ||"G" d2 d3/2 e/ | d3 c |"Am" d c d c | d/c/ A3 | %21
w: week * *|week * *|Eight days a|week I|love * * *|* * you|
w: ||||||
"D7" d2 d3/2 e/ | d3 c |"F" d c d c |"G7" d d f2!D.S.! |:O"C" e/d/ c3 |"F" z f f f |"C" e/d/ c3 | %28
w: eight days a|week is|not e- nough to|show I care|week * *|eight days a|week * *|
w: |||||||
"F" z"^repeat and fade" f f f :| %29
w: eight days a|
w: |


Ein bichen Frieden

Context: This song was performed by Nicole at the Eurovision Song Contest 1982, where it won first place for Germany. It is known for its uplifting melody and themes of peace and love, resonating with audiences across Europe.

Musically, 'Ein bichen Frieden' features a simple yet effective melodic structure that emphasizes the lyrical themes of peace and harmony. The song is characterized by its use of major chords, creating a bright and optimistic sound. The arrangement includes orchestral elements that enhance the emotional depth, while the vocal delivery is heartfelt and sincere, reflecting the song's message. The repetitive chorus reinforces the central theme, making it memorable and singable, which is a hallmark of successful pop music. Additionally, the song's harmonic progressions are straightforward, allowing listeners to connect easily with its message.

The piece is structured around a catchy melody that is both uplifting and soothing. The instrumentation includes strings and light percussion, creating a warm soundscape. The vocals are prominent, delivering a message of hope and unity. Throughout the song, there is an interplay between solo vocal lines and harmonized backing vocals that enriches the overall texture. The lyrical content focuses on themes of peace and love, aiming to inspire listeners to embrace these ideals.

In a serene garden at dusk, soft golden light filters through the leaves as a gentle breeze rustles the flowers. A group of friends gathers around a small table adorned with candles, their faces illuminated by the flickering flames. They share laughter and stories, embodying the spirit of camaraderie and joy. As 'Ein bichen Frieden' plays softly in the background, the atmosphere transforms; emotions swell as they reflect on their shared experiences and dreams for a peaceful future. The music enhances this moment of connection, evoking feelings of nostalgia and hope as they raise their glasses in a toast to friendship.

X:257
T:Ein bisschen Frieden
T: Laukens Music Productions
T:Jazz Rock
T:EIN BIssCHEN FRIEDEN
T:Arr. H. Laukens
C:Ralph Siegel
L:1/8
Q:1/4=110
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
"G" B6 A2 |"D7" c6 F2 | A6 D2 |"G" G8 | b6 a2 |"D7" c'6 f2 | a6 d2 |"G" g4- gg dc | B8 |: %9
S"G" DD DG- G G2 G |"D7" FG AD- D3 D | DD DA- A A2 A |"G" GA BD- D4 | DD DB- B B2 B | %14
"C" AB cE- E3 E |1"D7" DD DF- F2 E2 |"G" D4 z2 z D :|2"D7" DD DB- B2 A2 ||"G" G4- GG DC | %19
 B,3 B, B,2 CD- |:"G" D D2 D E2 DF- |"D7" F F2 F F2 GA- | A A2 G F2 EE- |"G" E D2 B, B,2 CD- | %24
 D D2 D E2 DF- |"D7" F F2 F F2 GA- | A A2 G B2O A2 |1"G" G3 B, B,2 CD :|"G" G4- GG DC | %29
 B,4 z2 z DS ||O"G" G2 z2 z4 |:"G" B6 A2 |"D7" c6 F2 | A6 D2 |"G" G8 | B6 A2 |"D7" c6 F2 |1 A6 D2 | %38
"G" G8 :|2 A6 D2 ||"G" G2 z [G,B,] [G,B,]2 [A,C][B,D]- | [B,D] [B,D]2 [GB] [GB]2 [Ac][Bd]- | %42
 [Bd] [Bd]2 [Bd] [ce]2 [Bd]2 | [dgb]8- | [dgb]2 z2 z4 |] %45


El Choclo

Context: El Choclo is a classic tango composed by Angel Villoldo in the early 20th century. It has become one of the most recognizable pieces in the tango repertoire and has been covered by numerous artists globally. The piece is often associated with the vibrant dance culture of Argentina and reflects the passionate spirit of the tango.

Musically, El Choclo is characterized by its syncopated rhythms and melodic lines that are typical of traditional tango music. The piece often features a strong emphasis on the first beat of each measure, which drives the dance forward. The use of minor keys creates an emotional depth, while the interplay between instruments, such as the bandoneon and violin, showcases the rich textures of tango. The structure typically follows a verse-chorus form, allowing for improvisation and variation, which are hallmarks of tango performance. This piece exemplifies the cultural significance of tango as both a musical genre and a social dance form.

The music features a lively yet melancholic melody, marked by its rhythmic complexity and expressive phrasing. Instrumentation often includes strings, piano, and traditional tango instruments like the bandoneon, creating a rich auditory tapestry that captures the essence of Argentine culture. The tempo is moderate to fast, inviting movement and dance while evoking deep emotional responses through its lyrical content.

Picture a dimly lit Buenos Aires dance hall in the late evening, where couples elegantly glide across a polished wooden floor. The air is filled with anticipation as musicians play El Choclo, their instruments resonating with passion. The dancers, dressed in formal attire, exhibit a mix of joy and longing in their expressions as they move in sync with the music's intricate rhythms. Shadows flicker on the walls from candlelight, creating an intimate atmosphere that enhances the emotional weight of each note played. The scene captures not only the beauty of dance but also the cultural heritage that this iconic piece represents.

X:258
T:El Choclo
T:El Choclo
T:Angel Villoldo
C:Angel Villoldo
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:F
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
 z4 z AAB |"Dm" BAAd dffb | b2 a2 z aad' | d'aaf fggf |"A7" f2 e2 z AAB | BAA^c ceeb | %6
 b2 a2 z a^ga | e'^c'c'a aggf |"Dm" e2 d2 z AAB | BAAd dffb | b2 a2 z aad' |"D7" d'aa^f faac' | %12
"Gm" c'2 b2 =BBb | baag gffe |"Dm" e2 d2 dfed |"A7" d2 ^c2 egfe |"_Fine""Dm" d4 z c=Bc || %17
"C7" b b2 b c'bag |"F" b a2 e gfed |"C7" f e2 B edc=B |"F" d2 c2 =A^GA |"A7" g g2 g agfe | %22
"Dm" g2 f2 z fgf |"E7" ed^cd efg^g |"A" a4 z c=Bc :|"A" a4 z Aa^f ||"D" ^d A2 f dAdf | %27
"A7" g2 e2 z Age | c A2 c Aceg |[K:D]"D" f2 d2 z Afe |"B7" ^dB^AB cdef |"Em" a2 g2 z e^de | %32
"E7" f2 e2 z ded |"A" d2 c2 z Aaf :|2"E" fe^de"A7" B=dce ||"D" d4 z4"_D.C. al Fine" |] %36


Eleanor Rigby

Context: Released in 1966, 'Eleanor Rigby' is a song by The Beatles that explores themes of loneliness and isolation. It features a string quartet arrangement, which was innovative for popular music at the time. The song tells the story of Eleanor Rigby, a fictional character, and Father McKenzie, highlighting the disconnect between individuals in society.

'Eleanor Rigby' employs a unique structure that blends narrative storytelling with poignant social commentary. The use of a string quartet instead of traditional rock instrumentation creates an atmosphere of somber reflection. The contrasting imagery of the lonely lives of Eleanor and Father McKenzie serves to critique societal neglect of individuals. The harmonic progression is relatively simple, yet it effectively conveys the emotional weight of the lyrics. The song's melancholic tone is further enhanced by its minor key and the sparse arrangement, allowing the lyrics to take center stage.

The music features a haunting melody characterized by its minor tonality, accompanied by a distinctive string arrangement that adds depth and emotion. The lyrics are rich in narrative detail, presenting vivid imagery of loneliness and existential despair. The vocal delivery is earnest and reflective, enhancing the song's overall somber mood.

The scene unfolds in a dimly lit urban setting during twilight. Shadows stretch across the cobblestone streets as a light rain begins to fall, creating a reflective puddle on the ground. Eleanor Rigby is seen walking alone, her face marked by sadness and contemplation, clutching a worn-out handbag. Nearby, Father McKenzie stands in his modest church, looking out through a stained glass window with a heavy heart, contemplating his own solitude as he prepares for an empty service. The atmosphere is thick with unspoken sorrow, as the music underscores their shared isolation in a bustling city that seems oblivious to their existence.

X:259
T:Eleanor Rigby
C:John Lennon, Paul McCartney
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Alto Saxophone" snm="A. Sax."
%%MIDI program 65
V:1
"C" e4- efga- | a g2f- f e2B- |"Em" B G3- G2"_(instrumental)" AB | GBFB GBEB |"C" e4- efga- | %5
 a g2f- f e2B- |"Em" B G3- G2"_(instrumental)" AB | GBFB GBEB |:"Em" GABG- G E3 | GABd- d^cBc- | %10
 ^cBAB- BAGA- |"C" A4 z4 | GABc-"Em" c2 B2 | GABG- G E3 | GABd- d^cBc- | ^cBAB- BAGA- |"C" A4 z4 | %17
 GABc-"Em" c2 B2 |"Em7" A2 GA- A2 BG- |"Em6" G E3 z2 Ee- |"C/E" e2 BA- AGGE- |"Em" E8 | %22
"Em7" A2 GA- A2 BG- |"Em6" G E3 z2 Ee- |"C/E" e2 BA- AGGE- |"Em" E8 |] %26


Elmer's Tune

Sammy Gallop
Elmer Albrecht
Dick Jurgens

Context: Originally composed in 1941, 'Elmer's Tune' became a significant jazz standard, popularized by various artists over the decades. The piece is named after Elmer Albrecht, one of its co-composers, and has been featured in numerous recordings and performances.

'Elmer's Tune' is characterized by its lyrical melody and rich harmonic structure typical of the big band era. The song often features a relaxed swing feel, with a notable use of syncopation that enhances its playful yet nostalgic quality. The arrangement typically allows for improvisation, showcasing the musicians' virtuosity while maintaining the integrity of the melody. Its harmonic progression often employs extended chords, contributing to its lush sound that evokes a sense of longing and romance.

The music features a smooth, flowing melody that is both memorable and emotive. It combines elements of jazz with a swing rhythm, creating an atmosphere that is both lively and reflective. The instrumentation typically includes brass and woodwind sections, alongside a rhythm section that provides a steady groove. The overall sound is polished and sophisticated, making it suitable for both casual listening and formal performances.

Imagine a dimly lit jazz club in the heart of a bustling city during the late evening. The air is filled with the soft glow of candlelight as patrons sit at small tables, sipping cocktails and engaging in quiet conversation. On stage, a big band plays 'Elmer's Tune,' with the saxophonists swaying gently to the rhythm while the trumpets punctuate the melody with bright bursts of sound. A couple on the dance floor moves gracefully, their expressions reflecting both joy and nostalgia as they lose themselves in the music. The scene captures a moment of connection, where time seems to stand still amidst the vibrant energy of the performance.

X:260
T:Elmer's Tune
T:Elmer's Tune
C:Sammy Gallop, Elmer Albrecht, Dick Jurgens
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"C" z4 G2 A>^A |:"G7" BB z ^A =AA z ^F |"G7" GG^F=F z3/2 ^F<G^G/ |"F" AA z ^F"C" GG z F | %4
w: Why are the|stars al- ways wink- in' and|blink- in' a- bove? What makes a|fel- low start think- in' of|
w: ||||
"Dm7" =FF"C"^DE z3/2 ^F<GA/ |"G7" GG z ^F =FF z ^F |"G7" GG^F=F- F2 z2 | %7
w: fall- in' in love? It's not the|sea- son, the rea- son is|plain as the moon _|
w: |||
"D7" e e2"G9" e- e z"G+" B2 |"C" A4 z3/2 G<A^A/ |"G7" BB z ^A =AA z ^F | GG^F=F z3/2 ^F<G^G/ | %11
w: I'ts just El- * mer's|Tune. What makes a|lad- y of eight- y go|out on the loose? Why does a|
w: ||||
"F" AA z ^F"C" GG z F |"Dm7" =FF"C"^DE z3/2 ^F<GA/ |"G7" GG z ^F =FF z ^F | GG^F=F- F2 z2 | %15
w: gan- der me- an- der in|search of a goose? What puts the|kick in a chick- en, the|mag- ic in June? _|
w: ||||
"D7" e e2"G9" e- e z e2 |"C" c8 |"F" A c3- c4 |"C" A G3- G4 |"F" A>cA>c A>cA>c |"C" A G3- G4 | %21
w: It's just El- * mer's|tune.|Lis- ten, _|lis- ten, _|there's a lot you're li'- ble to be|miss- in'; _|
w: ||||||
"D7" A e3 e4 | d c3- c4 |"G7" dd B2 c2 A2 |"G7" B>G"F"A>G-"G7" G z/ G<A^A/ | BB z ^A =AA z ^F | %26
w: Sing it, _|swing it, _|an- y old way and|an- y old time. _ The hurd- y|gur- dies, the bird- ies, the|
w: |||||
"G7" GG^F=F z3/2 ^F<G^G/ |"F" AA z ^F"C" GG z F |"D7" =FF"C"^DE z3/2 ^F<GA/ | %29
w: cop on the beat; the cand- y|mak- er, the bak- er, the|man on the street; The cit- y|
w: |||
"G7" GG z ^F =FF z ^F |"G7" GG^F=F- F2 z2 |"D7" e2 e2"G7" e e2 c- | %32
w: charm- er, the farm- er, the|man in the moon _|all sing El- mer's Tune.|
w: |||
"C" c2"Edim" z2"G7" z3/2 G<A^A/ :|"C" c4- c2 z2 |] %34
w: _ Why are the||
w: ||


Empty Arms

Context: Ivory Joe Hunter was a significant figure in the development of rhythm and blues music. 'Empty Arms' is one of his notable compositions, reflecting themes of love and loss, characteristic of the emotional depth found in his work.

The piece employs a slow tempo and a melancholic melody, typical of blues music. The harmonic structure follows a classic 12-bar blues format, allowing for expressive vocal delivery. The instrumentation often features piano and guitar, which complement the vocal lines with rich harmonies. Lyrically, the song explores feelings of abandonment and longing, utilizing metaphorical language to convey deep emotional pain. The use of dynamics throughout the piece enhances its emotional impact, with crescendos leading to moments of poignant silence that emphasize the lyrical content.

This music piece is characterized by a soulful melody that evokes feelings of longing and sorrow. The arrangement typically includes smooth instrumental backing that supports a heartfelt vocal performance. The lyrics delve into themes of heartbreak and yearning, creating an atmosphere that resonates with listeners who have experienced similar emotions. The overall sound is warm yet melancholic, making it a powerful expression of emotional vulnerability.

The music plays in a dimly lit room where a solitary figure sits by a window, gazing out at the rain-soaked street. The soft glow of streetlights reflects off puddles, casting an ethereal light on the scene. The character, dressed in casual yet slightly disheveled clothing, appears lost in thought, their expression a mixture of sadness and nostalgia. A photograph lies on the table beside them, hinting at a past love now gone. As the music swells, memories flood back—laughter shared, moments of intimacy—contrasting sharply with the present solitude. Outside, the world continues to move, but within this space, time seems to stand still as the music captures the essence of heartache.

X:261
T:Empty Arms
T:Empty Arms
C:Ivory Joe Hunter
L:1/4
M:2/2
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z2 F G |"F" A4- | A A B A |"C7" G4- | G2 G A |"Gm7" B4- |"C7" B d c B |"F" A4- |"F7" A2 B c | %9
w: Emp- ty|arms|_ that long for|you,|_ And they|wait|_ dear, just for|you.|_ And these|
"Bb" d4- | d f e d |"F" c4- | c A B A |"C7" G4- | G B A G |"F""Bb" F4- |"F" F F B c |"Bb" d4- | %18
w: arms|_ will stay this|way,|_ till you re-|turn|_ to them some|day.|_ Each lone- ly|night|
 d d"C7" e d |"F" c4- |"F7" c _e d c |"Gm" c/ B3/2- B B/c/ |"D7" d/ d3/2 d c/A/ |"G7" G4- | %24
w: _ I go to|bed,|_ I'll hug the|pil- low _ where you|used to _ rest your|head.|
"C7" G z F G |"F" A4- | A A B A |"C7" G4- | G2 G A |"Gm7" B4- |"C7" B d c B |"F" A4- |"F7" A2 B c | %33
w: _ Emp- ty|arms|_ but not for|long,|_ "Cause my|babe|* is com- in'|home.|_ And when|
"Bb" d4- | d f e d |"F" c4- | c A B A |"C7" G4- | G B A G |"F" (3(A/G/F/-)"Bb" F3- |"F" F A B A | %41
w: he|_ walks thru that|door,|_ these emp- ty|arms,|_ I'll have no|mo- * re. _|_ These emp- ty|
"C7" G4- | G B A G |"F" (3(A/G/F/-)"Bb""F" F3- | F3 z |] %45
w: arms,|_ I'll have no|mo- * re _|_|


Every Breath You Take

Context: Released in 1983, 'Every Breath You Take' became one of The Police's most iconic songs. It topped the charts in multiple countries and won the Grammy Award for Song of the Year in 1984. The song is often misinterpreted as a romantic ballad, but its themes delve into obsession and possessiveness.

'Every Breath You Take' features a haunting melody and a minimalist arrangement, characterized by its repetitive guitar riff and steady drumbeat. The song's structure is straightforward, with verses leading into a memorable chorus that emphasizes the obsessive nature of the lyrics. Sting's vocal delivery is both soft and intense, conveying a sense of longing and desperation. The use of minor keys contributes to the song's melancholic atmosphere, while the lyrical content explores themes of surveillance and emotional turmoil, reflecting a complex relationship dynamic.

The music piece is marked by its steady tempo and a blend of rock and pop elements. It features a prominent guitar riff that serves as the backbone of the arrangement, accompanied by soft yet impactful percussion. The vocal lines are melodic and expressive, capturing a sense of yearning and emotional depth. The overall sound is polished, with layers of instrumentation that enhance the lyrical themes of longing and obsession.

In a dimly lit room filled with shadows, a figure stands by a window, gazing out at the rain-soaked streets below. The atmosphere is heavy with tension as the soft glow of streetlights flickers against the glass. Outside, passersby move along obliviously, while inside, the figure clutches a photograph tightly, their expression a mix of sadness and determination. As the music plays softly in the background, it underscores their internal struggle—a haunting reminder of love lost and an unyielding desire to hold onto what once was.

X:262
T:Every Breath You Take
C:Sting, The Police
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm=" " snm=" "
%%MIDI program 13
V:1
"^Intro""G" G,DAD BADA | G,DAD BADA |"Em" E,B,FB, GFB,F | E,B,FB, GFB,F | C"C"GdC cG C2 | %5
w: |||||
w: |||||
"D" DG e2 dADd |"G" G,DAD BADA | z2 Bc B2 (AG) |:"^Verse""G" G4 z4 | z2 Bc B2 (AG) | %10
w: ||Eve- ry breath you _|take|Eve- ry move you _|
w: |||make|Eve- ry vow you _|
"Em" (GE) z2 z4 | z GGB-B c2G |"C" z GGc-c B2A |"Dsus4" z AGB GG z2 |"^To Coda""Em" z8 |1 %15
w: make _|Eve- ry bond _ you break|Eve- ry step _ you take|I'll be watch- ing you||
w: break _|Eve- ry smile _ you fake|Eve- ry claim _ you stake|I'll be watch- ing you||
 z2 Bc B2 (AG) |"G" B6 z2 | z2 Bc B2 (AG) |"Em" G2 z2 z4 | z GGB-B c2G |"C" z GGc-c B2A | %21
w: Eve- ry sing- le _|day|Eve- ry word you _|say|Eve- ry game * you play|Eve- ry night _ you stay|
w: ||||||
"D" z AGB"Dsus4"G G2 z |"G" z8 | z2 G2 B2 (dc) ||"^Chorus""C" e6 z2 |"C/Bb" z2 ee d2>G2 | %26
w: I'll be watch- ing you||Oh, can't you _|see|You be- long to|
w: |||||
"G" B4 z4 | z2 ge g2 (ge- |"A7" e)(g e6) | z eaaf(e d2) |"D7sus4" d2 z2 z4 |"D7" z2 Bc B2 (AG) :|2 %32
w: me.|How my poor heart _|_ aches, _|with eve- ry step you _|take|Eve- ry move you *|
w: |||with eve- ry breath you _|take||
[K:Eb]"Eb" z ggg- gfff- |f f2g-g f2f ||"F" z fff fdcf- |f d2f-f f2f |"Eb" z eff f2 ff | %37
w: Since you've gone _ I been lost|_ with- out _ a trace,|I dream at night I can on-|* ly see _ your face.|I look a- round but it's|
w: |||||
f f2g- g2 dc |"F" z cfc f2 dc | f2 df- f2 ff |"Eb"zc f2 f2 cf- |f c2f-f c2f |:[K:G]"G" g8- | g8 | %44
w: you I can't _ re- place|I feel so cold and I|long for your _ em- brace|I keep cry- ing ba-|* by ba- * by please|_||
w: |||||||
"Em" z8 | z8 |"C" z8 |"D" z8 |1"Em" z8 | z8 :|2"G" z8 | z2 G2 B2"^To chorus" (dB) || %52
w: |||||||Oh can't you _|
w: ||||||||
"^Coda""Em" z GGB z c2G |"C" z GGc z B2A |"D" z AGB G2 G2 |"Em" z8 | z8 | z8 | z2 Bc B2 (AG) | %59
w: Eve- ry move you make,|eve- ry step you take|I'll be watch- ing you||||I'll be watch- ing _|
w: |||||||
"G" G2 z2 z4 | z8 |: z8 | z2 Bc B2 (AG) | G4 z4 | z8 :| %65
w: you|||I'll be watch- ing _|you||
w: ||||||


Every Time Two Fools Collide

Context: The song 'Every Time Two Fools Collide' was performed by Jan Dyer and Jeff Tweel, and it explores themes of love and heartbreak. It has been covered by various artists and remains a notable piece in the country music genre.

Musically, 'Every Time Two Fools Collide' features a blend of traditional country instrumentation, including acoustic guitars, piano, and subtle strings, which create a warm and inviting atmosphere. The song is characterized by its poignant lyrics that reflect on the cyclical nature of love and the emotional turmoil that often accompanies romantic relationships. The harmonic structure is straightforward yet effective, utilizing common chord progressions that enhance the lyrical storytelling. The vocal delivery is heartfelt, with both artists showcasing their vocal harmonies effectively, which adds depth to the emotional weight of the song. The arrangement builds gradually, allowing for dynamic contrasts that mirror the lyrical themes of conflict and resolution.

This piece features a gentle melody underscored by a steady rhythm that evokes feelings of nostalgia and longing. The instrumentation includes rich acoustic guitar strumming paired with soft piano chords, creating a soothing backdrop for the emotive vocal performances. Lyrically, it delves into the complexities of love, highlighting moments of vulnerability and reflection. The overall sound is warm and inviting, making it resonate deeply with listeners who have experienced similar emotional journeys.

The music plays softly in a dimly lit room where two characters sit across from each other at a small table. The atmosphere is thick with unspoken words as they share a bottle of wine, their expressions revealing a mix of sadness and longing. Outside the window, raindrops trickle down the glass, mirroring their emotional state. The light from a flickering candle casts dancing shadows on the walls, enhancing the intimate yet tense ambiance. As they reminisce about their past together, their voices occasionally break as they confront their feelings of love lost and the foolishness of their decisions. The music swells gently, underscoring their emotional exchange as they grapple with whether to move forward or let go.

X:263
T:Every Time Two Fools Collide
T:Every Time Two Fools Collide
T:Jan Dyer and Jeff Tweel
C:Jan Dyer and Jeff Tweel
L:1/8
M:4/4
I:linebreak $
K:D
V:1 treble
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z2"D""^Dottie" DD D4 |"F#m" C A,6 A, |"G" B,6- B,B, |"D" B,2 A,4- A,D |"A" E4- ED F2 | %5
w: You want things|your way, And|I * want|them mine, * And|now * we don't|
"Bm" ED- D4 F2 |"E" E4- EB,CB, |"A7" (B, A,6) A, |"D" D4- DEF>F |"D7" (E D6) D |"G" E4- EDDG, | %11
w: know * * Just|where * to draw the|line. * And|how * can love sur-|vive * If|we * keep choos- ing|
"Em" A,6 z A, |"D" A,3 A,"Bm" D3 E |"D" F2 D4 EF |"Em7" G3 G"A7" F3 E |"D" D8 |"^Kenny" z6 (3DDD | %17
w: sides? And|who picks up the|piec- es ev- 'ry|time two fools col-|lide?|You lay the|
"F#m" C2 B, A,4 A, |"G" B,4- B,D/D/DE |"D" F8 |"A" z DEE/E/- E3 D |"Bm" C3 C<(CB,/ A,2) z/ | %22
w: blame on me, and|I * lay the blame on|you,|But why do we * keep|find- ing fault * *|
"E" z C E3 CC>B, |"A7" A,8 |"D" z D/D/ D3 DDE |"D7" z F2 F (F>E D2) |"G" z D- D4 B,G, | %27
w: in ev- ery thing we|do.|And how long can we keep|right and wrong * *|so * cut and|
"Em" B,6 z A, |"D" A,3 A,"Bm" D3 E |"D" F2 D4 EF |"Em7" G3 G"A7" F3 E |"D" D8 | %32
w: dried? And|who picks up the|piec- es ev- 'ry|time two fools col-|lide?|
"G""^Both" z2 B,D D3 B, |"D" A,8 |"G" z2 B,D D3 D |"D" F8- | F8 |"D""^Kenny" z DD D4 E | %38
w: We can save our|love;|We still have the|time.||And I know there|
"D7" F2 F>F (FE D2) |"G" E4 D2 B,G, |"Em" B,6 z"^Both" B, |"D" A,3 A,"Bm" D3 E |"D" F4 D2 EF | %43
w: must be a way * *|We still have- n't|tried To|keep our hearts from|break- ing ev- 'ry|
"Em7" G3 G"A7" F3 E |"D" D6 z B, |"D" A,3 A,"Bm" D3 E |"D" F4 D2 EF |"Em7" G6 G2 |"A7" F6 E2 | %49
w: time two fools col-|lide; To|keep our hearts from|break- ing ev- 'ry|time two|fools col-|
"G" (G8 |"Bb7" (G4)"A7" (A4) |"D" A8) |] %52
w: lide?|||


Everybody Loves My Baby

Context: Originally written in the 1920s, 'Everybody Loves My Baby' is a classic jazz standard that has been performed by various artists over the decades. The song reflects the upbeat and carefree spirit of the Jazz Age, showcasing themes of love and admiration. It has been covered by notable musicians, contributing to its enduring popularity.

Musically, 'Everybody Loves My Baby' is characterized by its syncopated rhythms and catchy melody typical of early jazz compositions. The song employs a simple AABA structure, which is common in jazz standards, allowing for improvisation and variation. The harmonic progression features typical jazz chords, creating a lively and engaging atmosphere. Lyrically, the song expresses a light-hearted sentiment about love and attraction, with an emphasis on the universal appeal of the subject.

The piece features a lively tempo with a playful melody that captures the essence of early jazz music. It is structured to allow for improvisational elements, making it a favorite among musicians. The instrumentation typically includes brass and woodwind instruments, along with a rhythm section that provides a swinging beat. The vocals are often delivered in a cheerful manner, enhancing the song's upbeat theme.

In a dimly lit jazz club during the 1920s, patrons are seated at small round tables adorned with flickering candles. A trio of musicians plays on stage: a pianist energetically tapping away at the keys, a saxophonist swaying to the rhythm, and a drummer keeping time with soft brush strokes. The atmosphere is vibrant as couples dance closely, lost in the music. The spotlight shines on a charismatic singer who captivates the audience with their warm voice, delivering the lyrics with charm and enthusiasm. Laughter and clinking glasses fill the air as everyone revels in the joyous celebration of love expressed through this timeless tune.

X:264
T:Everybody Loves My Baby
T:Ev'rybody loves my baby
T:(but my baby don't love nobody but me)
T:. Spencer Williams,Jack Palmer
C:Spencer Williams
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"Dm" A A F D | A A F D | A A F/D/ F | A A F/D/ F |"G7" (F D3/2) z/ z |"C7" z E G/G/ E |"F" D4 | %7
w: Ev- ry- bod- y|loves my ba- by|but my ba- by don't|love no- bod- y but|me _|No- bod- y but|me|
"A7" z4 |"Dm" A A F D | A A F D | A A F/D/ F | A A F/D/ F |"A7" E4- |"E7" E E E E |"A7" E2 z2 | %15
w: |Ev- ry- bod- y|wants my ba- by|but my ba- by don't|wan no- bod- y but|me|_ that's plain to|see|
"C7" z2 z G |"F7" F F F F | F G ^G A | F F F F | F2 z F |"Bb" F F F F | F G ^G A |"G7" F F E F | %23
w: She|is my swet Pa-|too- tie and I|am her lov- in|man Knows|how to do her|du- ty loves me|like no oth- er|
"C7" G2"A7" A A |"Dm" A A F D | A A F D | A A F/D/ F | A A F/D/ F |"G7" (F D3) | %29
w: can that's why|ev- ry- bod- y|loves my ba- by|but my ba- by don't|love no- bod- y but|me _|
"C" z A c/A/G/ z/ |1"F" F4 |"A7" z4 :|2 F4- | F z"F" z2 |] %34
w: No- bod- y but|me||me|_|


Everything A Man Could Ever Need

Context: This song, performed by Mac Davis, reflects the heartfelt emotions associated with love and longing. Released in the early 1970s, it showcases Davis's signature blend of country and pop styles, resonating with audiences through its relatable lyrics and melodic structure.

Musically, 'Everything A Man Could Ever Need' employs a simple yet effective chord progression that underpins the emotional weight of the lyrics. The song is characterized by its use of a soft piano intro that transitions into a gentle rhythm section, allowing for the vocals to take center stage. The melody is crafted to evoke feelings of warmth and nostalgia, utilizing a mix of major chords that create an uplifting atmosphere. Lyrically, the song explores themes of love and fulfillment, emphasizing the idea that true happiness comes from deep emotional connections rather than material possessions. The instrumentation complements this sentiment, with strings and harmonies that enhance the overall emotional impact.

The piece features a warm and inviting melody characterized by smooth vocal lines and gentle instrumental accompaniment. The arrangement includes soft piano chords, light percussion, and lush string sections that together create a soothing soundscape. The lyrical content focuses on themes of love and emotional fulfillment, expressing a yearning for connection and intimacy. The overall tone is reflective and heartfelt, designed to resonate with listeners on a personal level.

In a dimly lit room filled with soft golden light, a couple sits closely on a vintage couch, their hands intertwined as they share tender glances. Outside, the sun sets, casting warm hues through the window. The atmosphere is intimate; a gentle breeze rustles the curtains as the music plays softly in the background. The couple reminisces about their journey together, laughter mingling with moments of silence as they reflect on their shared experiences. Each note of the song enhances their connection, evoking memories of their first meeting and dreams for the future.

X:265
T:Everything A Man Could Ever Need
T:Everything A Man Could Ever Need
C:Mac Davis
L:1/4
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:S z2 C E |"C" G2 G G | G E E G |"G" G G G G | G z z G |"Gm" G G G G |"A" A G F E |"Dm" F4- | %8
w: 1.~Look- in'|back on the|days when I was|scuf- flin' for a|buck, Nor|ov- er- ly con-|cerned with life and|love.|
w: 3.~Now my|workin' day seems|short- er than it|ev- er did be-|fore, The|ev- 'ning breeze gets|cool- er day by|day.|
"Dm7" F4 |"Dm6" z4 |"Dm" z2 D E |"G7" F F F F | F E D E |"Dm" F F F F |"G7" D z z (F/F/) | %15
w: _||I was|al- ways feel- in'|sor- ry for my-|self and my bad|luck; I _|
w: _||And the|morn- ing sun is|al- ways shin- in'|down on my baCk|door, And your|
"Dm" F F F F |"G7" G F E D |"C" E4 |"F" z2 C E |"C" (G G) G G | G E E G |"G" G G G G | G z z G | %23
w: nev- er stopped to|think what life's made|of.|2.~With my|nose _ to the|grind- stone and my|shoul- der to the|wheel, I|
w: laugh- ter wash- es|all my cares a-|way.|4.~~And *|not a day goes|by that I don't|look up to the|skies, And|
"Gm" G (G/G/) G G |"A" A G F E |"Dm" F4- |"Dm7" F4 |"Dm6" z4 |"Dm" z2 z E |"G7" F F F F | %30
w: fought for my dai- ly|dol- lar like a|man.|_||Then|you came in- to|
w: hum- bly _ thank the|Good Lord up a-|bove.|_||For|bring- ing you to|
 F (E E) E |"Dm" F F F F |"G7" D z z F |"Dm" F F F F |"G7" G F E D |"C" C4- |"F""C" C4 | %37
w: my life _ and|noth- ing else seemed|real; I|found the an- swer|right here in my|hands.|_|
w: me in time to|make me re- a-|lize, That|all a poor man|real- ly needs is|love.|_|
 z z/ C/ C C |"Dm7" A A A A |"G7" B3/2 B/ B B |"C" c4 | z2 C C |"Dm7" A3/2 A/ A A | %43
w: And I've got|ev- 'ry- thing a|man could ev- er|need|I've got|dreams to dream and|
w: ||||||
"G7" B3/2 B/ B B/B/ |"C" c G3 | z2 C C |"Dm7" A3/2 A/ A A |"G7" B B B B |"C" c3/2 c/ d e | %49
w: songs to sing in the|morn- in'.|I've got|hands to hold my|ba- by child and|eyes to watch my|
w: ||||||
"F" e c2 A- | A4 |"F" z4 | z F2 E |"Dm7" E D D D |"G7" E3/2 F/ E D!dacoda! ||"C" C4- |"C6" C4 | %57
w: wo- man smile.|_||I got|ev- 'ry- thing a|man could ev- er|need.|_|
w: ||||||||
"C" z4!D.S.! :|O"C" C4- | C z E E |"Dm" D2 D D- | D3 D |"G7" E4 | z z/ F/ E D |"C" ((C4 | %65
w: |need.|_ I've got|ev- 'ry- thing|_ a|man|could ev- er|need.|
w: ||||||||
"F" c4-)) |"C" c4- | c2- c/ z/ z |] %68
w: _|||
w: |||


Everything Is Beautiful

Context: Released in 1970, 'Everything Is Beautiful' by Ray Stevens is a song that conveys a message of positivity and appreciation for the beauty in life. It became one of Stevens' signature hits, reaching the top of the charts and resonating with audiences for its uplifting lyrics and catchy melody.

Musically, 'Everything Is Beautiful' features a blend of country and pop influences, characterized by its simple chord progressions and melodic hooks. The arrangement includes orchestral strings that enhance the song's emotional appeal. Lyrically, it emphasizes themes of positivity and appreciation for life's simple pleasures, reflecting the social context of the early 1970s when messages of peace and love were prevalent in popular music. The song's structure follows a classic verse-chorus format, allowing for a memorable sing-along quality that contributed to its commercial success.

The music piece is characterized by its bright and cheerful melody, accompanied by a smooth vocal delivery that conveys warmth and optimism. The instrumentation includes gentle strings and light percussion, creating an inviting atmosphere. The lyrics celebrate the beauty found in everyday life, encouraging listeners to embrace joy and positivity.

In a sunlit park during a warm afternoon, families gather for a picnic under blooming trees. Children laugh and play on the grass while adults share stories and enjoy homemade treats. The scene is vibrant with colors—bright flowers dotting the landscape and kites flying high in the clear blue sky. As 'Everything Is Beautiful' plays softly in the background, it enhances the feeling of joy and togetherness, capturing the essence of a perfect day spent with loved ones.

X:266
T:Everything Is Beautiful
T:Everything is beautiful
T:Ray Stevens
C:Ray Stevens
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"F" A2 A2 AGFD | C4 F4 |"C" GGGG"F" AGFA |"C" G6 CB, |"F" A,CFG F2 FE |"Bb" DEFD C2"F" AG | %6
w: Je- sus loves the lit- tle|child- ren|all the lit- tle child- dren of the|world red and|yel- low black and white they are|pre- cious in His sight Je- sus|
"Bb" FEFD"C7" EFGE |"F" F8 | z4 AccA |:"F" d3 c c4- |"Dm7" c4 AB A2 |"G" AG- G6- | G4 DEFG | %13
w: loves the lit- tle child- ren of the|world|Ev- ry- thing is|beau- ti- ful|* in its own|way * *|* like a star- ry|
"Gm7" A3 G"C7" G3 C/C/ |"Gm7" d2 cc"C7" AGFG |"F" A8- | A4 AccA | d3 c c4- |"Dm7" c4 AB A2 | %19
w: sum- mer night or a|snow cov- ered win * * ters|day|* Ev- ry- bod- ys|beau- ti- ful|* in their own|
"G" AG- G6- | G4 DE F2 |"Gm7" A3 G"C7" G3 C |"Gm7" d2 cd"C7" AGFG |"F" (3DCD F6- |"Bb" F4 z4 | %25
w: way * *|* un- der God's|heav- en the worlds|gon- na find * * * a|way * * *||
"F" z2 AA B2 AA |"C" A G4- GCC |"Bb" D2 F2 G A3 |"F" GF- F6 | z c (3c z c (3ccc z2 |"C" cA G4 CC | %31
w: There is non so *|blind * * as *|he that will not|see * *|we * must not close our|minds * * we must|
"Bb" D2 F2 G3 A |"F" GF- F6 | z2 cf f f3 |"C" z cee d c3 |"Bb" z Fd c2 (3dcA (3c/c/d/ |"F" AG D6 | %37
w: let our thoughts be|free * *|for ev- ry hour|that pass- es by *|you know the world gets a lit- tle bit|old- * er|
 z FcA cc d2 | z"C" AcA (3ccc CC |"Eb" DF- F2- FFGA |"F" GF F6 |"F" z4 AccA :| %42
w: its time to re- al- ize|that beau- ty lies * * in the|eyes * * * of the be-|hold * er|ev- ry- thing is|
"F" z4"G" =Bdd"^Chorus:"_B |:[K:G]"G" e3 d d4- |"Em7" d4 Bc B2 |"A" BA- A6- | A4 EFGA | %47
w: ev- ry- thing is|beau- ti- ful|* in its own|way * *|* like a star- ry|
"Am7" B3 A A3 D/D/ | e2 dd"D7" BAGA | B8- |"G" B4 BddB | e3 d d4- |"Em7" d4 Bc B2 |"A" B2 A2- A4- | %54
w: sum- mer night or a|show- cov- ered win * * ters|day|* ev- ry- bod- ys|beau ti- ful|* in their own|way * *|
"A7" A4 EFB z | B3 A"D7" A3 D |"Am7" e2 de"D7" BAGA |"G" (3EDE G6- | %58
w: * un- der Gods|heav * en the|worlds gon- na fin d * a|way * * *|
"G7" G4"C" B"G"d"^Repeat"d"^andfade"B :| %59
w: * ev- ry- thing is|


Everything's Coming Up Roses

Context: Originally written for the musical 'Gypsy', this song has become an anthem of hope and resilience. It reflects the character's determination to rise above adversity, embodying the spirit of optimism prevalent in American musical theatre.

The piece is characterized by its soaring melodies and intricate harmonies, typical of Styne's compositional style. The song employs a major key tonality, which contributes to its uplifting nature. The structure features a clear verse-chorus form, with the chorus serving as a powerful declaration of hope. Styne's use of dynamic contrasts enhances the emotional impact, while Sondheim's lyrics convey a sense of longing and aspiration. The thematic elements revolve around perseverance in the face of challenges, making it a quintessential show tune that resonates with audiences seeking inspiration.

This music piece is marked by its vibrant orchestration and emotive vocal lines. The melody is expansive and uplifting, designed to evoke feelings of joy and determination. The rhythmic structure is lively, encouraging a sense of movement and progression. Lyrically, it combines elements of personal reflection with broader themes of hope, creating a narrative that speaks to overcoming obstacles. The instrumentation typically includes strings, brass, and woodwinds, enhancing the theatrical quality of the performance.

The music plays during a pivotal moment in a bustling city street at dusk, where the protagonist stands amidst a crowd of people moving hurriedly in various directions. The sky is painted in hues of orange and pink as the sun sets, casting a warm glow on the scene. Characters around her are engaged in their own struggles—some appear weary, while others are filled with excitement. The protagonist, dressed in vibrant colors that reflect her hopeful spirit, raises her arms towards the sky, singing passionately about her dreams and aspirations. As she sings, the crowd begins to slow down, captivated by her energy and optimism, creating an atmosphere charged with possibility and hope.

X:267
T:Everything's Coming Up Roses
T:EVERYTHING'S COMING UP ROSES
C:Jule Styne
L:1/4
M:2/2
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
V:1
"^Fast Tempo" B3 c |:"Dm7" A4- |"G+7" A B2 c |"C6" A4- | A B2 c |"Dm7" A A A c- | c A2"G7" E | %7
w: Things look|swell,|_ Things look|great,|_ Gon- na|have the whole world|_ on a|
w: |decks,|_ Clear the|tracks,|_ We got|noth- ing to do|_ but re-|
"C" A4- | A"B+7" G2"B7" ^F |"Em" G4- |"C7" G E2 C |"Fmaj7" E4- | E C2 E |"C" (3:2:2A4 G2- | %14
w: plate.|_ Start- ing|here,|_ Start- ing|now,|_ Hon- ey,|Ev- 'ry-|
w: lax.|_ Blow a|kiss,|_ Take a|bow,|_ Hon- ey,|Ev- 'ry-|
 (3:2:2G2 A4 |"Em" (3:2:2G4 A2- | (3:2:2A2 G4 |"Dm7" A2"G7" G2- |1 G4 | z4 | z"Ebdim7" B2 c :|2 %21
w: * thing's|Com- ing|_ Up|Ros- es!|_||Clear the|
w: * thing's|Com- ing|_ Up|Ros- es!|_|||
 G4 || z4 | z4 |"Dm7" C3"G7" D- | D4 |"Cmaj7" D3"C6" E- | E4 |"Dm7" z F2 E |"G9" F E F G- | %30
w: _|||Now's our|_|inn- ing,|_|Stand the|world on its ear!|
w: |||||||||
"C" G4- | G3 z |"F#m7b5" E3"B7" ^F- | ^F4 |"Em" ^F3 G- | G4 |"Am7" (3E2 D2 E2 |"D7" (3^F2 G2 A2 | %38
w: _||Set it|_|spin- ning,|_|That 'll be|just the be-|
w: ||||||||
"F#" ^A3"G7" B- | B"Ebdim7" B2 c |"Dm7" A4- | A"G+7" B2 c |"C6" A4- | A B2 c |"Dm7" A A A c- | %45
w: gin- ning!|_ Cur- tain|up,|_ Light the|lights,|_ We got|noth- ing to hit|
w: |||||||
 c A2"G7" E |"C6" A4- |"B+7" A G2"B7" ^F |"Em" G4- |"C7" G E2 C |"Fmaj7" E4- | E"Fm6" G2 F | %52
w: _ but the|heights!|_ We'll be|swell,|_ We'll be|great!|_ I can|
w: |||||||
"Em7" G4- |"Am7" G E2 C |"D9" E4- | E3"G7" D |"C" C2"G7" D2 |"Am7" E2"Fm" F2 |"C" G2 A2 | B2 c2 | %60
w: tell,|_ Just you|wait!|_ That|luck- y|star I|talk a-|bout is|
w: ||||||||
"D7""C#7b5" d4- | d2-"D9" d2- |"C#7b5" d3"D9" z | z c2 B |"C" (3:2:2A4 (G2 | (3:2:2G2) A4 | %66
w: due!|_ _||Hon- ey,|Ev- 'ry-|* thing's|
w: ||||||
"Em" (3:2:2G4 A2- | (3:2:2A2 G4 |"Dm7" (3:2:2A4 G2- | (3:2:2G2 A4 |"G7" (3:2:2G4"Dm7" A2- | %71
w: Com- ing|_ Up|Ros- es|_ for|me and|
w: |||||
 (3:2:2A2"G7" G4 |"C" c4- | c z z2 |] %74
w: _ for|you.|_|
w: |||


Eye of the Tiger

Context: Released in 1982, 'Eye of the Tiger' was composed by Frankie Sullivan and Jim Peterik for the film 'Rocky III'. The song became a massive hit and is recognized as an anthem of perseverance and determination. It topped the Billboard Hot 100 chart for six consecutive weeks and has been widely used in sports and motivational contexts.

'Eye of the Tiger' features a driving rhythm and powerful guitar riffs that create an energizing atmosphere. The song is structured around a standard verse-chorus format, characterized by its memorable hook and anthemic quality. The use of minor keys contributes to its intensity, while the dynamic shifts between softer verses and explosive choruses enhance its motivational impact. Lyrically, it speaks to themes of resilience and fighting against adversity, resonating with listeners who seek inspiration.

The music is characterized by its strong beat and prominent guitar work, creating an uplifting yet aggressive sound. The verses build tension with a steady rhythm that transitions into powerful choruses, marked by soaring vocals. The instrumentation includes electric guitars, bass, drums, and synthesizers, contributing to a rich sonic texture that elevates the emotional stakes of the piece.

The music plays during a climactic training montage set in a gritty urban gym at dawn. The scene is illuminated by soft rays of morning light filtering through grimy windows, casting long shadows on the worn-out equipment. A determined protagonist, clad in sweat-drenched workout gear, performs intense exercises, pushing through physical limits with grit and determination. The camera captures close-ups of their intense expressions, beads of sweat glistening on their forehead as they visualize their ultimate goal—a championship fight. Surrounding them are fellow athletes, each absorbed in their own struggles, creating a palpable atmosphere of camaraderie and shared ambition.

X:268
T:Eye of the Tiger
T:Eye of the Tiger
T:Survivor
T:Main Line
T:JW
T:2
T:Eye of the Tiger
T:Repeat from begining until end
T:3
T:Eye of the Tiger
T:4
T:Eye of the Tiger
C:Frankie Sullivan
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:none
V:1 treble transpose=-2 nm="Melody"
%%MIDI program 56
%%MIDI control 7 102
%%MIDI control 10 64
V:1
[K:F] z2"Cm" Ac/A/- A2 z2 |"Ab" GFAG F2 z2 | z2"Bb" G<F G2 G<A |"Cm" G2 F2 z4 | %4
w: Ris- in' up,- *|back on the street _|Did my time took my|chances _|
 z2"Cm" Ac/d/- dAGF |"Ab" A>G- GG F2 DF/"Bb"G/- | G2 GF/G/- G2 GF/"Cm"A/- | A4 z4 | %8
w: Went the distance, _ _ now I'm|back on _ my feet Just a man|_ and his will _ to survive _|_|
 z"Cm" A Ac/A/- A2 z"Ab" F | GFAG F2 z2 | z"Bb" GGG GFA"Cm"G- | G F3 z4 | z2"Cm" Ac/d/- d2 GF | %13
w: So many _ times, _ it|happens _ too fast _|You change your passion _ for glory|_ _|Don't lose your grip on the|
"Ab" A>G- GG F2 D<F |"Bb" G2 GG/G/- G2 GF/"Cm"A/- | A4 z"Bb" G z/"Cm7" A3/2 | z"Fm" B BB/B/- BAGF | %17
w: dreams of _ the past You must|fight just to keep _ them alive _|_ It's the|eye of the tiger, _ _ it's the|
"Eb" FGA"Bb"G- G"Bb"G-"Cm7"A3/2 z/ |"Fm" B2 BB/B/- BAGF |"Cm" A2"Bb" G2 z"Bb" G- G<"Cm7"A | %20
w: thrill of the fight _ Risin' _|up to the challenge _ _ of our|rival _ And _ the|
"Fm" B2 BB/B/- BAGF |"Eb" FGA"Bb"G- G"Bb"G- G<"Cm7"A |"Fm" B>A- AB"Eb" c>B- Bc | %23
w: last known survivor _ _ _ stalks his|prey in the night _ And _ he's|watchin' _ _ us all in _ the|
"Ab" d6 GF/"Cm"G/- | G>F F4 z2 | z8 | z2"Cm" Ac/A/- A2 z2 |"Ab" GFAG F2 z2 | z2"Bb" GF/G/- G2 G<A | %29
w: eye of the tiger|_ _ _||Fact to face, _|out in the heat _|Hangin' _ tough, _ stayin' _|
"Cm" G2 F2 z4 | z2"Cm" Ac/d/- d2 GF |"Ab" A>G- GF A2 DF/"Bb"G/- | G2 GF/G/- G2 GF/"Cm"A/- | %33
w: hungry _|They stack the odds 'till we|take to _ the street For we kill|_ with the skill _ to survive _|
 A4 z"Bb" G z/"Cm7" A3/2 | z"Fm" B BB/B/- BAGF |"Eb" FGA"Bb"G- G"Bb"G- G<"Cm7"A | %36
w: _ It's the|eye of the tiger, _ _ it's the|thrill of the fight _ Risin' _ up|
"Fm" B2 BB/B/- BAGF |"Cm" A2"Bb" G2 z"Bb" G- G<"Cm7"A |"Fm" B2 BB/B/- BAGF | %39
w: to the challenge _ _ _ of our|rival _ And _ the|last known survivor _ _ _ stalks his|
"Eb" FGA"Bb"G- G"Bb"G- G<"Cm7"A |"Fm" B>A- AB"Eb" c>B- Bc |"Ab" d6 GF/"Cm"G/- | G>F F4 z2 | z8 | %44
w: prey in the night _ And _ he's|watchin _ _ us all in _ the|eye of the tiger|_ _ _||
 z8 | z8 | z2"Cm" Ac/A/- A2 z2 |"Ab" GFAG F2 z2 | z2"Bb" GF/G/- G2 GA |"Cm" G2 F2 z4 | %50
w: ||Risin' _ up, _|straight to the top _|Have the guts, _ got the|glory _|
 z2"Cm" Ac/d/- d2 GF |"Ab" A>G- GF A2 DF/"Bb"G/- | G2 GF/G/- G2 GF/"Cm"A/- | %53
w: Went the distance, _ now I'm|not gonna _ _ stop Just a man|_ and his will _ to survive _|
 A4 z"Bb" G z/"Cm7" A3/2 | z"Fm" B BB/B/- BAGF |"Eb" FGA"Bb"G- G"Bb"G- G<"Cm7"A | %56
w: _ It's the|eye of the tiger, _ _ it's the|thrill of the fight _ Risin' _ up|
"Fm" B2 BB/B/- BAGF |"Cm" A2"Bb" G2 z"Bb" G- G<"Cm7"A |"Fm" B2 BB/B/- BAGF | %59
w: to the challenge _ _ _ of our|rival _ And _ the|last known survivor _ _ _ stalks his|
"Eb" FGA"Bb"G- G"Bb"G- G<"Cm7"A |"Fm" B>A- AB"Eb" c>B- Bc |"Ab" d8 | z4 z2 GF/"Cm"G/- | G>F F4 z2 | %64
w: prey in the night _ And _ he's|watchin' _ _ us all in _ the|eye|of the tiger|_ _ _|
 z8 | z8 | z8 | z8 | z2 z D AGF"Cm"G- | GF F2 z4 | z8 | z8 | z2 z D AGF"Cm"G- | GFFD z4 | z8 | z8 | %76
w: ||||The eye of the tiger|_ _ _|||The eye of the tiger|_ _ _ _|||
 z2 z D AGF"Cm"G- | GFFG z4 | z8 | z8 | z2 z D AGF"Cm"G- | GFFD z4 | z8 | z8 | z8 | z8 | z8 | z8 | %88
w: The eye of the tiger|_ _ _ _|||The eye of the tiger|_ _ _ _|||||||
 z8 | z8 | z8 |] %91
w: |||


Falling In Love With Love

Context: Originally written for the 1938 musical 'The Boys from Syracuse', this song has become a standard in the jazz repertoire and has been covered by numerous artists. It captures the essence of falling in love and the complexities that come with it.

The song features a lush harmonic structure typical of Rodgers' compositions, employing chromaticism and rich chords that evoke a sense of longing and tenderness. The lyrical content, penned by Hart, reflects a whimsical yet poignant exploration of love's capricious nature. The interplay between the melody and harmony creates an emotional depth, allowing performers to convey a range of feelings from joy to melancholy. Notably, the use of syncopation in the rhythm adds a playful quality to the music, enhancing its overall charm.

This piece is characterized by its smooth melodic lines and intricate harmonies that reflect the emotional highs and lows associated with romantic relationships. The tempo is moderate, allowing for expressive phrasing, while the instrumentation often includes piano, strings, and woodwinds, contributing to its lush sound. The lyrics explore themes of infatuation and vulnerability, inviting listeners into a reflective space about love's complexities.

In a dimly lit jazz club, the stage is adorned with soft blue lights casting gentle shadows across the room. A singer stands at the microphone, dressed elegantly in a flowing gown, embodying both grace and vulnerability. As she begins to sing 'Falling In Love With Love', the audience is captivated, swaying gently to the rhythm. The atmosphere is thick with anticipation as couples gaze into each other's eyes, lost in their own worlds of affection. The band behind her plays softly, with a smooth piano solo weaving through the melody, enhancing the intimate ambiance. Outside, rain patters against the windows, creating a cozy cocoon that amplifies the warmth of love expressed through music.

X:269
T:Falling In Love With Love
T:Falling in love with love
T:(from The boys from Syracuse)
T:Richard Rodgers
T:Lorenz Hart
C:Richard Rodgers
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"C" D E E | E2 E | E2 E | E F G |"G7" G2 A | D3- |"Dm" D3- |"G7" D z2 | F G G | G2 G | G2 G | %11
w: Fall- ing in|love with|love is|fall- ing for|make be-|lieve|||fall- ing in|love with|love is|
w: I fell in|love with|you one|night when the|moon was|full|||I was un-|wide with|eyes un|
 G A B |"C" e3- | e3- | e3- | e z2 | d e e | e2 e | e2 e | e d c |"E7" E3 |"^ToCoda" E3- | E3- | %23
w: play- ing the|fool||||Car- ing too|much is|such a|ju- ve- nile|fan-|cy||
w: a- ble to|see||||I fell in|love with|love with|love ev- er|last-|ing||
 E z2 |"Am" c d d | d2 d |"Dm" d2 d |"D7" d c B |"Dm7" D3- |"^D.C.alCoda" D3- |"G7" D3- | D2 z || %32
w: |Learn- ing to|trust is|just for|child- ren in|school||||
w: |||||||||
"^Coda""A7" E2 z | e3 |"Dm" d3 |"A7" e3 |"Dm7" f3 |"G7" g3 |"C" g3- | g3- | g3- | g z2 |] %42
w: |but|love|fell|out|with|me.||||
w: ||||||||||


Farmer's Market

Context: Released in the late 1950s, 'Farmer's Market' is a collaboration between trumpeter Art Farmer and vocalist Annie Ross, showcasing the cool jazz movement that emerged in the post-bebop era. The piece reflects the improvisational style and intricate harmonies characteristic of this genre.

The composition features a blend of syncopated rhythms and lyrical melodies, typical of cool jazz. Art Farmer's trumpet playing is marked by its warm tone and expressive phrasing, while Annie Ross's vocals add a layer of sophistication through her nuanced delivery. The interplay between the trumpet and vocals creates a dialogue that enhances the emotional depth of the piece. The harmonic structure often employs extended chords, providing a lush backdrop for improvisation. This piece exemplifies the seamless integration of instrumental and vocal elements, highlighting the collaborative spirit of jazz musicians during this period.

The music presents a smooth and melodic interplay between trumpet and vocals, characterized by soft dynamics and intricate phrasing. The trumpet carries the main melody with a warm, inviting tone, while the vocals weave in and out, adding layers of harmony. The rhythm section maintains a relaxed groove, allowing for subtle syncopations that enhance the overall flow. The atmosphere is one of tranquility and sophistication, making it suitable for both casual listening and deeper musical exploration.

Imagine a sunlit open-air market bustling with activity on a warm afternoon. Stalls adorned with vibrant fruits and vegetables line the pathways, while shoppers browse leisurely, exchanging smiles and greetings. In the background, a small ensemble plays 'Farmer's Market,' filling the air with smooth jazz melodies. A couple dances gently near a flower stall, their movements reflecting the rhythm of the music. Nearby, children laugh as they chase each other around a fountain, their joy harmonizing with the playful notes of the trumpet. The scene captures a moment of community and connection, enhanced by the soothing sounds of jazz that evoke feelings of nostalgia and warmth.

X:270
T:Farmer's Market
T:Farmer's Market
T:Art Farmer
T:Annie Ross
T:1952, renewed 1980 Raybird Music Inc. & Art Farmer Music.
C:Art Farmer
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 40
V:1
 e ||"^N.C. (Intro - optional)" fAdf ed_dA | c2 d=B z d/f/ af | gd z2 BAGc | z EFB- BAFD || %5
w: |||||
w: |||||
S"F6""^A" FC=B,C GC_B,C |"Gm7" ABAG"C7" z2 z A- |"F6" A2 B=B cEF_B- |"Cm7" BAF_E"F7" z2 z F | %9
w: Once there was a girl and she was|right from the sticks Thought|* she'd go out to the mar-|* ket one day and|
w: Once there was a drum- mer who was|straight from New York. Tour-|* in' the count- ry with *|* Ward- ell Gray *|
"Bbmaj7" D2 z2 cABf- |"Bbm7" f4-"Eb7" fd^de |"Am7" z4 BAG^F |"D7b9" z2 z A- A c2 _e | %13
w: hey we could sure say|* * of the town|she was the toast,|Real- * ly the|
w: * we could sure say|* * of the drums,|he was the toast,||
"Gm7" d2 z A cAB_D- |"C7b9" _D2 A4 z2 |"F6" GBAG"Abmaj7" _ABc_e |"Dbmaj7" _dF_Ac"Gb7" B=A_GE || %17
w: most, we don't want to boast,|* but|scads of lads would soon sur- round her|Cit- y slick- ers sure would hound her.|
w: ||all the craz- y chicks would hound him,|all the swing- in bands would sound him.|
"F6""^B" FC=B,C GC_B,C |"Gm7" ABAG"C7" z2 z A- |"F6" A2 B=B cEF_B- |"Cm7" BAF_E"F7" z2 z F/=E/ | %21
w: She walked in the mar- ket place and|what did she see, Crew-|* cut and cute with a cra-|* zy goat- ee What a|
w: Then one day he saw the one that|made his head whirl, He|* met and mar- ried the same|* lit- tle girl. * *|
"Bbmaj7" D2 z2 cABf- |"Bbm7" f4-"Eb7" fd^de |"Am7" z4 gfe_e |"D+7" z2 b4 ag |"Gm7" z2"Db7" a6- | %26
w: blend, he was the end|* * sell- in' beans|Dressed in his jeans,|"What a buy."|she|
w: * they are the end|* * they're real cool|house with a pool|crazy scenes *|Blame|
"C+7" a4- afdc | %27
w: * * was heard to|
w: * * it on the|
"F6" f2"^Solo break ..." z2"^Solos on F blues. \nAfter solos, D.S. al fine" z4!fine! | z8 |] %29
w: cry.||
w: beans.||


Feed the Birds

Context: This song is featured in the classic Disney film 'Mary Poppins' and is notable for its gentle melody and poignant lyrics that reflect themes of kindness and charity. It emphasizes the importance of caring for others, particularly in the context of feeding birds, which serves as a metaphor for nurturing and compassion.

Musically, 'Feed the Birds' is characterized by its simple yet elegant melodic structure, which employs a slow tempo and a soft dynamic level that evokes a sense of calm and introspection. The harmonic progression is primarily diatonic, utilizing major chords that contribute to its uplifting feel. The use of syncopation in the vocal lines adds a gentle lilt, enhancing the song's reflective quality. The arrangement features orchestral strings and woodwinds, which create a warm, inviting soundscape. The lyrical content encourages selflessness and highlights the joy found in small acts of kindness, making it a poignant moment within the narrative of 'Mary Poppins'.

The music piece features a soothing melody accompanied by lush orchestration that creates an atmosphere of warmth and nostalgia. The vocal delivery is tender and heartfelt, emphasizing the emotional weight of the lyrics. The song's structure is straightforward, allowing for a focus on its thematic elements rather than complex musical techniques. It embodies a gentle call to action, urging listeners to engage in acts of kindness.

The music plays during a serene scene in a bustling city park where children and families gather to enjoy the day. Sunlight filters through the leaves of tall trees, casting dappled shadows on the ground. A kind woman, dressed in a vintage outfit, sits on a park bench with a bag of breadcrumbs, smiling as children run around her. She gently scatters crumbs for the birds that flutter nearby, their chirping harmonizing with the soft melody. The atmosphere is peaceful, filled with laughter and the sound of nature, creating a moment where time seems to stand still as everyone enjoys this simple act of nurturing life.

X:271
T:Feed the Birds
T:Richard M. Sherman, Robert B. Sherman
T:Feed the Birds
T:from Walt Disney's Mary Poppins
T:Wonderland Music Company Inc. (1963)
C:Richard M Sherman, Robert B. Sherman
L:1/8
M:3/4
I:linebreak $
K:C
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 52
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"C""^Moderato" (C4 C)E | G6 |"F" A (c3 c)A |"C" G6 |"F" A (c3 c2) |"C" e (c3 c2) |"D7" c (B3 B)c | %7
w: Feed _ the|birds,|tup- pence _ a|bag,|tup- pence, _|tup- pence, _|tup- pence _ a|
"G7" d6 |"C" (C4 C)E | G4 z2 |"F" A2 c3 A |"C" G6 |"F" A2 c3 A |"C" G4 c2 |"G7" B4 cd |"C" c4 cB | %16
w: bag.|"Feed _ the|birds,"|That's what she|cries,|while o- ver-|head her|birds fill the|skies. All a-|
"Am" A4 ^GA |"E7" e2 d3 B |"Am" A4 ^GA |"E7" B2 E3 E |"Am" A4 ^GA |"E7" e4 B2 |"Am" (c6 | %23
w: round the ca-|the- dral, the|saints and a-|pos- tles look|down as she|sells her|wares.|
 c2) z2 c2 |"C" c2 B2 c2 |"G7" g2 f3 d |"C" c4 Bc |"G7" d2 G3 d |"C" e4 fe |"E7" d4 cB |"Am" (A6 | %31
w: _ Al-|though you can't|see it, you|know they are|smi- ling each|time some- one|shows that they|care.|
"G7" G4) z2 |"C" (C4 C)E | G4 G2 |"F" A (c3 c)A |"C" G4 z2 |"F" A (c3 c2) |"C" e (c3 c)c | %38
w: _|Though _ her|words are|sim- ple _ and|few,|Lis- ten, _|lis- * * she's|
"D7" c2 B2 c2 |"G7" d4 z2 |"C" (C4 C)E | G6 |"F" A (c3 c)d |"E7" e4 z2 |"F" e (c3 c2) | %45
w: cal- ling to|you.|Feed _ the|birds,|tu- pence _ a|bag,|tup- pence, _|
"D7" e (c3 c2) |"G7" e c3 d2 |"C" c6 |] %48
w: tup- pence, _|tup- pence a|bag.|


Feeling Good

Context: Originally written for the musical 'The Roar of the Greasepaint – The Smell of the Crowd' in 1964, 'Feeling Good' has been covered by numerous artists, including Nina Simone, whose version popularized the song further. The song is often associated with themes of liberation and renewal.

'Feeling Good' is characterized by its powerful vocal delivery and orchestral arrangement. The song opens with a striking brass introduction that sets an uplifting tone, followed by a gradual build-up that showcases dynamic contrasts. The use of minor and major chords throughout creates a sense of tension and release, reflecting the lyrical themes of freedom and rebirth. The structure typically follows a verse-chorus format, with the chorus providing a climactic resolution that emphasizes the emotional weight of the lyrics. The rhythmic drive is accentuated by syncopated patterns in the accompaniment, enhancing the overall sense of movement and optimism.

The music features a rich orchestral arrangement that combines brass, strings, and percussion to create a vibrant soundscape. The melody is bold and soaring, allowing for expressive vocal interpretations. Lyrically, it conveys themes of awakening and liberation, often evoking feelings of joy and empowerment. The harmonic progressions are both simple yet effective, allowing for a strong emotional impact through repetition and variation.

The music plays during a bright morning scene in a bustling city park. Sunlight filters through the trees, casting dappled shadows on the ground where people are jogging, walking dogs, and enjoying leisurely picnics. A group of friends gathers on a blanket, laughing and sharing stories while children play nearby. The atmosphere is filled with energy and positivity as birds chirp and leaves rustle in the gentle breeze. In this vibrant setting, individuals begin to dance spontaneously to the uplifting rhythm, embodying the spirit of freedom that the music evokes.

X:272
T:Feeling Good
T:Feeling Good
C:Anthony Newley
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"Dm" D2"Dm7" FG"G" A4 |"Dm" AD"Dm7"FG"G" A4 |"Dm" DD"Dm7"FG"G" A4 |"F" cAAG"A" A4 | %4
w: Birds fly- ing high,|you now how I feel.|Sun _ in the sky,|you know how I feel.|
w: Fish in the sea,|you now how I feel.|Riv- er run- ning free,|you know how I feel.|
"Dm" AAdc"Bbmaj7""Bb6" d4 |"F" ADFG"G" A3 D/D/ |"Dm" F2 GF/F/"Bb" G2 AG/G/ | %7
w: Breeze _ drift- ing by,|you know how I feel. It's a|new dawn, it's a new day, it's a|
w: Blos- soms on the tree,|you know how I feel. * *||
"Fmaj7" A2 c2-"Bbmaj7" c z (3(AGD) |"G7" (F2 G2-"Gm7" G) z DC |1"Dm""G9" D8- ||"Dm" D4"G9" z4 :|2 %11
w: new life _ for _ _|me. _ _ Feel- ing|good.||
w: ||||
"Dm""G9" D8- ||"Dm" D4"G9" z4 ||"Dm" DE"F+"FG"F" Ac"Fmaj7" c2 |"Bbmaj7" dAAG"Fmaj7""F7" A4 | %15
w: good.||Drag- on- fly out in the sun,|hyou know what I mean.|
w: ||||
"Dm" DE"F+"FG"Am" Ac c2 |"Fmaj7" cA"F6"Ac"Bbmaj7""Bb6" d4 |"F6" dccA"Dm" AF F2 | %18
w: But- ter- flies all hav- ing fun,|you know what I mean.|Sleep in peace when day is done,|
w: |||
"Bbmaj7" AFF"G9"F- F2 z C/C/ |"F" C2 DC/C/"Dm" D2 FD/D/ |"Bb" F2 G2-"Gm7" G z (DC) |"Dm""G9" D8- | %22
w: that's what I mean. _ An this|old world is a new world and a|bold world _ for _|me.|
w: ||||
"Dm" D4"G9" z4 ||"Dm" D2"Dm7" FG"G" A4 |"Dm" AD"Dm7"FG"G" A4 |"Dm" D2"Dm7" FG"G" A4 | %26
w: _|Stars when you shine,|you know how I feel.|Scent of the pine,|
w: ||||
"F" cAAG"A" A4 |"Dm" A2 de"Bbmaj7""Bb" d4 |"F" ADFG"G" A3 D/D/ |"Dm" F2 GF/F/"Bb" G2 AG/G/ | %30
w: you know how I feel.|Free- dom is mine,|I know how I feel. It's a|new dawn, it;'s a new day, it's a|
w: ||||
"Fmaj7" A2 c2-"Bbmaj7" c z (3(AGD) |"G7" F2 G2-"Gm7" G z dc |"Dm""G9" d8- |"Dm""G9" d8- | %34
w: new life _ for _ _|me. _ _ Feel- ing|good.|_|
w: ||||
"Dm""G9" d8- |"Dm6" !fermata!d8 |] %36
w: ||
w: ||


Ferry Cross the Mersey

Context: Released in 1965, 'Ferry Cross the Mersey' is a song by Gerry and the Pacemakers, a band that was part of the Merseybeat scene in Liverpool. The song reflects the beauty and significance of the Mersey Ferry, which connects Liverpool with the Wirral Peninsula. It has become an anthem for the city and is often associated with themes of longing and reminiscence.

Musically, 'Ferry Cross the Mersey' features a simple yet effective chord progression that enhances its melodic appeal. The song is characterized by its use of major chords, creating a bright and uplifting sound. The structure follows a traditional verse-chorus format, allowing for emotional expression through repetition. Lyrically, the song conveys a sense of yearning and nostalgia, as it reflects on the experience of crossing the river and the memories associated with it. The instrumentation includes jangly guitars and harmonious backing vocals, typical of the 1960s pop sound, which contributes to its enduring charm.

The music piece is characterized by its melodic simplicity and heartfelt lyrics that evoke feelings of nostalgia and longing. It features a bright and uplifting sound with a steady rhythm that invites listeners to reflect on their own memories associated with travel and connection. The instrumentation is rich yet accessible, combining rhythmic guitar strumming with harmonious vocal arrangements that enhance the emotional depth of the piece.

The music plays as a ferry glides across the shimmering waters of the Mersey River at sunset. The sky is painted in hues of orange and pink, reflecting on the gentle waves below. Passengers on board gaze out at the iconic Liverpool skyline, their faces illuminated by the warm glow of the setting sun. Some are lost in thought, while others share quiet conversations, reminiscing about their past experiences in this vibrant city. The atmosphere is filled with a sense of tranquility and nostalgia, as seagulls call overhead and the soft sound of water lapping against the ferry creates a serene backdrop.

X:273
T:Ferry Cross the Mersey
C:Gerry Marsden
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Melody" snm="Choir"
%%MIDI program 53
V:1
"F ""Cmin" z8 |"F ""Cmin" z8 |"F ""Cmin" c8- |"F " c2 _Bc"Cmin" _e2 cB |"F ""Cmin" c8 | %5
w: ||Life|* goes on day af- ter|day,|
"F ""Cmin" z8 |"F ""Cmin" c8- |"F " c2 _Bc"Cmin" _e2 cB |"F ""Cmin" c6 z2 |"F " z4"C7" z2 c2 | %10
w: |hearts|* torn in e\- ve- ry|way.|So|
"F " f2 c2- c z"Fmaj7" fg | e2"Amin" c4 Ae |"Gmin" d4- dc _Bd |"C7" c3- c/c/- c>A- AG | %14
w: fer- ry * cross the|Mer- cey cause this|land's * the place I|love * and * here * I'll|
"F " A4"Cmin" z4 |"F ""Cmin" z8 |"F ""Cmin" c8- |"F " c2 _Bc"Cmin" _e>c- cB |"F ""Cmin" c6- c z | %19
w: stay.||Peo-|* ple they rush e\- * very-|where, *|
"F ""Cmin" z8 |"F ""Cmin" c8- |"F " c2 _Bc"Cmin" _e2 cB |"F " c4"Cmin" z4 |"F " z4"C7" z2 c2 | %24
w: |each|* with their own se- cret|care.|So|
"F " f2 c4 fg |"Amin" e2 c4 Ae |"Gmin" d4- dc _B-(3B/4d/4c/4-c/ |"C7" c3 A G<A G2 |"F " F6 z2 | %29
w: fer- ry cross the|Mer- cey a\- nd|al- * ways take * me there, *|the place I l\- o\-|ve.|
 z8 |"Gmin" F G2 A"C7" _B2 cB |"F " A2 F4 z2 |"Gmin" G z/ G/- GA"C7" _B2 c2 |"F " A3 z"Fmaj7" z4 | %34
w: |Peo- ple a\- round e\- very|cor- ner,|they seem * to smile and|say,|
"Gmin" z2 GA"C7" _B>c- cd |"Amin" e2 c>A- A4 |"G7" d>d- dd (3d2 c2 _B2 |"C7" c2 z2 z4 | %38
w: we don't care what * your|name is boy, *|we'll ne- * ver turn you a\-|way.|
"F ""Cmin" c8- |"F " c2 _Bc"Cmin" _e2 cB |"F ""Cmin" c8 |"F ""Cmin" z8 |"F ""Cmin" c8- | %43
w: So,|* I con- tin- ue to|say,||here,|
"F " c2 _Bc"Cmin" _e2 cB |"F " c4-"Cmin" c z z2 |"F " z4"C7" z2 c2 |"F " f2 c4 fg | %47
w: * I * al- ways will|stay. *|So,|fer- ry cross the|
"Amin" e2"C " c4 Ae |"Gmin" d4- dc _Bd |"C7" c4- c<c AG |"F " A4-"Cmin" A z z2 | %51
w: Mer- cey cause this|land's * the place I|love * and here I'll|stay, *|
"F " z2 z A"Cmin" G2 d>c- |"F ""Cmin" c8 |"F " z4"Cmin" _B2 G2 |"F ""Cmin" F8- |"F ""Cmin" F8 | %56
w: and here I'll stay,||here I'll|stay.||
"F " z8 |] %57
w: |


Fields of Gold

Context: Released in 1993 as part of the album 'Ten Summoner's Tales', 'Fields of Gold' is one of Sting's most beloved songs, characterized by its gentle melody and reflective lyrics. The song evokes imagery of golden fields and romantic memories, drawing from themes of love and loss.

Musically, 'Fields of Gold' features a simple yet effective chord progression that enhances its lyrical themes. The use of acoustic guitar provides a warm, organic sound, while Sting's vocal delivery is both tender and poignant. The song employs a moderate tempo and a 4/4 time signature, creating a relaxed atmosphere that invites introspection. Lyrically, the song reflects on the passage of time and the enduring nature of love, using pastoral imagery to evoke a sense of nostalgia. The refrain, with its repeated references to 'fields of gold', serves as a metaphor for cherished memories and the beauty found in fleeting moments.

This piece is characterized by its soothing melody and heartfelt lyrics that explore themes of love and reminiscence. It features gentle instrumentation primarily led by acoustic guitar, accompanied by soft percussion and subtle harmonies. The structure is straightforward, typically following a verse-chorus format that allows the emotional weight of the lyrics to resonate deeply with listeners. The overall tone is reflective and nostalgic, evoking feelings of warmth and longing.

The music plays softly in the background as the sun begins to set over a vast expanse of golden wheat fields. A couple walks hand in hand, their silhouettes framed against the vibrant hues of orange and pink in the sky. They pause occasionally to take in the beauty around them, sharing quiet laughter and stolen glances filled with affection. In the distance, a gentle breeze rustles through the tall grass, adding to the serene atmosphere. The scene captures a moment frozen in time, where love flourishes amidst nature's beauty, perfectly complemented by the soothing melodies that evoke memories of shared experiences.

X:274
T:Fields of Gold
T:Fields of Gold
T:Sting
C:Sting
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble
%%MIDI program 65
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"F#m""F#m7/E""^Intro" A8- |"D" A>(GG)F/E/- E2- E/D/E- |"A" E6 z2 | z4 z2 AG |: %4
w: Ooh...|||You'll re-|
w: ||||
w: ||||
"F#m" F E2 E- E z"A/E" z A- |"D" A/G/FEF- F4- | FE/E/- E/D/E-"E7" E2- E/D/C- | %7
w: mem- ber me * when|* the west wind moves *|* a- mong * the fields * * of bar-|
w: took her love * for|* to gaze a while *|* a- mong * the fields * * of bar-|
w: stay with me, * will|* you be my love *|* a- mong * the fields * * of bar-|
"A" C<E z2 z2"E/G#" AG |"F#m" F2 EE- EA"F#m"GF/E/- |"D" E E3-"A/C#" E2 z/ A,/C |1 %10
w: * ley You can|tell the sun * in his jeal- ous|* sky * when we|
w: * ley In his|arms she fell * as her hair came|* down * a- *|
w: * ley We'll for-|get th sun * in his jeal- ous|sky * * as we|
"Bm7" D2 C/B,/B,-"E7" B,2- B,/G,/A,- ||"A" A,4 z2 AG :|3"Bm7" D2 C/B,/B,-"E7" B,2- B,/G,/A,- || %13
w: walked in * fields * * of gold.|* So she|lie in * fields * * of gold.|
w: mong the * fields * * of gold|* Will you||
w: |||
"A" A,4 z4 ||"D" z2 z E EE E2 |"E" FE (E/C/)E-"A" E/(C/4B,/4)A,-"A/C#" A,2 | %16
w: |I nev- er made|prom- is- es * light- * ly, * * *|
w: |||
w: |||
"D" z2 z3/2 C/ EE/E/-EF- |"E" FE/E/-EE-"A" E/C/4B,/4A,-"A/C#" A,2 |"D" z2 z/ A,/E- EE-EE/E/ | %19
w: and there have been * some|* that I've * bro * ken, * * *|but I * swear * in the|
w: |||
w: |||
"Esus4" E2 E(E/C/)"F#m" z2"A/E" (3z B,C |"D" (DC)B,C-"E" C2- C/G,/A,- |"F#m" A,4"A/E" z F- F<E- | %22
w: days still left * we will|walk * in fields * * of gold.|* We'll * *|
w: |||
w: |||
"D" E/D/CB,A,-"E" A,C-CG,/A,/- |"A" A,4"E/G#" z4 ||"F#m""F#m7/E" A8- |"D" A>G-GF/E/- E2- E/D/E- | %26
w: * * * walk in * fields * of gold.||Ooh||
w: ||||
w: ||||
"A" E6 z2 | z4 z"E/G#" A2 G |:"F#m" F2 EE- E2"A/E" (AG-) |"D" G<G F/E/F- F4- | %30
w: |Man- y|years have passed * since *|* those sum- mer days *|
w: ||mem- ber me * when the|* west wind * blows *|
w: ||||
 F>A,E>E"E7" E2- E/D/C |"A" E4 z"E/G#" (c B2) |"F#m" c A2 G"F#m/E" FGAF- | %33
w: * a- mong the fields * of bar-|ley. See *|the chil- dren run as the sun|
w: * up- on the fields * of bar-|ley You can|tell * the sun in his jeal-|
w: |||
"D" F (3(F/G/)F/ EE-"A/C#" E4 |1"Bm7" (3z B,C D2"E7" CB,-B,G,/A,/- ||"A" A,4 z2 AG :| %36
w: * goes * * * down *|as you lie in fields * of gold.|* You'll re~\-|
w: * ous * * * sky *|||
w: |||
"Bm7" (3z B,C D2"E7" CB,-B,G,/A,/- |2"A" A,4 z2"A/C#" z (A,/B,/) || %38
w: when we walked in fields * of gold.|* When *|
w: ||
w: ||
"D" C(DC)B,-"Esus4" B,C-CG,/A,/- |"F#m" A,4"A/E" z (FE)D- |"D" DC- C/(B,/A,)"E" C2 (B,/A,/)A,- | %41
w: we walked * in * fields * of gold|* When * we|* walked * in * fields of * gold|
w: |||
w: |||
"A" A,4 z4 |"F#m""F#m7/E" A8- |"D" A>G-GF/E/- E2 E/D/E- |"A" E6 z2 | z8 |] %46
w: |Ooh...||||
w: |||||
w: |||||


Fine And Dandy

Context: Fine And Dandy is a popular song composed by Kay Swift with lyrics by Paul James, first introduced in the 1930 musical 'Fine and Dandy'. It has since become a standard in the jazz repertoire, often performed by various artists across different genres.

The song features a lively tempo and a playful melody that reflects the carefree spirit of its era. The harmonic structure is predominantly based on traditional jazz progressions, utilizing major and minor chords to create a sense of movement and resolution. The lyrics convey themes of love and optimism, with a conversational tone that invites the listener into an intimate dialogue. The interplay between vocal lines and instrumental accompaniment showcases the song's rhythmic vitality, while the use of syncopation adds to its charm. Performers often interpret the piece with a sense of improvisation, allowing for personal expression within the established framework.

This piece is characterized by its upbeat tempo and engaging melody, featuring a blend of syncopated rhythms and smooth lyrical lines. The instrumentation typically includes piano, brass, and woodwinds, creating a rich harmonic backdrop that supports the vocal delivery. The lyrics express themes of romance and joy, employing clever wordplay and a conversational style that enhances its appeal. The overall mood is light-hearted and celebratory, making it a favorite in both jazz clubs and theatrical performances.

In a dimly lit jazz club during the late evening, the atmosphere is vibrant with chatter and laughter. A small stage is set with a grand piano at center stage, illuminated by soft golden lights. A stylishly dressed singer stands at the microphone, exuding charisma as they engage with the audience. The band behind them—a trio of musicians on piano, double bass, and drums—provides a lively accompaniment. As the music begins to play, patrons sway gently in their seats, smiles spreading across their faces as they tap their feet to the infectious rhythm. The scene captures a moment of joy and connection as the singer delivers each line with playful enthusiasm, inviting everyone to share in the lighthearted celebration of love.

X:275
T:Fine And Dandy
T:Fine And Dandy
C:Kay Swift
L:1/4
M:2/2
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"F" E2 D F- |"Abdim7" F4 |"Gm7" F2 D"C7" A- | A A3 |"F" E2 D F- |"Abdim7" F F2 D | %6
w: Gee it's all|_|fine and dan-|* dy,|Sug- ar Can-|* dy, when|
"Gm7" A2 F"C7" c- | c4 |"F7" c2 =B d- | d c A F |"Bb7" D2 D D- | D2 z2 |"Eb7" B2 A c- | c B G _E | %14
w: I've got you.|_|Then I on-|* ly see the|sun- ny side,,|_|Ev en troub-|* le has it's|
"Ab7" C2 C C- |"C7" C2 z2 |"F" E2 D F- |"Abdim7" F4 |"Gm7" F2 D"C7" A- | A A3 |"F" E2 D F- | %21
w: fun- ny side.|_|When you're gone|_|Su- gar Can-|* dy|I get lone-|
"Abdim7" F F2 D |"Gm7" A2 F"C7" c- | c4 |"Cm7" c2 G"F7" d- | d d2 A |"Bb" c2 G"Bbm" B- | B B2 F | %28
w: * some, I|get so blue.|_|When you're han-|* dy it's|fine and dan-|* dy, But|
"F" A F"Dm" A F |"G7" A"C7" A3 |1"F" F2"Eb" z2 |"Ab""C7" z4 :|2"F""Bb7" F4- |"F" F2 z2 |] %34
w: when you're gone what|can I|do?||||


Five Long Years

Context: Originally recorded in 1953, 'Five Long Years' is a quintessential blues track that showcases Eddie Boyd's emotive vocal style and poignant lyrics. The song reflects themes of heartache and longing, typical of the blues genre. Boyd was known for his ability to convey deep emotion through his music, and this track has been covered by various artists over the years.

Musically, 'Five Long Years' is characterized by its 12-bar blues structure, which is foundational in the genre. The song features a slow tempo, allowing for expressive vocal delivery and instrumental solos. Boyd's use of call-and-response in the lyrics creates an engaging interaction with the listener, while his piano work complements the vocal line with syncopated rhythms. The harmonic progression typically follows the I-IV-V pattern, which is standard in blues music. The emotional weight of the lyrics is enhanced by the minor tonality, evoking feelings of sadness and reflection. The song's narrative structure presents a personal story of loss, resonating with universal themes of love and regret.

The music piece presents a slow and soulful melody that captures a deep sense of longing and sorrow. The instrumentation primarily features piano, accompanied by subtle guitar riffs and a steady rhythm section that underpins the emotional delivery. The vocal performance is heartfelt, with a raw quality that conveys the pain of separation. Lyrically, it explores themes of time lost and emotional distress, creating an atmosphere that resonates with listeners on a personal level.

The music plays in a dimly lit bar on a rainy night, where patrons sit at small tables nursing their drinks. A single spotlight illuminates a lone performer at the piano, his face etched with emotion as he pours his heart into the song. Outside, raindrops patter against the window, mirroring the melancholy tone of the music. The audience listens intently, some lost in their thoughts while others wipe away tears. The scene captures a moment of shared human experience—sorrow and reflection intertwined within the comforting embrace of blues music.

X:276
T:Five Long Years
C:Eddie Boyd
L:1/8
M:12/8
I:linebreak $
K:C
V:1 treble nm="Flute"
%%MIDI program 73
V:1
 G_B ||"C7" c2 _B c2 B c2 e z3 |"F7" z2 c _e2 f f2 e dcA |"C7" c3 z3 z6 | z6 z3 z cc | %5
w: If you've|ev- er been mis- treat- ed,|you know just what I'm talk- in' a-|bout|If you've|
"F7" _e2 c G2 F _E2 C z3 | z2 c _e2 f f2 e dcA |"C7" c3 z3 z6 | z6 z3 z cc | %9
w: ev- er been mis- treat- ed,|you know just what I'm talk- in' a-|bout|I work|
"G7" c2 c c_Bc c(_BG- G3) |"F7" z2 c _eec z (ge f/e/ c2) |"C7" z6 z3 z3/2 E/F/E/ | (F/E/- E2) z6 |] %13
w: five long years for one wo- man * *|and she had the nerve * * * *|to kick me|out. * *|


Flashdance... What a Feeling

Context: This song was released in 1983 as part of the soundtrack for the film 'Flashdance'. It became an anthem for empowerment and is known for its catchy melody and upbeat tempo. Irene Cara, who performed the song, also co-wrote it with Giorgio Moroder and Keith Forsey. The song won the Academy Award for Best Original Song and topped the Billboard Hot 100 chart.

Musically, 'Flashdance... What a Feeling' features a blend of pop and dance elements, characterized by its driving beat and synthesizer-driven instrumentation. The song employs a verse-chorus structure, with a memorable hook that emphasizes themes of aspiration and liberation. The lyrics reflect the emotional journey of pursuing one's dreams, utilizing imagery that evokes both struggle and triumph. The production showcases typical 1980s pop sensibilities, including layered vocals and a prominent use of synthesizers, which contribute to its energetic feel. The dynamic shifts between softer verses and an exuberant chorus create a compelling contrast that enhances the overall impact of the song.

The music piece is characterized by its vibrant tempo and uplifting melodies, creating an atmosphere of hope and determination. The instrumentation includes prominent synthesizers, rhythmic percussion, and powerful vocal delivery, which together evoke feelings of excitement and motivation. The lyrical content speaks to themes of self-discovery and the pursuit of dreams, providing an emotional resonance that connects with listeners on multiple levels. The arrangement builds towards an anthemic chorus that invites participation and celebration.

The music plays during a pivotal moment in a dance studio filled with bright lights and mirrors reflecting the energy of the performers. Dancers are seen practicing their routines with intense focus, sweat glistening on their foreheads as they push their limits. The setting is vibrant, with colorful costumes adding to the visual spectacle. As the music swells, one dancer stands out, her expression shifting from determination to joy as she finally nails a challenging move. The scene captures not only her personal victory but also the collective spirit of all those striving to achieve their dreams.


Flight Of The Bumblebee

Context: Originally composed as an orchestral interlude for the opera 'The Tale of Tsar Saltan', 'Flight of the Bumblebee' has become one of the most recognized pieces in classical music. It is often performed as a standalone concert piece and is famous for its rapid tempo and intricate passages that mimic the flight of a bumblebee.

'Flight of the Bumblebee' is characterized by its frenetic pace and continuous melodic lines that create a sense of urgency and movement. The piece is written in a free form, allowing for improvisation and variation, which contributes to its virtuosic demands on performers. The harmonic structure primarily revolves around chromaticism, creating tension that resolves in brief moments of stability. The orchestration typically features strings, woodwinds, and brass, each section contributing to the buzzing effect through rapid note sequences and dynamic contrasts. The overall impression is one of chaos and spontaneity, effectively capturing the essence of a bumblebee's erratic flight pattern.

This music piece features a fast tempo with rapid, swirling melodies that create an impression of movement and energy. The instrumentation includes strings and woodwinds, producing a bright and lively sound. The composition is marked by intricate passages that challenge performers to execute swift notes with precision. Its structure is largely improvisational, allowing for expressive interpretation while maintaining a cohesive thematic focus on nature's dynamism.

The music plays during a vibrant garden scene at midday, where sunlight filters through lush green leaves, casting playful shadows on the ground. Colorful flowers bloom in abundance, their petals swaying gently in the breeze. A bumblebee flits from flower to flower, its buzzing harmonizing with the lively orchestration. Nearby, children laugh as they chase each other, their movements echoing the frenetic energy of the music. The air is fragrant with the scent of blossoms and freshly cut grass, enhancing the joyful atmosphere as nature comes alive.

X:278
T:Flight Of The Bumblebee
T:Flight Of The Bumblebee
C:Nikolai Rimsky-Korsakov
L:1/16
M:2/4
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"E7" e'_e'd'^c' d'c'=c'b | c'b_ba _ag^f=f |"E7" e_ed^c dc=cB | cB_BA ^G=G^F=F | E_ED^C DC=CB, | %5
w: |||||
 E_ED^C DC=CB, |"Am" E_ED^C =CF=E^D | E_ED^C"D7" =C^CD^D |"Am" E_ED^C =CF=E^D | %9
w: ||||
"Am" E_ED^C"D7" =C^CD^D |"Am" E_ED^C"Dm" DC=CB, |"Am" C^CD^D"E7" EFE^D |"Am" E_ED^C"Dm" DC=CB, | %13
w: ||||
"Am" C^CD^D"E7" E^FG^G |"A7" A^G=G^F"Dm" =F_BA^G | A_AG^F"G" =F^FG^G |"Am" A_AG^F"Dm" =F_B=A^G | %17
w: ||||
 A_AG^F"G" =F^FG^G |"Dm" A_AG^F"Gm" GF=FE |"Dm" F^FG^G"A7" A_BAG |"Dm" A_AG^F"Gm" GF=FE | %21
w: ||||
"Dm" F^FG^G"A7" A_BA^G |"Dm" AA,A,A, A,A,AA, |"Bb7" _B,A,B,_B B,A,B,B |"Dm" A,AAA AAAA | %25
w: ||||
"Bb7" _BA_B_b _BA_B_b |"A" a_BA^G"Bb7" A_BAG |"A" A_BA^G ABAG |"F+" A_B=Bc ^c=cB_B | %29
w: ||||
 A_B=Bc ^c=cB_B |"D" ADDD DDDD |"Eb7" _EDE_e EDEe |"D" Dddd dddd |"Eb7" _ede_e' _ede_e' | %34
w: |||||
 d'_ed^c d_edc | d_ed^c d_ed^c |"D+" d_e=ef ^f=fe_e | d_e=ef ^f=fe_e |"Gm" d^c=cB z e'd'^c' | %39
w: |||||
 d'^c'=c'b"Cm" _b=bc'^c' |"Gm" d'^c'=c'"Cdim"b c'b_ba |"Gm" _b=bc'^c'"Dm" =c'^c'd'^d' | %42
w: |||
"E7" e'_e'd'^c'"Gm" d'_d'=c'b | c'b_ba ^g=g^f=f |"E7" efe^d efed | efe^d efed | efe^d z FE^D | %47
w: ||* 36 * * * * * *|||
"E7" EFE^D EFED |"Am" E^D=D^C"Dm" DC=CB, |"Am" CB,_B,A, _A,G,_G,F, |"E7" z4 e2c2 | A2F2 A2c2 | %52
w: |||||
 e4 e2c2 | A2F2 A2c2 |"E7" E,F,^F,G, ^G,A,^A,B, | C^CD^D EF^FG | ^GA^AB c^cd^d |"Am" efe^d efe^d | %58
w: ||||||
"Am" e_ed^c =cf=e^d | e_ed_d"Dm" c^c=d^d |"Am" e_ed^c =cf=e^d |"Am" e_ed^c"D7" =c^cd^d | %62
w: ||||
"Am" e_ed^c"Dm" dc=cB |"Am" c^cd^d"E7" efe^d |"Am" e_ed^c"Dm" dc=cB |"Am" c^cd^d"E7" e^fg^g | %66
w: ||||
"A7" a_ag^f"Dm" =f_b=a^g | a_ag^f"G7" =f^fg^g |"Dm" a_ag^f =f_b=a^g | a_ag^f"G7" =f^fg^g | %70
w: ||||
"Dm" a_ag^f"Gm" gf=fe |"Dm" f^fg^g"A7" a_bag |"Dm" a_ag^f =f^fg^g |"Am" abc'd'"E" e'f'e'^d' | %74
w: ||||
"Am" e'_e'd'_d' c'f'=e'^d' | e'_e'd'_d'"D7" c'^c'=d'^d' |"Am" e'_e'd'_d' c'f'=e'^d' | %77
w: |||
 e'_e'd'^c'"D7" =c'^c'd'^d' |"Am" e'2^ga _b=bc'^c' |"Dm" d'_d'c'b c'b_ba |"Am" ^ga^ab c'^c'd'^d' | %81
w: ||||
"E" e'f'e'^d' e'f'e'd' |"Am" e'2^ga ^abc'^c' |"Dm" d'_d'=c'b c'b_ba |"Am" ^ga^ab c'^c'd'^d' | %85
w: ||||
"E" e'f'e'^d' e'^f'g'^g' |"Am" a'_a'g'^f'"A7" g'f'=f'e' |"Dm" f'e'_e'd' _d'c'b_b | %88
w: |||
"Am" a_ag^f"A" gf=fe |"Dm" fe_ed _dcB_B |"Am" A_BA^G"Bb7" BaB_b | a_B"B7"A=b"A7" Ac'"Dm"Ad' | %92
w: ||||
"C" e'f'e'^d'"F7" fe'ff' |"Em" e'f"E7"e^f' eg'e^g' |"Am" a2 z2 EF^FG | ^GA^AB c^cd^d | %96
w: ||||
"Am" ef^fg ^ga^ab | c'^c'd'^d' e'^f'g'^g' | a'2 z2 z4 | a2 z2 z4 | A,2 z2 z4 |] %101
w: |||||


Flower of Scotland

Context: Written in the 1960s, 'Flower of Scotland' is a song that has become an unofficial national anthem for Scotland. It reflects the themes of Scottish pride and longing for independence, often sung at sporting events and national celebrations. The song's melody is derived from a traditional folk tune, and it has been popularized by various artists over the years.

'Flower of Scotland' employs a simple yet poignant melodic structure that enhances its emotional resonance. The song is characterized by its use of minor keys, which evoke a sense of nostalgia and yearning. The lyrics reflect a narrative of historical struggle and resilience, drawing on imagery associated with Scottish identity. The chorus is particularly impactful, utilizing repetition to create a communal singing experience that reinforces national solidarity. The harmonic progression typically follows a straightforward pattern, allowing the vocal lines to soar above the accompaniment, which is often provided by traditional instruments like the fiddle or bagpipes.

The piece features a slow, melancholic melody that captures the essence of longing and pride. It is structured in a verse-chorus format, where each verse builds upon the historical context of Scotland's past struggles. The instrumentation often includes acoustic guitars and traditional Scottish instruments, creating an authentic folk sound. The vocal delivery is heartfelt and sincere, inviting listeners to reflect on their connection to Scottish heritage.

The music plays during a vibrant gathering in a lush green glen in Scotland at dusk. The sun sets behind distant hills, casting a warm golden light over the scene. Groups of people dressed in traditional Scottish attire gather around a bonfire, their faces illuminated by flickering flames. They sing together, united in their pride for their heritage, as the sound of bagpipes echoes in the background. Children run about playfully while adults share stories of their ancestors, creating an atmosphere filled with camaraderie and nostalgia.

X:279
T:Flower of Scotland
T:Flower of Scotland
C:Roy Williamson
L:1/4
Q:1/4=195
M:3/4
I:linebreak $
K:G
V:1 treble nm="MusicXML Part"
%%MIDI program 23
%%MIDI control 7 102
%%MIDI control 10 64
V:1
 x2 B |"G" B2 A | G3 | D3- | D2 D | G2 B |"Am" A3- | A2 A |"D7" G2 A |"G" B3- |"C" B3-"G" | B2 B | %12
w: 1.O|Flower of|Scot-|land|_ When|will we|see|_ your|like a-|gain?|_|* That|
w: 2.The|hills are|bare|now|_ And|au- tumn|leaves|_ lie|thick and|still|_|* O,er|
w: 3.Those|days are|past|now|_ And|in the|past|_ they|must re-|main,|_|* But|
"C" (c B) c |"G" d3 | G3- | G2 D |"Am" A2 A |"D7" (A G) A"G" | B2 .c | .B2 .A | .G3 | D3- | D2 B | %23
w: fought _ and|died|for|_ your|wee bit|hill _ and|glen And|stood a-|gainst|him|_ proud|
w: land that is|lost|now|_ which|those who|dear- * ly|held _|_ _||||
w: we can still|rise|now|_ And|be a|na- tion a-|gain That|_ _||||
"C" (c B) c |"G" d3 | G3- | G2 B |"C" (c B) A |"G" (B2 A) | G3- | G2 G |"F" =F2 A |"G" G3- | G3- | %34
w: E- * ward's|ar-|my|_ And|sent _ him|home- *|wards|_ tae|think a-|gain.|_|
w: |||||||||||
w: |||||||||||
 G2 |] %35
w: |
w: |
w: |


Flying Home

Lionel Hampton
Benny Goodman
Eddie DeLange

Context: Originally composed in the 1940s, 'Flying Home' became a significant piece in the jazz repertoire, often associated with the big band era. It showcases the virtuosity of its performers, particularly the vibraphone, which is prominently featured. The piece has been recorded by several artists and has become a staple in jazz performances and jam sessions.

'Flying Home' is characterized by its lively tempo and syncopated rhythms, typical of the swing genre. The piece features a call-and-response structure, where the main theme is introduced and then elaborated upon by various instruments. The vibraphone solo is particularly notable for its melodic improvisation, creating a sense of flight and freedom that aligns with the title. The harmonic progression is rooted in traditional jazz standards, allowing for both structured sections and improvisational freedom. The use of brass and woodwind instruments adds to the richness of the texture, while the rhythm section maintains a steady swing feel that propels the music forward.

This piece is an upbeat instrumental work characterized by its energetic tempo and intricate melodies. It features a prominent vibraphone line that dances above a rich tapestry of brass and woodwind harmonies. The rhythmic foundation is strong, with a driving bassline and syncopated drum patterns that encourage movement. Throughout the performance, there are moments of improvisation that showcase individual musicians' talents, creating a dynamic interplay between structure and spontaneity.

The music plays during a vibrant scene at a bustling jazz club in New Orleans on a warm summer night. The dimly lit room is filled with patrons swaying to the infectious rhythm, their faces illuminated by soft yellow lights from overhead fixtures. Musicians on stage are passionately engaged in their performance; the vibraphonist smiles as he crafts intricate melodies that float through the air. Waiters weave through tables laden with drinks, while couples dance closely, lost in the moment. The atmosphere is electric, filled with laughter and conversation, as the music evokes feelings of joy and celebration.


For Baby (for Bobbie)

Context: This song, written by John Denver, is a heartfelt tribute to his son, reflecting the deep bond between parent and child. It showcases Denver's signature style of combining personal storytelling with melodic simplicity.

Musically, 'For Baby (for Bobbie)' features a gentle acoustic guitar arrangement that complements Denver's soft vocal delivery. The song employs a simple chord progression that creates a soothing atmosphere, typical of folk and country genres. Lyrically, it conveys themes of love and reassurance, with Denver using imagery that evokes warmth and comfort. The repetitive structure in the chorus emphasizes the emotional connection to his child, enhancing the song's intimate feel. The use of major chords contributes to a sense of optimism and joy, making it a quintessential example of Denver's ability to blend personal emotion with universal themes.

The piece is characterized by its soft acoustic instrumentation and gentle melody, creating a serene and reflective mood. The vocals are delivered in a warm, soothing tone that conveys deep affection and tenderness. Lyrically, it explores themes of parental love and the hopes and dreams one has for their child, wrapped in vivid imagery that evokes feelings of nostalgia and comfort.

The music plays in a sunlit room filled with soft pastel colors, where a parent sits on a cozy armchair cradling a sleeping infant. The warm glow from the afternoon sun filters through sheer curtains, casting gentle shadows across the room. As the music swells, the parent gazes down with a mixture of love and hope, envisioning the future for their child. Outside the window, birds chirp softly, adding to the tranquil ambiance. The scene captures an intimate moment of connection, filled with an overwhelming sense of peace and joy.

X:281
T:For Baby (for Bobbie)
T:For Baby (for Bobbie)
T:John Denver
C:John Denver
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 z2"^N.C." D2 |:"G" D2 DD"C" E2 GA |"G" B6 c2 |"C" c2 cB"D7" A2 Bc |"G" c2 B4 D2 | %5
w: I'll|walk in the rain by your|side I'll|cling to the warmth of your|hand * I'll|
w: |be there when you're feel- ing|down to|kiss away the tears if you|cry * I'll|
"C" E2 EG"D7" AAAc |"B7" B2 A2"Em" G3 A |"G" BBcB"D7" AAG^F |"G" G6 Bd |"C" e3 d"D7" c2 de | %10
w: do an- y- thing to help you|un- der- stand I'll|love you more than an- y- bod- y|can and the|wind will whis per your|
w: share with you all the hap- pi-|ness I've found a|refelec- tion of the love * in your|eyes and I'll|sing,you the songs of the|
"G" dc B6 |"C" cccB"D7" AAAc |"G" B6 D2 |"C" E2 EG"D7" A2 B2 |"C" e2 d2 c3 D |"G" B2 c2"D7" d2 A2 | %16
w: name to me|Lit- tle birds will sing a- long in|time the|leaves will bow down when|you walk by and|morn- ing bells will|
w: rain * bow|The,whis- per of the joy * that is|mine *||||
"G" G6 D2 :|"G" G6 z2 |] %18
w: chime I'll|chime|
w: ||


For Once In My Life

Context: Originally recorded by Stevie Wonder in 1968, 'For Once In My Life' became a significant hit, showcasing Wonder's unique vocal style and emotional depth. The song has been covered by numerous artists, enhancing its legacy in popular music.

The song features a rich orchestral arrangement typical of the Motown sound, integrating horns and strings that complement Wonder's powerful vocal delivery. The harmonic structure is notable for its use of major chords that evoke feelings of joy and optimism, particularly in the chorus. The lyrics express a profound yearning for love and fulfillment, reflecting themes of vulnerability and hope. The song's dynamic contrasts between softer verses and a more powerful chorus create an emotional arc that resonates with listeners, highlighting the transformative power of love.

This music piece is characterized by its uplifting melody and heartfelt lyrics that convey a sense of longing and fulfillment. The arrangement includes vibrant instrumentation that enhances the emotional weight of the vocal performance. The interplay between the lead vocals and background harmonies adds depth, creating a rich auditory experience. The overall sound is smooth yet powerful, embodying the essence of soul music with its rhythmic grooves and expressive delivery.

In a bustling urban setting during the golden hour, the sun casts a warm glow over the city streets. A young couple stands on a rooftop terrace, overlooking the skyline as they embrace, their faces illuminated with joy and hope. The music plays softly in the background, enhancing the atmosphere as they share their dreams for the future. Laughter echoes as they reminisce about their journey together, surrounded by twinkling lights that begin to flicker on as night falls. The scene captures a moment of connection and love, perfectly complemented by the song's uplifting message.

X:282
T:For Once In My Life
T:For Once In My Life
C:Orlando Murden
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4 z2 z G, |"C" E2 E^D"C+" E2 ED |"C6" E2 E^D"Dbdim7" E A3 |"Dm" F2 FE"Ab/C" F2 FE | %4
w: For|once in my life I have|some- one who needs me,|some- one I've need ed so|
"G7" F6"A7" z A, |"Dm" F2 FE"Ab/C" F2 FE |"G7" F2 FE F"G+7" B2 A |"C" G2 G^F"F/C" G2 GF | %8
w: long. For|once un- a- fraid I can|go where life leads me and|some- how I know I'll be|
"Bb/D" G6 z C |"C" c2 cB"C6" c2 cB |"E+" c2 cB c d3 |"F" c2 c2 A2 F2 |"Dm""Gm7""G7" D8 | %13
w: strong For|once I can touch what my|heart used to dream of|long be- fore I|knew|
"Cmaj7" B2 B2"Em" G2 E2 |"Am" C6 D2 |"Am7" E2 E2"D7" A3 E |"Dm7" D6"G7" z G, | %17
w: some- one warm like|you would|make my dream come|true. For|
"C" E2 E^D"C+" E2 ED |"C6" E2 E^D"Dbdim7" E A3 |"Dm" F2 FE"Ab/C" F2 FE |"G7" F6"A7" z A, | %21
w: once in my life I wont|let sor- row hurt me|not like it hurt me be-|fore. For|
"Dm" F2 FE"Ab/C" F2 FE |"G7" F2 FE"G+7" F B3 |"C" G2 G^F"F7/C" G2 GF |"C/E" G6 z C | %25
w: once I have some- thing I|know wont de- sert me|I'm not a- lone an- y-|more. For|
"C" c2 cB"C6" c2 cB |"E+" c2 cB c d3 |"F" c2 cB c2 cB |"D9/E" c2 cB c d2 c |1 %29
w: once I can say this is|mine, you can't take it,|long as I know I have|love I can make it. For|
"C/G" e2 e^d"C+" e2 c=d ||"F/C" e2 d2"Dm7" c2"G7" d2 |"C" c8 |"D9" z4"G7" z2 z G, :|2 %33
w: once in my life I have|some- one who needs|me.|For|
"C/G" e2 e^d"C+" e2 c=d ||"Dm7" e2 d2"G7" A2"Abdim7" d2 |"Am" c8- |"D9" c6 z d | %37
w: once I can feel that some-|bod- y's heard my|plea.|* For|
"C" e2 e^d"C+" e2 c=d |"F/C" e2 d2"Dm7" c2"G7" d2 |"C""Ab/C" c8- |"C" c8 |] %41
w: once in my life I have|some- one who needs|me.||