You Don't Bring Me Flowers

Neil Diamond
Alan Bergman
Marilyn Bergman

Context: Originally written by Neil Diamond and the Bergmans, this song was first recorded by Diamond in 1978 and later became famous as a duet with Barbra Streisand in 1980. The song reflects themes of lost love and longing, resonating deeply with audiences.

Musically, 'You Don't Bring Me Flowers' features a simple yet poignant melody that enhances its emotional weight. The song is structured as a ballad, with a slow tempo that allows the vocalists to express deep feelings of sorrow and nostalgia. The instrumentation is minimalistic, focusing primarily on piano and strings, which creates an intimate atmosphere. Lyrically, the song explores the pain of unreciprocated love and the longing for connection, employing metaphors that evoke vivid imagery of flowers as symbols of affection. The interplay between the male and female vocalists adds depth to the narrative, highlighting the contrast between hope and despair in relationships.

This piece is characterized by its emotive vocal delivery and lyrical exploration of love's complexities. The melody unfolds gently, allowing for expressive phrasing that conveys vulnerability. Harmonies are used effectively to enhance the emotional impact, with crescendos that build tension before resolving into softer passages. The overall tone is melancholic yet reflective, inviting listeners to connect with their own experiences of love and loss.

In a dimly lit room filled with soft shadows cast by flickering candlelight, two figures sit across from each other at a small table. The air is thick with unspoken words as they gaze into each other's eyes, their expressions a mix of sadness and yearning. A vase sits between them, empty except for a single wilted flower, symbolizing their fading connection. Outside, rain gently taps against the window, mirroring the tears that threaten to spill as they reminisce about happier times. The music swells softly in the background, enveloping the scene in a bittersweet atmosphere as they reflect on what once was and what can never be again.

X:987
T:You Don't Bring Me Flowers
T:You don't bring me flowers
T:Neil Diamond
C:Neil Diamond
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"F" z2 Ac c2 F2 |"C" G2 c6 |"Bb" z4 D_BBD |"F" C2 A6 |"Bb" z DD_B BB (3BAA |"F" A8 | %6
w: You don't bring me|flow- ers|you don't sing me|love songs|you hard- ly talk to me an- y-|more|
"Gm7" z2 AA (3AAA (3AAA |"C" A2 GF G4 | z2 CD EF G2- | G4 z4 |"F" z AAc c2 F2 |"C" G2 c6 | %12
w: when you come through the door at the|end of the day|I re- mem- ber when|_|you could- n't wait to|love me|
"Bb" z2 _BB B2 A2 |"F" _B2 A6 | z2 f2 e2 e2 |"Bb" dd c6 |"C" z2 dc d4- |"C7" d4 cd e2 | %18
w: used to hate to|leave me|now af- ter|lov- in me|late at night|_ when * its|
"F" f2 e2 d4- |"Bb" d6 dd |"C" dc c2 c4- |"C7" c6 de |"F" f4 e4 |"Am7" d2 c4 A2 |"Dm7" d4 c2 A2 | %25
w: good for you|_ and you're|feel- in all right|_ well you|just roll|o- ver and|turn out the|
"Bb" F8 |"F" z CAc c2 F2 |"C7" G2 c4 cE |"F" F8- | F8 | z AAc c2 F2 |"C" G2 c6 |"Bb" z DD_B B2 D2 | %33
w: light|and you don't bring me|flow- ers an- y-|more|_|It used to be so|nat'- ral|to talk a- bout for|
"F" C2 A6 |"Bb" z DD_B B2 B2 |"F" _BA A2 A2 AA |"Gm7" A2 AA A2 GA |"C7" A2 GF G4 |"F" z AAc c2 F2 | %39
w: ev- er|but used to be's don't|count an- y- more they just|lay on the floor till we|sweep them a- way|and ba- by I re-|
"C" G2 c6 |"Bb" z2 _BB B3 A |"F" _B2 A6 | z2 f2 f2 ee |"Bb" d6 dc |"C" d6 cc |"C7" c6 de | %46
w: mem- ber|all the things you|taught me|I learned how to|laugh and I|learned how to|cry well, I|
"F" f4 e2 e2 |"Bb" d6 dc |"C" d6 cc |"C7" c6 de |"F" f4 e2 e2 |"Am7" d6 cA |"Dm7" d4 c2 A2 | %53
w: learned how to|love e- ven|learned how to|lie so you'd|think I could|learn how to|tell you good-|
"Bbm" F8 |"F" z FAc c2 F2 |"C7" G2 c4 cE |"Dm" F8 |"C7" z4 d2 e2 |"F" f4 e2 e2 |"Am7" d4 c2 A2 | %60
w: bye|cause you don't bring me|flow- ers an- y-|more|well you'd|think I could|learn how to|
"Dm" d4 c2 F2 |"Bb" f8 |"F" z GAc c2 F2 |"C7" G2 c6 |"F" z2 Ac c2 F2 |"C7" G2 c6 |"F" z2 Ac c2 F2 | %67
w: tell you good-|bye|cause you don't say you|need me|you don't sing me|love songs|you don't bring me|
"C7" G2 c4 cE |"F" F8- | F8 |] %70
w: flow- ers an- y-|more.|_|


YOU DON'T KNOW WHAT LOVE IS

Context: This song is a cover of a jazz standard originally composed by Don Raye and Gene de Paul. The White Stripes' version features their signature raw sound, blending rock with blues influences. It showcases Jack White's emotive vocal delivery and distinctive guitar work, which contribute to the song's haunting atmosphere.

The arrangement of 'You Don't Know What Love Is' employs a minimalist approach, characterized by sparse instrumentation that allows the emotional weight of the lyrics to resonate. The use of dynamics plays a crucial role; the verses are delivered softly, creating an intimate feel, while the choruses build in intensity, reflecting the turmoil of love and loss. The harmonic structure follows a traditional jazz progression but is infused with a rock sensibility through aggressive strumming patterns and distorted guitar tones. This juxtaposition highlights the conflict between vulnerability and strength, making it a compelling interpretation of the original piece.

The music features a slow tempo with a melancholic melody that evokes feelings of longing and sorrow. The instrumentation is primarily driven by electric guitar, accompanied by subtle percussion and bass lines that create a deep, resonant backdrop. The vocal performance is raw and expressive, conveying a sense of heartache and introspection. The overall atmosphere is reflective, inviting listeners to engage with the emotional narrative presented in the lyrics.

The music plays during a dimly lit bar scene late at night. The camera pans across a small room filled with scattered tables and chairs, where patrons sit in quiet contemplation. A solitary figure leans against the bar, nursing a drink, their expression one of deep reflection. Shadows flicker on the walls as soft light from candles dances around the room. Outside, rain patters against the window, mirroring the somber mood inside. The music's haunting melody fills the air, enhancing the sense of longing as memories of lost love swirl in the character's mind.

X:988
T:YOU DON'T KNOW WHAT LOVE IS
C:White Stripes
%%score ( 1 2 )
L:1/8
Q:1/4=120
M:4/4
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%%MIDI channel 1
%%MIDI program 0
L:1/4
V:1
|:"A" z2 z2"E" z2 z2 |"D" z2 z2"A" z2 z2 ::"A" [CE]<[CE] [DF][CE]/[DF]/-"E" [DF][EG]- [EG]2 | %3
w: ||You don't know what love _ is _|
"D" [FA]>[DF] z [CE]"A" z4 :| z4 z2 z A |"A" cc cB/A/"E" BA/B/ z/ A3/2 |"D" FA B/cA/-"A" A2 A2 | %7
w: whoo hoo hoo-|In|some re spects I sus pect you've got a|re spect ab le side _ When|
"A" cccc"E" BB-BF |"D" AA A/A"E6"B/- c2 z/ A/B/A/ |"A" ce ef/"E" z/ =c/B/B- BA/A/ | %10
w: pushed and pulled and pres sured _ you|seld dom run and hide _ but its for|some one else 's ben e fit _ Not for|
[M:2/4]"C" =cc/B/-"G" B/BA/- |[M:4/4]"A" A4 z ABA |"A" c/A/c z B/A/"E" B/A/B z/ A/A/F/ | %13
w: what you wan _ na do.|_ Un til I-|re al ize that you've re al ized: I'm gon na|
"D" AA =c/-B/A/A/-"A" A2 z2 |"A" [Ec]<[Ec] [Fd][Ec]"E" [Ec][DB] z/ [DB]/[DB] | %15
w: say these words _ to you. _|YOU DON'T KNOW WHAT LOVE IS YOU JUST|
"D" [DA][DA][DA][CA]-"A" [CA]2 z2 |"A" c/cc/ dc"E" cB BB/B/ |"D" [DA]>[DA]- [DA][EB]-"E" [EB]2 AB | %18
w: DO AS YOU'RE TOLD _|Just as a child of ten would act _ You're|far too _ old _ You're not|
"A" [Ac][Ae] z [Af]/[A=c-]/"E" [GB][GB-] BA/B/ |[M:2/4]"C" [=G=c]>[GB-]"G" [GB]/[GB]/[EA]- | %20
w: hope less or help _ less _ an I|hate to _ sound cold|
[M:4/4]"A" [EA]4 z2 B2 |"A" c<c dc/c/-"E" cB- B2- | B2 z2 z4 | z2 z/ d/d ddee- |: %24
w: _ But|YOU DON'T KNOW WHAT _ LOVE IS: _|_|You just do as you're told|
"A" [CE]<[CE] [DF][CE]/[DF]/-"E" [DF][EG]- [EG]2 |"D" [FA]>[DF] z [CE]"A" z4 :| %26
w: You don't know what love _ is _|whoo hoo hoo-|
"A" cc/d/- dc/c/"E" z/ BB/- BB/c/ |"D" B/AA/ A/B/A-"A" A2 z A | %28
w: see your man _ can't help but win _ AN Y|prob lems may _ a rise. _ But|
"A" c/cd/- d/c/c/A/"E" B/BB/- BB/B/ |"D" AA A/F/B-"E" B2 z A/B/ |"A" ce- e/f"E"e>=czAA/ | %31
w: in his mind _ there can be no _ sin _ if YOU|nev er crit i cize _ You just|keep on _ re peat ing al those|
[M:2/4]"C" =cc/B/-"G" B/B/A- |[M:4/4]"A" A2 z2 z4 | z4 z2 z/ A/B/A/ |"A" cc dc/c/"E" c<B B/B/B | %35
w: emp ty "I _ LOVE YOUS"|_|Un til you|say that you de serve bet ter I'm gon na|
"D" AA A/F/A-"A" A2 z2 :| %36
w: lay right in to you _|
V:2
|: x4 | x4 :: x4 | x4 :| x4 | x4 | x4 | x4 | G2 z2 | x4 |[M:2/4] x2 |[M:4/4] z2 z2 | x4 | x4 | x4 | %15
 x4 | x4 | x4 | x4 |[M:2/4] x2 |[M:4/4] x4 | x4 | x4 | x4 |: x4 | x4 :| x4 | x4 | x4 | G2 z2 | x4 | %31
[M:2/4] x2 |[M:4/4] x4 | x4 | x4 | x4 :| %36


You Go To My Head

Context: Originally composed in 1938, 'You Go To My Head' has been performed by numerous artists, including notable versions by Billie Holiday and Frank Sinatra. The song's lush melody and poignant lyrics have made it a staple in the jazz repertoire, often associated with themes of love and longing.

'You Go To My Head' features a rich harmonic structure typical of jazz standards, utilizing extended chords that evoke emotional depth. The song's melodic line is characterized by its sweeping phrases that often ascend and descend gracefully, creating a sense of yearning. The lyrics convey a deep sense of infatuation, with imagery that suggests the intoxicating effects of love. The use of syncopation in the rhythm enhances the lyrical delivery, allowing for expressive phrasing that captures the bittersweet nature of romantic feelings.

The piece is marked by its smooth, flowing melody that intertwines with lush harmonies, creating an atmosphere of nostalgia and romance. The instrumentation typically includes piano and soft brass, contributing to a warm, inviting sound. The vocal delivery is often tender and emotive, emphasizing the heartfelt nature of the lyrics. The overall tempo is moderate, allowing for expressive interpretations that highlight the emotional weight of the song.

In a dimly lit jazz club, a spotlight softly illuminates a lone singer at the microphone. The audience is captivated as they sip their drinks, lost in the melancholic beauty of the music. The singer's eyes reflect a deep longing as they deliver each note with heartfelt emotion. Around them, couples sway gently to the rhythm, some sharing whispered words while others gaze into each other's eyes, enveloped in their own world. The air is thick with an atmosphere of romance and nostalgia, as the music transports everyone back to moments of love and loss.

X:989
T:You Go To My Head
T:You Go To My Head
C:J. Fred Coots
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4 z2 B,2 |"Ebmaj7" BBBB-"Eb6" B4 |"Abm7" z2 B>B"Db7b9" A>AB>B |"Gbmaj7" FFEF- F4 | %4
w: You|go to my head *|and you ling- ger like a|haunt- ing re- frain, *|
"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F |"Ebm7" FFEF-"Ebm6" F4 |"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F | %7
w: and I find you spin- ning|'round in my brain, *|like the bub- bles in a|
"Ebmaj7" FEEE-"Eb6" E4- |"Fm7" E2 z2"Bb13b9" z2 B,2 |"Ebmaj7" BBBB-"Eb6" B4 | %10
w: glass of cham- pagne. *|* You|go to my head *|
"Abm7" z2 B>B"Db7b9" A>AB>B |"Gbmaj7" FFEF-"Ebm6" F4 |"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F | %13
w: like a sip of spark- ling|Bur- gun- dy brew, *|and I find the ver- y|
"Gbmaj7" FFEF-"Ebm6" F4 |"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F |"Ebmaj7" FEEE-"Eb6" E4- | %16
w: men- tion of you *|like the kick- er in a|ju- lep or two. *|
"Bbm7" E2"A+7" z2 z2 E2 |"Ab6" F>FF>c- c2 c>c |"Adim" ^F>FF>c- c>c c2 | %19
w: * The|thrill of the thought * that you|might give a thought * to my|
"Eb/Bb" B2 G>E"Fm7" CE"Bb13"Gc- |"Eb6" c6 Bc |"Am7" (3d2 d2 d2"D7" (3d2 d2 d2 | %22
w: plea casts a spell ov- er me.|* Still I|say to my- self "Get a|
"Bm7" (3d2 d2 d2"Bb7" (3d2 d2 d2 |"Am7" (3D2 D2 D2"Ab7b5" (3D2 D2 D2 |"G" D6"Bb7" B,2 | %25
w: hold of your- self, can't you|see that it nev- er can|be." You|
"Ebmaj7" BBBB-"Eb6" B4 |"Abm7" z2 B>B"Db7b9" A>AB>B |"Gbmaj7" FFEF- F4 | %28
w: go to my head, *|with a smile that makes my|tem- p'ra ture rise, *|
"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F |"Ebmaj7" FFEF-"Eb6" F4 |"F7" z2 E>E"Bb+7" _G>G"Bb7b9"F>F | %31
w: like a sum- mer with a|thou- sand Ju- lys, *|you in- tox- i- cate my|
"Eb" FFEB B4- |"Bbm7" B6"Eb7b9" B=B |"Ab" c2 C2 D2 E2 |"Db9" G F2 A- A4 | %35
w: soul with your eyes. *|* Though I'm|cer- tain that this|heart of mine *|
"Ebmaj7" (3G2 E2"Eb6" G2"Fm7" (3B2 G2"Fm6" B2 |"Gm7" (3c2 G2"Cm7" c2"Gbdim" (3d2 d2 c2 |"Fm7" B8- | %38
w: has- n't a ghost of a|chance in this cra- zy ro-|mance,|
"Bb7" B z B2 (3B2 B2 B2 |"Gbmaj7""Gb7" B8- |"Fm7" B z B2"Eb9" (3B2 B2 B2 |"Eb6" B8- | B8 |] %43
w: * you go to my|head|* You go to my|head.||


You Got It

Context: Released in 1989, 'You Got It' is one of Roy Orbison's most celebrated songs, co-written by Orbison, Jeff Lynne, and Tom Petty. The song marked a significant comeback for Orbison, showcasing his signature vocal style and emotional depth. It became a posthumous hit after Orbison's passing in 1988.

'You Got It' features a simple yet effective chord progression that underscores the emotional weight of the lyrics. The song is characterized by its lush production, typical of Jeff Lynne's style, with layered harmonies and a prominent use of electric guitar. The lyrical content speaks to themes of love and longing, encapsulating the feeling of yearning for someone special. The structure follows a classic verse-chorus format, allowing the emotive chorus to resonate powerfully with listeners. The instrumentation builds gradually, enhancing the song's climactic moments, particularly in the chorus where Orbison's soaring vocals shine.

The music piece is characterized by a smooth melody that intertwines heartfelt lyrics with rich instrumental backing. It features a blend of soft rock elements with an emphasis on vocal harmonies and melodic guitar lines. The tempo is moderate, creating an inviting atmosphere that enhances the emotional delivery of the lyrics. The arrangement includes strings and subtle percussion that complement the lead vocals, creating a warm and nostalgic sound.

In a dimly lit room adorned with photographs from a bygone era, a couple sits closely together on an old sofa, their fingers intertwined. Soft light filters through the curtains, casting gentle shadows that dance around them as they listen to the music playing softly in the background. The man gazes into the woman's eyes, his expression filled with longing and affection as he reminisces about their shared memories. Outside, the sun sets, painting the sky in hues of orange and pink, mirroring the warmth of their connection. As the chorus swells, they lean in closer, lost in the moment, feeling as if nothing else matters but their love.

X:990
T:You Got It
T:You Got It
T:By: Jeff Lynne, Roy Orbison, Tom Petty
C:Jeff Lynne, Roy Orbison, Tom Petty
L:1/8
Q:1/4=96
M:4/4
I:linebreak $
K:A
V:1 treble nm="MusicXML Part"
%%MIDI channel 5
%%MIDI program 16
V:1
"^Intro.""A" z8 |"C" z4"D" z4 |"A" z8 |"C" z4"D" z4 |:"^Verse""A" AAAA A2 E2 | %5
w: ||||Ev- ry time I look in-|
w: ||||Ev- ry time I hold you|
"C" (=GG)(GG)"D" F2 F2 |"A" E8 |"C" z4"D" z4 |"A" (AA)AA A2 E2 |"C" =G2 G2"D" F2 F2 |"E" (FE-) E6 | %11
w: to _ your _ lov- ing|eyes,||I _ see a love that|mon- ey just can't|buy. _ _|
w: I be- gin to un- der-|stand||Ev- ry thing a- bout you|tells me I'm your|man. _ _|
"G" z4 z2 A2 |"A" A6 B2 |"F#m" A6 B2 |"C#m" c6 f2 |"E" e6 A2 |"A" A6 B2 |"F#m" A6 B2 |"C#m" c6 f2 | %19
w: One|look from|you; I|drift a-|way. I|pray that|you are|here to|
w: I|live my|life to|be with|you. No|one can|do the|things you|
"E" e8 |"^CHORUS""A" z2 cA"C#7" B>c- c2 |"F#m" A2 z c"D" BA z2 |"A" z2 cA"C#7" c>B- B2 | %23
w: stay.|An- y thing you _|want, You got it!|An- y thing you _|
w: do.||||
"F#m" A2 z c"D" BA z2 |"A" z2 ee"C#7" =f f3 |"F#m" f2 z c"D" BA z2 |"A" e8 |"E" (ec B6) | z8 :| %29
w: need, you got it!|An- y thing at|all, you got it,|ba-|by. _ _||
w: ||||||
"E" z2 ed d c3 | B8 |"E" z2 ed d c3 | B8 |"E" z2 ed d2 c2 | (e4 g4) |"A" z2 z A"C#7" GGGA | %36
w: An- y thing you|want,|an- y thing you|need,|an- y thing at|all, *||
w: ||||||di- di- di- di- dih|
"F#m" z2 (a A"D" BBBA |"A" a2) z A"C#7" GGGA |"F#m" z4"D" a4 |"A" (f e3)"C#7" c B2 A | %40
w: Oh, \_\_\_ \_\_\_ \_\_\_ \_\_\_ \_\_\_|\_\_ * * * * *|Oh,|yea, * yea, yea, yea.|
w: * di- di- di- di- dih|* di- di- di- di- dih|(~Meas#37)|* * (~Meas#36) * *|
"F#m" z2 z"D" c BA A/B/c/d/ |"A" e8- |"E" e8- | e2 z2 d/c/B (Bc) |"A" (B<A-) A4 c2 | %45
w: * * * (ins- tru- men- tal)|...|...|... . . . I'm *|gla- d _ to|
w: You got it * * * *|||||
"F#m" (B<A-) A4 B2 |"C#m" c6 f2 |"E" e6 (Bc) |"A" (B<A-) A4 c2 |"F#m" (B<A-) A4 B2 |"C#m" c6 e2 | %51
w: gi- ve _ my|love to|you. I *|kno- w _ you|fe- el _ the|way I|
w: ||||||
"E" (3(g2 f2 e2 g4) |:"^CHORUS""A" z2 cA"C#7" B>c- c2 |"F#m" A2 z c"D" BA z2 | %54
w: do. _ _ _|An- y thing you _|want, You got it!|
w: |||
"A" z2 cA"C#7" c>B- B2 |"F#m" A2 z c"D" BA z2 |"A" z2 ee"C#7" =f f3 |"F#m" f2 z c"D" BA z2 | %58
w: An- y thing you _|need, you got it!|An- y thing at|all, you got it,|
w: ||||
"A" e8 |"E" (ec B6) | z8 :| z2 ed d c3 | e8 | e8 | g6 z c |"A" BA z2 z4 |] %66
w: Ba|by. _ _||an- y thing at|all,|ba-|by you|got it!|
w: ||||||||


You Keep Coming Back Like A Song

Context: Written by Irving Berlin, this song has been covered by numerous artists and is known for its poignant lyrics about the inevitability of returning to a beloved melody or person. It reflects Berlin's mastery in blending lyrical emotion with memorable melodies.

The song employs a verse-chorus structure, with a rich harmonic progression that enhances its lyrical themes of longing and reminiscence. The use of syncopation and varied dynamics creates an engaging listening experience. Thematically, it explores the cyclical nature of love and memory, suggesting that certain feelings are inescapable, much like a recurring melody. The orchestration typically features lush strings and brass, which complement the vocal lines and add to the emotional depth.

This piece is characterized by its smooth melodic lines and heartfelt lyrics that convey a sense of yearning. The instrumentation often includes piano, strings, and woodwinds, creating a warm and inviting soundscape. The vocal delivery is typically expressive, emphasizing the emotional weight of the lyrics. The song's tempo is moderate, allowing for a reflective interpretation that resonates with listeners.

The music plays softly in a dimly lit jazz club during the late hours of the evening. Patrons sit at small round tables, their faces illuminated by flickering candlelight. A couple at the center table shares a quiet moment, their expressions filled with nostalgia as they reminisce about past romances. The singer on stage, dressed elegantly, pours their heart into the performance, while the gentle clinking of glasses and soft murmurs of conversation create an intimate atmosphere. Outside, rain patters against the window, adding to the cozy ambiance as the music swells, capturing the essence of love's enduring nature.

X:991
T:You Keep Coming Back Like A Song
T:You Keep Coming Back Like A Song
C:Irving Berlin
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z2 z B, |:"Ebmaj7" G2 F/ E F/- |"Fm7" F2"Bb7" D C |"Ebmaj7" B,4- |"Fm7" B,2"Bb7" z B, | %5
w: You|keep com- ing back|* like a|song.|* A|
"Ebmaj7" B2"Edim7" A/ G A/- |"Fm7" A G2"Bb7" ^F |"Ebmaj7" ^F G3- |"Bbm7" G2"Eb7" z E | %9
w: song that keeps say-|* ing "Re-|mem- ber."|* The|
"Abmaj7" c2"Adim7" d/ e B/- |"Gm7" B2"Cm7" G E |"Fm7" A2"Bb7" B/ c G/- |"Ebmaj7" G4 | %13
w: sweet used to be|* that was|once you and me||
"Cm7" G2 F/ E G/- |"F7" G2 F E |"Bb7" D2 E/ =E F/- |"Fm7" F3"Bb7" B, |"Ebmaj7" G2 F/ E F/- | %18
w: keeps com- ing back|* like an|old mel- o- dy.|* The|per- fume of ros-|
"Fm7" F2"Bb7" D C |"Ebmaj7" B,4- |"Fm7" B,2"Bb7" z B, |"Ebmaj7" B2"Edim7" A/ G A/- | %22
w: * es in|May|* re-|turns to my room|
"Fm7" A2"Bb7" B c |"G7" =B d3- | d4 |"Abmaj7" z c/e/-"Adim7" e/d/c/B/- | B2 ^F G | %27
w: * in De-|cem- ber.||From out * of the past,|* where for-|
"Bbm7" c/ B G/-"Eb7" G F |"Abmaj7" E3"Db7" F |"Gm7" G2"Cm7" F/ E F/- |"Fm7" F2"Bb7" E/ D E/- |1 %31
w: got- ten things * be-|long, you|keep com- ing back|* like a song.|
"Ebmaj7" E4- ||"Fm7" E2"Bb7" z2 :|2"Ebmaj7" E4- || E2 z2 |] %35
w: ||||


You Make Me Feel Brand New

Context: Originally performed by The Stylistics, this song was released in 1974 and became one of their signature hits. It features lush orchestration and heartfelt lyrics that express deep emotional longing and appreciation for a loved one.

The song is characterized by its smooth, soulful melody and intricate vocal harmonies typical of the Philadelphia soul sound. The arrangement includes rich strings and brass, creating a lush backdrop that complements the lead vocals. The lyrical content revolves around themes of love and renewal, using metaphors to convey the transformative power of love. The structure follows a classic verse-chorus format, with the chorus serving as a poignant emotional peak that emphasizes the singer's feelings of rejuvenation brought on by love.

This piece features a slow tempo with a smooth, flowing melody that evokes feelings of warmth and nostalgia. The instrumentation includes strings, horns, and soft percussion, creating a rich sonic tapestry. Vocals are delivered with emotional depth, showcasing both power and tenderness. The overall atmosphere is romantic and reflective, inviting listeners to connect with their own experiences of love.

The music plays during a serene sunset at a cozy outdoor café. Soft golden light filters through the trees as couples sit at small tables, some holding hands while others share quiet conversations. A gentle breeze rustles the leaves, enhancing the romantic ambiance. In the foreground, a couple gazes into each other's eyes, their expressions filled with affection and understanding. As the music swells, the scene captures the essence of love's transformative power, with laughter and soft whispers blending into the melody.

X:992
T:You Make Me Feel Brand New
T:You Make Me Feel Brand New
T:Thom Bell & Linda Creed
C:Thom Bell and Linda Creed
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"Gmaj7" FFFF F z FF |"C6" EEE z E2 A2 |"Gmaj7" FFFF F z FF |"C6" EEE z E2 D2 |:"Gmaj7""G6" B6 D2 | %5
w: |||* * * * My|love I'll|
w: ||||love when|
"Cm6" _EEGG d2 c2 |"Gmaj7" B6"G6" D2 |"Cm6" _EEGG d2 c2 |"Gmaj7""G6" B6 BA- |"Em7" A4- A z BA- | %10
w: nev- er find the words my|love To|tell you how I feel my|love Mere words|* * could not-|
w: ev- er I was in- se-|cure you|built me up and made me|sure You gave|* * my pride|
"A9" A4- A z EA- |"Am7" A8- |"D9" A2 z2"Cm7" B2"F9" c2 |[K:Bb]"Bbmaj7""Bb6" d6 F2 | %14
w: * * ex- plain||* Prec- ious|love you|
w: * back to me||* Prec- ious|friend with|
"Ebm6" _GGBB f2 e2 |"Bbmaj7""Bb6" d6 F2 |"Ebm6" _GGBB f2 eB |"Bbmaj7" d6"Bb6" z2 | %18
w: held my life with- in your|hands Cre-|at- ed ev- 'ry- thing I *|am|
w: you I'll al- ways have a|friend You're|some- one who I can de- *|pend|
"Ebm6" _GGBB f2 eB |"Bbmaj7" d8- |"Bb6" d4 z fff- |"Dm7" f8 |"Gm7" FGAc- cBDF- |"Dm7" F6 z D | %24
w: Taught me how to live a- *|gain|* On- ly you||cared when I need- * ed a friend|* Be-|
w: To walk a path that some- times|bends|* With- out you||life has no mean- * ing or rhyme|* Like|
"Gm7" FGAc- cBce |"Ebmaj7" d6 z2 | dedc"Gm7" B4 |"Cm7" dedc"Gm7" B2"Ebmaj7" Bd |"Cm7" c8- | %29
w: lieved in me through * thick and thin||This song is for you|filled with grat- i- tude and *|love|
w: notes to a song * out of time||How can I re- pay|you for hav- ing faith in- *|me|
"F9" c2 z2"^tacet" B2 c2 |"Ebmaj7" d6 z2 |"Cm7" (3d2 e2 f2 d2 c2 |"Dm7" c6 z A |"Gm7" c2 A2 B2 c2 | %34
w: * God bless|you|you make me feel brand|new For|God blessed me with|
w: |||||
"Ebmaj7" d6 z2 |"Cm7" (3d2 e2 f2 d2 c2 |"Dm7" c6 z A |"Gm7" c2 A2"^tacet" B2 c2 |"Ebmaj7" d6 z2 |1 %39
w: you|You make me feel brand|new I|sing this song 'cause|you|
w: |||||
"Cm7" z2 dc B2 (3BFG- ||"Bbmaj7" G F3"Bb6" z2 z F |"Ebm6" _GGBB f2 e2 |"Gmaj7" d8- |"G6" d6 D2 :|2 %44
w: make me feel brand * *|* new *|||* My|
w: |||||
"Cm7" (3d2 e2 f2 d2 c2 ||"Dm7" c6 z B |"Cm7" d2 c2"F9" e2 d2 |"^Bbmaj7" f8 |] %48
w: you make me feel brand|new. *|||
w: ||||


You Oughta Be In Pictures

Context: Originally written for the 1934 film 'Broadway Nights', this song has been performed by various artists over the decades, becoming a standard in jazz and popular music.

The composition features a lush orchestral arrangement typical of the 1930s, with a smooth melodic line that showcases the singer's vocal range. The harmonic structure employs chromaticism and modulations that enhance the emotional impact of the lyrics, which express longing and romantic idealism. The interplay between the melody and accompaniment creates a conversational tone, inviting listeners into an intimate dialogue about love and aspirations. The song's structure follows a traditional AABA format, allowing for a memorable refrain that emphasizes its central theme.

This piece is characterized by its smooth, flowing melody that evokes a sense of nostalgia and yearning. The instrumentation typically includes strings, brass, and woodwinds, creating a rich tapestry of sound that complements the lyrical content. The lyrics convey a longing for recognition and appreciation in the realm of romance and performance, reflecting the aspirations of an artist seeking validation. The overall mood is sentimental and reflective, inviting listeners to connect with their own experiences of love and ambition.

Set in a dimly lit jazz club during the late evening, the atmosphere is filled with soft golden light reflecting off polished wood surfaces. Patrons are seated at small tables, engaged in hushed conversations while sipping on cocktails. A spotlight shines on the stage where a solo performer stands at a microphone, dressed in elegant attire. As they begin to sing 'You Oughta Be In Pictures', the audience becomes captivated, their faces illuminated by the warm glow of the stage lights. The singer's expression is one of heartfelt emotion, resonating with the crowd as they share in the universal desire for love and recognition. The scene encapsulates an intimate moment where music transcends words, creating a shared experience among all present.

X:993
T:You Oughta Be In Pictures
T:You oughta be in pictures
T:Dana Suesse
T:Edward Heyman
C:Dana Suesse
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 z2"F" f2 edef | ed- d2 z4 |"Gm" z2 f2 edef |"C" e8 |"Gm" z2 d2 c_Bcd |"C7" c_B- B4 c2 | %6
w: You ough- ta be in|pic- tures, *|You're won der ful to|see,|You ough ta be in|pic tures, * oh|
"F" _B2 Ac- c2 z2 |"Gm" c2 _Bd-"C" d2 z2 | z2"F" f2 edef | ed- d4 z2 |"Gm" z2 f2 edef |"C7" e8 | %12
w: what a hit *|you would be! *|Your voice would thrill a|na- tion, *|Your face would be a-|dored,|
"Gm" z2 d2 c_Bcd |"C7" c_B- B4 c2 |"F" _B2 Ac- c4 |"E7" c2 B d2- d3 |"Am" e4 c e2 c | %17
w: You'd make a great sen-|sa- tion * with|wealth and fame *|your re- ward *|And if you should|
 e2 ce- ec e2 | c e2 c e2 ce- |"D7" e6 z2 |"C" g4 e g2 e | g2 eg- g2 eg | e g2 e"G7" g2 eg- | %23
w: kiss the way, * you kiss|when we are all- a- lone||You'd make ev- 'ry|girl and man * a fan|wor- ship- ing at your throne.|
"C7" g8 | z2"F" f2 edef | ed- d4 z2 |"Gm" z2 f2 edef |"C7" e8 | z2"Gm" d2 c_Bcd | %29
w: |You ough- ta shine as|bright- ly *|As Ju- pi- ter and|Mars;|You ough- ta be in|
"C7" c z _B2 z2 d2 |"Gm" g4"C7" a4 |"F" f6 z2 | z8 |] %33
w: pic- * my|star of|stars!||


You Send Me

Context: Released in 1957, 'You Send Me' was Sam Cooke's first major hit and is considered a classic of the soul genre. The song showcases Cooke's smooth vocal style and has been covered by numerous artists over the years.

Musically, 'You Send Me' features a simple yet effective structure, characterized by its smooth melody and heartfelt lyrics. The song is built around a classic doo-wop progression, which enhances its emotional impact. Cooke's vocal delivery is both tender and powerful, conveying a sense of longing and devotion. The arrangement includes lush strings and subtle backing vocals that complement the lead melody, creating a rich sonic texture. Lyrically, the song expresses themes of love and desire, with the repeated phrase 'You send me' serving as a poignant declaration of affection. The use of metaphor in describing the feelings of love as something that can transport or elevate the singer adds depth to its emotional resonance.

The piece is characterized by its smooth melodies and heartfelt lyrics that express deep emotions associated with love and longing. It features a gentle rhythm supported by lush instrumentation, including strings and soft percussion. The vocal performance is marked by a rich timbre and expressive phrasing, effectively conveying the nuances of romantic feelings. The overall atmosphere is warm and inviting, making it a timeless ballad that resonates with listeners across generations.

In a dimly lit room filled with soft candlelight, a couple sits closely together on a plush sofa, their hands intertwined. The air is thick with anticipation as they share intimate glances, their expressions reflecting a mixture of joy and nervousness. Outside, the sun sets slowly, casting a golden hue through the window, enhancing the romantic ambiance. As 'You Send Me' plays softly in the background, the music envelops them like a warm embrace, amplifying their emotions. The woman leans in closer to her partner, her eyes sparkling with affection, while he softly brushes a strand of hair behind her ear. The moment feels suspended in time as they savor their connection, lost in the melody that perfectly captures their feelings.

X:994
T:You Send Me
T:You Send Me
T:Sam Cooke
T:(c)
C:Sam Cooke
L:1/8
Q:1/4=90
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
 EG |:"C" A3- G/-A/"Am7" G4 |"Fmaj7" E D3-"G7" D2 EG |"C" A3- G/-A/"Am7" G4 | %4
w: Dar- ling|you.... _ _ _|send me _ I know|you.... _ _ _|
w: |You.... _ _ _|thrill me _ I know|you.... _ _ _|
"Fmaj7" E D3-"G7" D2 EG |"C" A3- G/-A/-"Am7" G4 |"Fmaj7" E D3-"G7" D2 (3DCB, |1 %7
w: send me _ Dar- ling|you.... _ _ _|send me _ hon- est you|
w: thrill me _ Dar- ling,|you.... _ _ _|thrill me _ hon- est you|
"C" C2 (3CDE"Am7" C2 (3CDE |"Dm7" D2 cB"G7" (3A-c-B- A-G :|2"C" C4"F" z4 ||"C" z4 z2 C2 | %11
w: do, hon- est you do, hon- est you|do, whoa 'n' oh.... _ _ _ _|do.|At|
w: _ _ _ _ _ _ _ _||||
"F" DD (3DEC"Fm" D3 C/D/ |"C" E C3-"Am7" C3 C |"F" D3 D"G7" DD (3A-G-A |"C" E8 | %15
w: first I thought it was in- fat- u-|a- tion, _ but|ooh, it's las- ted so.... _ _|long.|
w: ||||
"F" z2 DD"Fm" (3D2 C2 D2 |"C" E C3"A7" z2 z A, |"D7" E/D/ C3 (3C2 D2 E2 | %18
w: Now I find- my- self|wan- ting to|mar- ry you and take you|
w: |||
"Dm7" D2 cB"G7" (3A-c-B- A-G |"C" (3A2 G2 A2"Am7" G4 |"Fmaj7" E D3- D"G7"c (3BAG | %21
w: home, whoa 'n' oh.... _ _ _ _|You, you, you, you|send me _ I know, I know|
w: |||
"C" A3-"Am7" G/-A/- G4 |"Fmaj7" E D3"G7" (3A-c-B- A-G |"C" (3A2 G2 A2"Am7" (3G2 A2 G2 | %24
w: you.... _ _ _|send me, oh...... _ _ _ _|You, you, you, you, you, you|
w: |||
"Fmaj7" E D3-"G7" D2 (3DCB, |"C""Fmaj7" C8- |"C6" C2 z2 z4 |] %27
w: send me _ hon- est you|do.|_|
w: |||


You Took Advantage Of Me

Context: Originally written for the 1928 musical 'Present Arms', this song has been performed by numerous artists over the decades, becoming a jazz standard. Its poignant lyrics explore themes of betrayal and emotional vulnerability.

The song employs a 32-bar AABA structure, typical of the popular music of its time. The harmonic progression features rich chromaticism, particularly in the bridge, which evokes a sense of longing and regret. The lyrical content reflects a deep emotional conflict, as the narrator grapples with feelings of being taken advantage of while simultaneously expressing a longing for love. The melodic line is characterized by its smooth, flowing contours that enhance the emotional weight of the lyrics. The use of syncopation adds a jazzy feel, creating an engaging rhythmic complexity that supports the narrative's emotional arc.

This piece is characterized by its lush harmonies and expressive melodies that convey a sense of melancholy and introspection. The vocal delivery often oscillates between soft, tender phrases and more pronounced, dramatic moments, reflecting the emotional turmoil expressed in the lyrics. Instrumentally, it typically features piano and brass arrangements that complement the vocal lines, enhancing the overall romantic yet sorrowful atmosphere.

In a dimly lit jazz club, the spotlight shines on a lone singer standing at a microphone. The audience is captivated as they watch this performer pour their heart into the song. The room is filled with an intimate ambiance created by soft candlelight flickering on tables adorned with half-empty glasses. Patrons lean in closer, their expressions ranging from empathy to nostalgia as they resonate with the themes of love lost and emotional betrayal. The singer's eyes glisten with unshed tears, reflecting both vulnerability and strength as they navigate through the poignant lyrics, evoking a collective sigh from the audience.

X:995
T:You Took Advantage Of Me
T:You Took Advantage Of Me
C:Richard Rodgers
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
|:"Eb" B>BE>D"Edim7" _D c3 |"Bb7" c2 BB- B4 |"Eb" B>Bc>B"F#dim7" =A e3 |"Fm7" e2"Bb7" dd- d2 f2 | %4
w: I'm a sen- ta- men- tal|sap that's all. *|What's the use of try- ing|not to fall? * I|
"Eb" f2 ee- e2"Eb7" B2 |"Ab" B2 AA-"Abm6" A2 EF |"Eb" G2"Eb+" G2"Bb7" FE F2 |"Eb""B7""Bb7" E8 | %8
w: have no will, * you've|made your kill * 'Cause you|took ad- van- tage of|me!|
"Eb" B>BE>D"Edim7" _D c3 |"Bb7" c2 BB- B4 |"Eb" B>Bc>B"F#dim7" =A e3 |"Fm7" e2"Bb7" dd- d2 f2 | %12
w: I'm just like an ap- ple|on a bough, *|And you're gon- na- shake me|down some- how, * So|
"Eb" f2 ee- e2"Eb7" B2 |"Ab" B2 AA-"Abm6" A2 EF |"Eb" G2"Eb+" G2"Bb7" FE F2 |"Eb" E8 | %16
w: what's the use * you've|cooked my goose * 'Cause you|took ad- van- tage of|me!|
"Cm" eefe"D7" d d2 c |"G7" =B2 _dc-"C7" c3 _B |"F7" =A2 _cB-"Bb7" B2 F2 |"Eb" G4- G2 z3/2 d/ | %20
w: I'm so hot and both- ered that|I don't know * My|el- bow from * my|ear; * I|
"Cm" eefe"D7" d d2 c |"G7" =B2 _dc-"C7" c3 _B |"F7" =A2 _cB-"Bb7" B2 F2 |"Bb""Fm7""Bb7" B8 | %24
w: suf- fer some- thing aw- ful each|time you go * And|much worse when * you're|near.|
"Eb" B>BE>D"Edim7" _D c3 |"Bb7" c2 BB- B4 |"Eb" B>Bc>B"F#dim7" =A e3 |"Fm7" e2"Bb7" dd- d2 f2 | %28
w: Here I am with all my|brid- ges burned, *|Just a babe in arms where|you're con- cerned, * So|
"Eb" f2 ee- e2"Eb7" B2 |"Ab" B2 AA-"Abm6" A2 EF |"Eb" G2"Eb+" G2"Bb7" FE F2 |1 %31
w: lock the doors * and|call me yours * 'Cause you|took ad- van- tage of|
"Eb""Fm7" E6"Bb7" z2 :|2"Eb" E6 z2 |] %33
w: me!|me!|


You Won't Find Another Fool Like Me

Context: The song was released in 1973 and became a hit for the British band The New Seekers. It reflects themes of lost love and longing, resonating with listeners through its catchy melody and heartfelt lyrics.

Musically, 'You Won't Find Another Fool Like Me' features a simple yet effective chord progression that supports its emotive lyrical content. The arrangement includes lush harmonies and a prominent use of strings, creating a rich soundscape that enhances the song's themes of vulnerability and regret. The vocal delivery is earnest, capturing the essence of heartbreak while maintaining an upbeat tempo that contrasts with the lyrical melancholy. The use of repetition in the chorus emphasizes the message of uniqueness in love, making it memorable and relatable.

The piece is characterized by its melodic hooks and emotional lyrics, which express feelings of loss and yearning. The instrumentation blends soft rock elements with orchestral strings, creating a warm and inviting sound. The vocal performance is sincere and expressive, drawing listeners into the narrative of unreciprocated affection. The overall structure follows a traditional verse-chorus format, allowing for dynamic shifts that highlight key emotional moments in the lyrics.

The music plays during a quiet evening in a dimly lit café, where a solitary figure sits at a corner table, gazing out the window as rain softly patters against the glass. The warm glow of fairy lights casts gentle shadows across their face, revealing a mix of nostalgia and longing. Around them, couples share intimate conversations, laughter ringing softly in the air. The figure clutches a photograph, their expression wistful as they recall memories of a past relationship filled with joy and heartache. Each note from the song resonates with their emotions, echoing the bittersweet nature of love lost.

X:996
T:You Won't Find Another Fool Like Me
T:You Won't Find Another Fool Like Me
T:Geoff Stephens & Tony Macaulay
C:Geoff Stephens & Tony Macauley
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"F" =B,2 C2 d2 c2 | B A2 G- G2 F2 |"E7" E>FEE- E2 z2 |"Gm7" D3 ^C"C7" D E3 ||"F" =B,2 C2 d2 c2 | %5
w: ||||You won't find an-|
 B A2 G- G2 F2 |"E7" E3 E- E2 z E | E2 =B,D- D2 z D |"Gm7" ^C D2 C- C D2 c- | c3 B c2 d2 | %10
w: oth- er fool * like|me babe * You|know you won't * who'd|sit a- round * all night|* and wait for|
"A7" A8- |"D7" A2 z2 z4 |"Gm7" z D3 F2 DE- |"C7" E6 z D |"A7" E3 E- E G2 E |"Dm" F8 | %16
w: you||And close their eyes|* to|oh so * man- y|lies|
"Gm" e2 dc- c2 =B2 |"Gm7" B2 D2- D^CDA- |"Bbm" A2 _D>_E F>GA>B ||S"C7" c>GA>G F G3 | %20
w: No one else * could|love you * like I do||* I wan- na tell you|
"F" =B,2 C2 d2 c2 | B A2 G- G2 F2 |"E7" E3 E- E2 z2 | E2 =B,D- D2 z2 |"Gm7" ^C2 D2 C2 Dc- | %25
w: you won't find an-|oth- er clown * like|me babe *|No. you won't *|I can't count the times|
 c B2 B c2 d2 |"A7" A8- |"D7" A6 z d |"Bb" e2 d2 e2 dc- |"Bbm" c B3 (3z2 A2 B2 | %30
w: * * you said you'd|leave;|* You|know dam well you're fool-|* ing cos where|
"F" c c3"A7" Ac A2 |"Dm" F4"D7" z4 |"Gm" ^C2 D2 c2 B2 |"C7" A G2 B- B2 A2!dacoda! ||"F""Bb" F8 | %35
w: ev- er you may *|go,|you won't find an-|oth- er fool * like|me.|
"F" z4"^tacit" B c2 B |"Gm7" AAGA- A4 |"C7" z2 z c (3c2 d2 e2 |"F" e2 (3efe d c3- | %39
w: Some- times I|can't un- der- stand *|what makes me the|fool * that I am, *|
"Dm7" c4 z ccd- |"Gm7" ddcd- d4- |"G7" d d3 (3ddc =B2 |"C11" c2 C>D"C7" E>FG>A | %43
w: * Then you touch|* my * hands *|* and sud- den- ly I|know * * * * * *|
 B2 c2"Bb" d2"C7" e2 |"F" =B,2 C2 d2 c2 | B A2 G- G2 F2 |"E7" E3 E- E2 z E | E2 =B,D- D2 z2 | %48
w: |Ev- en though you|treat me like * you|do, babe * you|know you do *|
"Gm7" ^C2 D2 C D2 c- | c3 B c2 d2 |"A7" A8- |"D7" A2 z2 z d2 c |"Bb" e2 d2 e2 dc- | %53
w: I'm so hooked on you|* I can't get|free|* Oh but|I'll get through the bad|
"Bbm" cB- B4 z B |"F" c c2"A7" A- Ac A2 |"Dm" F4"D7" z2 z D |"Gm" ^C2 D2 c2 B2 | %57
w: * times * "cos|in my heart * * I|know That|you won't find an-|
"C7" A G2 B- B2 A2 |"F" F8- | F2 z2 z4 |"F" =B,2 C2 d2 c2 | B A2 G- G2 F2 |"E7" E3 E- E2 z E | %63
w: oth- er fool * like|me||La la la la|la la la * la|la la * you|
 E2 =B,D- D2 z D |"Gm7" ^C D2 C- C D2 c- | c3 B c2 d2 |"A7" A8- |"D7" A2 z2 z4 | %68
w: know you won't * *|La la la * la la|* la la la|la||
"Gm7" z D2 D- D F2 D |"C7" E6 z D |"A7" E2 E2 G2 E2 |"Dm" F6 z d |"Gm" e2 d2 c =B2 _B- | %73
w: Give me * just a|sign you|may need me some-|time I|fall for that old game|
"Gm7" B4 (3D2 ^C2 D2 |"Bbm" A2 G2 F>GA>B!D.S.! |:"F""^Coda" F4 A c2 d- |"D7" df d4 d2 | %77
w: * you al- ways|play, boy * * * *|Me no * oh|* * * you'll|
"Gm7" f d3 c2 B2 |"C7" A G2 B- B2 A2 :|"F" F2 d>d c>cA>A | F2 C2 F z z2 |] %81
w: nev- er find an-|oth- er fool * like|me. * * * * * *||


You Won't See Me

Context: Released in 1965, 'You Won't See Me' is a track from The Beatles' album 'Rubber Soul'. The song reflects the emotional turmoil of unrequited love and features intricate harmonies and a blend of pop and rock elements characteristic of the band's evolving sound during this period.

'You Won't See Me' showcases a blend of pop and rock influences, characterized by its introspective lyrics and rich vocal harmonies. The song employs a verse-chorus structure, with a prominent use of syncopation in the rhythm that enhances the feeling of longing. The instrumentation includes a lush arrangement featuring piano, bass, and strings, creating a melancholic yet melodic atmosphere. Lyrically, the song explores themes of isolation and emotional distance, reflecting the complexities of relationships and the pain of feeling unseen by a loved one.

This piece features a smooth, melodic line that conveys deep emotion through its lyrical content. The instrumentation is rich, with a prominent piano part complemented by strings that add depth to the overall sound. The vocal delivery is heartfelt, with harmonies that enhance the sense of yearning expressed in the lyrics. The tempo is moderate, allowing for an intimate listening experience that draws the audience into the emotional landscape of the song.

The music plays softly in a dimly lit café during early evening, where a young man sits alone at a table by the window. Outside, raindrops trickle down the glass, mirroring his somber mood. He gazes out into the street, watching couples pass by, their laughter contrasting with his solitude. The lighting is warm but muted, creating an atmosphere of nostalgia. On his table lies an untouched cup of coffee, steam rising faintly as he reflects on memories of love lost. His expression reveals a mix of sadness and longing as he clutches a letter he never sent.

X:997
T:You Won't See Me
T:You wont see me
T:John Lennon and Paul McCartney
C:John Lennon, Paul McCartney
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 z F"C"GA- |:"F" A4 z2 cG- |"G" G2 z2 z2 Fd- |"Bb" d6 cc- |"F" c4 z F"C"GA- |"F" A4 z2 cG- | %6
w: When I call|* you up|* your line's|* en- gaged|* I have had|* e- nough|
w: |* why you|* should want|* to hide|* but I can't|* get through|
w: |* are few|* they're filled|* with tears|* and since I|* lost you|
"G" G2 z2 z2 Fd- |"Bb" d6 cc- |"F" c4 z A"Gm"Bc- |"F7" c4 z2 cB- |"Bb" B4 z2 z G | %11
w: * so act|* your age|* we have lost|* thetime *|* that|
w: * my hands|* are tied|* I dont want|* to stay|* I|
w: * it feels|* like years|* yes it seems|* so long||
"Bbm" B B2 (3BcB ABA- |"F" A4 z CFG | A4 z2 cG- |"G" G4 z2 z F |"Bb" G3 F-"F" F2 AF- |"C7" F8 | %17
w: was so hard * * * to find|* and I will|lose my mind|* if|you wont * see me||
w: dont have much * * * to say|* but I can't|turn a- way|* and|you wont * see me||
w: girl since you've * * * been gone|* * I just|cant go on|* if|you wont * see me||
"F" z"Bb" G2 F-"F" FA F2- |1"C7" F4"D" z F"C7"GA :|2"C7" F8 ||"Gm" G4 B A2 G- |"Bb" G4 B A2 G- | %22
w: you wont * see me|* I dont know||Time af- ter time|* you re- fuse|
w: you wont * see me|||||
w: you wont * see me|||||
 G3 G F E2 G- |"F" G F3 z4 |"G7" =B4 B B2 B- | =B4 =B B3 |"C7" c2 cc- c2- cd- | %27
w: * to e- ven lis|* ten|I would- n't mine|* if I|knew what I * was miss|
w: |||||
w: |||||
"Gm7" d e3"C7" z FGA!D.C.! ||O"C7" F8 |:"F" f8- |"G7" f2 f2 f f3 |"Bb" f8- |"F" f2 f2 f f3 :| %33
w: * in' though the days||Oo|* la la la|Oo|* la la la|
w: ||||||
w: ||||||


You're Getting To Be A Habit With Me

Context: This song was popularized in the 1930s and has been covered by various artists over the years. It is known for its catchy melody and lyrical themes of romance and dependency.

The piece features a smooth, flowing melody that is characteristic of the jazz standards of its time. The harmonic structure typically includes major and minor chords that create a sense of longing and affection. The lyrics express a playful yet sincere acknowledgment of growing attachment, using conversational language that enhances its relatability. The rhythm is often syncopated, adding a lively feel that encourages movement and dance. Instrumentation commonly includes piano, brass, and woodwinds, contributing to its rich texture.

This music piece is characterized by its upbeat tempo and melodic lines that weave in and out of syncopated rhythms. The instrumentation features a blend of brass and woodwinds, creating a warm, inviting soundscape. The lyrics convey themes of love and habit, with an emphasis on the emotional nuances of becoming accustomed to someone's presence. The overall atmosphere is light-hearted yet deeply affectionate, making it a staple in romantic settings.

Imagine a dimly lit jazz club in the heart of a bustling city during the 1930s. The air is filled with the scent of polished wood and faint traces of perfume. A small stage adorned with soft lights showcases a trio of musicians: a pianist gently caressing the keys, a saxophonist swaying with the rhythm, and a bassist plucking deep notes that resonate through the room. Couples sit at intimate tables, their faces illuminated by candlelight, sharing soft laughter and stolen glances as they sway to the music. The vocalist takes center stage, their voice smooth and inviting, weaving tales of love that echo in the hearts of those present. Outside, the sounds of the city fade away, leaving only the enchanting melodies that fill the space with warmth and nostalgia.

X:998
T:You're Getting To Be A Habit With Me
T:You're Getting To Be A Habit With Me
C:Harry Warren
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z6"B7b5" A>F |:"Bb" G2 A>F"C7" G2"B7b5" A>F |"Gm7" G>F (3DFG-"C7" G3 A | %3
w: Ev- 'ry|kiss, ev- 'ry hug seems to|act just like a drug, _ you're|
"Fmaj7" (3GGG G>G"F6" F>FF>E- |"Fmaj7" E6"B7b5" A>F |"Bb" G2 A>F"C7" G2"B7b5" A>F | %6
w: get ting to be a hab- it with me.|_ Let me|stay in your arms, I'm ad-|
"Gm7" G>F (3DFG-"C7" G3 A |"Fmaj7" (3GGG G>G"F6" F>FF>A- |"A7""D7" A8 | %9
w: dict- ed to your charms, _ you're|get ting to be a hab- it with me.|_|
"Gm7" z3/2 B<cd/"C7" c>BA>E |"F/A" G G2 D"Abdim" F3 D |"Gm7" F3 D"Csus4" F2 E2 |"F""D7" D8 | %13
w: I used to think your love was|some- thing that I could|take or leave a|lone,|
"Gm7" z3/2 B<cd/"C7" c>BA>E |"Am7" G G2 D"Dm" F2"Dm7" F2 |"Em" G G3"G7" A A3 | %16
w: but now I could- n't do with-|out my sup- ply, I|need you for my|
"C7""F7" c6"B7b5" AF |"Bb" G2"Dm" A>F"C7" G2"B7b5" A>F |"Bb" G>F (3DFG-"C7" G3 A | %19
w: own. Oh I|can't break a- way, I must|have you ev 'ry day; _ as|
"Fmaj7" (3GGG G>G"F6" F>FF>E- |"E/G#""A7" E6"D7" D2 |"Gm7" G>AB>c"Em7b5" d>d"E7"e>d | %22
w: reg- u- lar- ly as cof- fee or tea.|_ You've|got me in your clutch- es and I|
"A7" _d A2 =d-"D7" d3 A |"F#dim" (3ccc"Gm" B>B"G7/D" A>F"C7" G2 |"F" F2"A7/E" A2"Am7" E"D7" D2 D |1 %25
w: can't get free; _ you're|get- ting to be a hab- it with|me. (can't break it!) You're|
"F#dim" (3ccc"Gm" B>B"C7" d>d"Gb7"E>F- |"F""G#dim7" F4"F" z2"F7" A>F :|2 %27
w: get- ting to be a hab- it with me.|_ Ev- 'ry|
"F#dim" (3ccc"Gm" B>B"C7" d>d"Gb7"E>F- |"F" F4 z4 |] %29
w: get- ting to be a hab- it with me.|_|


You're Laughing At Me

Context: Written by Irving Berlin in 1923, this song reflects the emotional struggles of a person who feels mocked and misunderstood. It has been performed in various styles and remains a staple in American musical theater.

The piece features a poignant melody characterized by its use of chromaticism and lyrical phrasing that evokes a sense of longing and vulnerability. The harmonic structure is relatively simple, often revolving around common jazz chords that support the emotional weight of the lyrics. The song's dynamics fluctuate, enhancing the dramatic tension as the narrator expresses feelings of despair and hope. The interplay between major and minor tonalities serves to underscore the conflicting emotions present in the narrative, making it a rich subject for analysis in both vocal performance and instrumental arrangement.

This music piece is marked by its expressive vocal lines that convey deep emotional resonance. The instrumentation typically includes piano accompaniment, which provides a lush harmonic backdrop while allowing the vocals to take center stage. The tempo is moderate, creating an intimate atmosphere that invites listeners to connect with the underlying themes of heartache and resilience. The lyrics are reflective, often utilizing imagery that evokes feelings of nostalgia and longing.

In a dimly lit theater, a spotlight shines on a solitary figure at the center of the stage. Dressed in vintage attire, the performer stands before an audience captivated by their emotional delivery. As they sing, their face reflects a mixture of sorrow and determination, drawing the audience into their world. The backdrop features soft shadows of past memories, enhancing the sense of nostalgia. The air is thick with anticipation as the character recounts their tale of love lost and the pain of feeling ridiculed by those around them, creating an atmosphere charged with empathy and understanding.

X:999
T:You're Laughing At Me
T:You're Laughing At Me
C:Irving Berlin
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 B, ||"Fm7" F"Bb7" F3- | F F/F/ (3F E F |"Ebmaj9" G4- | G/ z/ G/G/"Eb/Bb" (3G F G |"Fm7" A A3- | %6
w: I|love you|_ which is eas- y to|see.|_ but I have to keep|guess- ing,|
 A A/A/"Bb7" (3A G A |"Bb7/Eb""Eb/Bb" B4- | B z z"Eb7/G" E |"Ab" c c3- |"Adim7" c c/c/ (3c d c | %11
w: _ how you feel a- bout|me.|_ You|lis- ten|_ to the words that I|
"Eb/G" B4- |"Edim7" B/ z/ B/B/"C7b9" (3B c B |"Fm" A"Fm7" A3- |"Bb7" A F/F/ (3F"Ab/Bb" E"Bb9" D | %15
w: speak,|_ but I feel that you|lis- ten|_ with your tongue in your|
"Eb""Eb+/Bb" E4- |"Eb+""Eb/Bb" E4 |:"Eb6" C4 |"Eb+" _C/G/G/G/- G2 |"Eb" z B, =C D | %20
w: cheek.|_|You're|laugh- ing at me. _|I can't be|
 E F/G/-"Cm7" G/A/"Bdim7" B |"Eb/Bb""Eb7" G4 |"Adim7" _G/c/c/c/-"Ab" c"Abm7" _c |"Gm7""Eb/G" B4- | %24
w: sen- ti- men- * tal for|you're|laugh- ing at me, _ I|know.|
"Ebmaj7" B2 z2 |"Gb" (3B B B B B |"Gbmaj7" B _D3 | (3z _D _G (3B _d e | _d4 |"Bb" (3=d d d d d | %30
w: _|I want to be ro-|man- tic,|but I have- n't a|chance.|You've got a sense of|
"Ebdim/Bb" d c2 d |"Fm7/Bb" (3c c c (3c A F |"Bb7" D4 |"Eb6" C4 |"Eb+" _C/G/G/G/- G2 | %35
w: hum- or, and|hu- mor is death to ro-|mance.|You're|laugh- ing at me. _|
"Eb" z B, =C D | E F/G/-"Cm7" G/A/"Bdim7" B |"Eb/Bb""Eb7" G4 | %38
w: Why do you|think it's fun- * ny when|I|
"Adim7" _G/c/c/c/-"Ab7" c"Bm6/G#" =B |"G" d4- |"G7" d2"G7sus4" z2 |"Cm" z e"Bbm7" e"Eb7" e | %42
w: say that I love _ you|so?|_|You've got me|
"Ab6" f/e/c/A/"Abm6" G F |"Eb/G" B4- | B/ z/ d"F#dim7" d d |"Bb9/F" d/c/c/c/-"Edim7" c2- | %46
w: wor- ried, and I'm all at|sea|_ for while I'm|cry- ing for you _|
"Bb9/F" c2"D7/Bb" D2 |1"Bbdim7/Eb" F/"Eb6"E/E/E/- E2- |"F#dim7" E2"Fm7""Bb7" z2 :|2 %49
w: _ you're|laugh- ing at me. _|_|
"Bbdim7/Eb" F/E/"E6"E/E/- E2- | E2 z2 |] %51
w: laugh- ing at me. _|_|


You're My World

Context: Originally composed by Umberto Bindi in 1963, 'You're My World' became an international hit after being translated into English by Carl Sigman. The song has been covered by numerous artists and remains a classic love ballad.

Musically, 'You're My World' features a lush orchestral arrangement that enhances its emotional depth. The melody is characterized by sweeping phrases and a rich harmonic structure, primarily in a major key, which evokes feelings of warmth and longing. The use of dynamics plays a crucial role in conveying the song's emotional peaks, with crescendos leading to poignant lyrical moments. The lyrical content reflects themes of devotion and existential longing, encapsulating the idea that the beloved is central to the singer's existence. The song's structure follows a traditional verse-chorus form, allowing for memorable repetition of key phrases that emphasize its romantic message.

The piece is marked by its emotive vocal delivery and lush instrumentation. It features a slow tempo and a smooth melodic line that captures the essence of yearning and affection. The harmonies are rich, often utilizing extended chords that add to the song's emotional weight. The lyrics express deep feelings of love and dependency, creating an intimate atmosphere that resonates with listeners.

In a dimly lit café on a rainy evening, the soft glow of candlelight flickers across the tables. A couple sits closely together, their fingers intertwined as they share whispered secrets over steaming cups of coffee. Outside, raindrops patter against the window, creating a soothing backdrop to their conversation. As the music plays softly in the background, the woman gazes into her partner's eyes, her expression filled with affection and longing. The atmosphere is thick with emotion as they reminisce about their shared moments, each note of the melody echoing their unspoken promises and dreams for the future.

X:1000
T:You're My World
T:You're My World
T:Il Mio Mondo
T:Umberto Bindi
T:Carl Sigman
C:Umberto Bindi
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"^Octave,no chord" (3:2:2g2 g (3:2:2g2 g (3:2:2g2 g (3:2:2g2 g | %1
w: |
 (3:2:2g2 g (3:2:2g2 g (3:2:2g2 g (3z EF |:"Cm" G2 (3FED"Cm7" C2 G2 |"F7" F6 (3z DE | %4
w: * * * * * * You're my|world, you're ev- 'ry breath I|take, You're my|
"Fm" F2 (3EDC"Bb7" B,2 F2 |"Eb" E6 (3z CD |"Cm" E2 (3z GF"Gm" (D2 (3:2:2D2) B, | %7
w: world you're ev- 'ry move I|make. Oth- er|eyes see the stars * up|
"Ab" (3CDC-"C7" (C4 (3C)FG |"Fm7" (A2 (3:2:2A2) c"Bb7" (B2 (3:2:2B2) F | %9
w: in the skies, * * But for|me * they shine * with-|
"Eb" (3GAG-"Dm7" G4"G7" (3z EF |"Cm" G2 (3FED"Cm7" C2 G2 |"F7" F6 (3z DE | %12
w: in your eyes, * As the|trees reach for the sun a-|bove, So my|
"Fm" F2 (3EDC"Bb7" B,2 F2 |"Eb" E6 (3z CD |"Ab" E4"Abm" (3F2 E2 F2 |"Ebmaj7" G4"Fm7" (3A2 G2 A2 | %16
w: arms reach out to you for|love. With your|hand rest- ing in|mine, I feel a|
"Gm7" (3B2- B2 B2"G7" (3=B2- B2 c2 |"C" c4 c2"G7" d2 ||[K:C]"C" e2 (3dcB"Am" A2 e2 | %19
w: pow- * er so- * di-|vine. You're my|world, you are my night, my|
"Dm" d6 (3z Bc |"G7" d2 (3cBA G2 d2 |"C" c6 (3z AB |"F" c4"Fm" (3d2 c2 d2 |"C" e4"Fm" (3f2 e2 f2 |1 %24
w: day, You're my|world, you're ev- 'ry prayer I|pray. If our|love ceas- es to|be, Then it's the|
"C" (3e2 d2 c2"G7" d3 c ||"C""Cm" c4 z2"G7" (3z"Cm" _EF :|2"C" (3e2 d2 c2"Dm" d4- || %27
w: end of my world for|me. You're my|end of my world,|
"G7b9" d4"C" (3e2"G" d2"Am" c2 |"G7""G7b9" d8- |"G7" d2 ed"Dm7" c2"G7" B2 |"C" c2 (3dcB"Am" A2 e2 | %31
w: * End of my|world,|* It's the end for|me. * * * * *|
"Dm" d6 (3z Bc |"G7" d2 (3cBA G2 d2 |"C" c6 z2 |] %34
w: |||


You're So Vain

Context: Released in 1972, 'You're So Vain' became one of Carly Simon's most iconic songs, known for its biting lyrics that critique a self-absorbed lover. The song was a commercial success, reaching number one on the Billboard Hot 100 chart and has been covered by numerous artists over the years.

'You're So Vain' is characterized by its clever use of imagery and metaphor to convey themes of narcissism and betrayal. The song employs a conversational tone, with the narrator addressing a former lover directly. The repeated refrain emphasizes the subject's vanity, while the instrumentation features a blend of piano, strings, and a steady drumbeat that supports the lyrical narrative. The use of minor keys contributes to an underlying sense of melancholy, contrasting with the upbeat tempo. The song’s structure follows a verse-chorus pattern, allowing for emotional build-up and release, which enhances the impact of the lyrics.

The music features a melodic structure that combines soft rock elements with pop sensibilities. It opens with a distinctive piano riff, followed by Simon's expressive vocals that convey both confidence and vulnerability. The arrangement includes lush string sections that complement the lyrical themes of introspection and critique. The overall sound is polished yet retains an organic feel, reflective of early 1970s music production.

In a sunlit café bustling with patrons, a woman sits at a table by the window, her expression a mix of nostalgia and bitterness as she recalls her past relationship. The camera pans to her as she stirs her coffee absentmindedly, glancing out at couples walking hand in hand. She imagines her former lover strutting down the street, oblivious to the hurt he caused her. The lighting is warm but tinged with shadows, symbolizing the duality of love and heartbreak. As she reflects on their moments together—the laughter, the arguments—her face shifts from sorrow to empowerment, embodying the strength found in self-awareness and moving on.

X:1001
T:You're So Vain
T:You're so vain
T:Carly Simon
C:Carly Simon
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 z2 d2 |:"Am" e2"G" d2"Am" AAAe- | ee"G"dA-"Am" AAAA |"F" aaa"C"g- g"F"a a2 |"Am7" e4 z AAA | %5
w: You|walked in * to the par-|* * ty * * like you were|walk- ing on- to * a *|yacht your hat stra-|
w: |had me sev- er- al years|* a- go * * * * when|I was still quite * na *|ive * well you|
w: |hear you went up to Sar|a- to- ga * * * * and|your horse * nat * 'ral- ly|won * then you|
 ee"G" e2"Am" ccce- | e"G"ddA-"Am" AAAA |"F" aaa"C"g-"F" gaa z |"Am" e4 z A A2 | %9
w: te- gi- c'lly dipped * be- low|* one * eye * * * your|scarf it was ap- * ri *|cot you had|
w: said that we make such a pret-|* ty pair * * * * and|that you would nev * er *|leave but you|
w: flew * your Lear jet up to|No- va Sco- tia * to tsee the|to- tal e- clipse * of the|sun well you're|
"F" a2 a2"G" g2 f2 |"Em7" g G2 A-"Am7" A3 A |"F" a2 cc- cd c2 |"C" e3 e- efed- |[M:2/4]"G" de dc- | %14
w: one eye in the|mir- ror as * you|watched your- self * ga *|votte * and all the girls|* dreamed that they'd|
w: gave a- way the|things you loved * and|one of them * was *|me * I had some dreams|* they were clouds|
w: where you should be|all the time * and|when you're not * you're *|with some un- der- world spy|* or the wife|
[M:4/4]"F" c2 cA c d2 c- | ccAc- cd c2 |"C" z2 G2- GGAG- | G6 z G |"Dm7" AAAA AAGA- | %19
w: * be your part- ner they'd|* be your part- ner * and|you're * so * vain|* you|prob- b'ly think this song is a- bout|
w: * in my cof- fee clouds|* in my cof * fee and||||
w: * of a close friend, wife|* of a close * friend and||||
"C" A G2 c- cdcc |"Am" e6 z c |"F" egge geg"G"a- | a g2 a- a g2 a- |1 a g3- g2 dd :|3 a g3- g4 |: %25
w: * you, you;re so * vain *|* I'll|bet you think this song is a- bout|* you dont * you dont|* you * * you|* you? *|
w: ||||||
w: ||||||
"C" G4- GGAG | G6 z G |"Dm7" AccA cAcG- |"C" G G3- G4 :| %29
w: you're * so * vain|* you|prob- ly think this song is a- bout|* you. *|
w: ||||
w: ||||


You're the Reason I'm Living

Context: Released in 1963, 'You're the Reason I'm Living' is one of Bobby Darin's notable ballads, showcasing his smooth vocal style and emotional delivery. The song reflects themes of love and devotion, characteristic of Darin's work during this era.

Musically, the piece features a rich orchestration typical of early 1960s pop, incorporating lush strings and subtle brass accents that enhance the romantic atmosphere. The song's structure follows a standard verse-chorus format, allowing for expressive vocal phrasing. Darin's delivery is marked by dynamic contrasts, moving from tender whispers to powerful crescendos, effectively conveying the emotional weight of the lyrics. Harmonically, the song employs common pop chord progressions that create a sense of yearning and nostalgia, while the melodic line is characterized by smooth legato phrases that highlight Darin's vocal agility.

The music is characterized by a slow tempo and a heartfelt melody that evokes feelings of longing and affection. The instrumentation includes strings, piano, and light percussion, creating a warm and inviting soundscape. The vocal performance is emotive, with a focus on lyrical storytelling that draws listeners into a narrative of love and devotion. The overall mood is romantic and reflective, making it a timeless piece suitable for intimate settings.

The music plays softly in a dimly lit restaurant during an intimate dinner scene. A couple sits at a candlelit table adorned with delicate flowers. The lighting casts a warm glow over their faces as they gaze into each other's eyes, lost in conversation. The ambiance is filled with soft laughter and clinking glasses, while the gentle strains of the song create an atmosphere of romance and nostalgia. Outside, the night sky twinkles with stars, enhancing the sense of intimacy as they share stories and dreams for the future.

X:1002
T:You're the Reason I'm Living
C:Bobby Darin
L:1/8
M:4/4
I:linebreak $
K:D
V:1 treble nm="Guitar" snm="Guit."
%%MIDI program 24
V:1
"D " z2 DD DF A2 |"G " cd- d6 | z2 GG GA B2 |"D " A8 |z2(3zFD F2- (3FGF |"A " FE- E6 | %6
w: You're the rea- son I'm|liv- ing. *|You're the breath that I|take.|You're the stars * in my|hea- ven. *|
 z2 FG FA, E2 |"D " D8 | z2 DD DF A2 |"G " cd- d6 | z2 GG GA B2 |"D " A8 | z2 FD F2- (3FGF | %13
w: You're the sun when I|wake.|You're the rea- son I'm|liv- ing. *|Oh you car- ry me|through|all of life's * lit- tle|
"A " FE- E6 | z2 FG FA, E2 |"D " D8 |"D7" z2 D2 F2 G2 |"A " A3 G E4 | z4 =fe _ed- |"D " d3 e f4 | %20
w: bur- dens. *|I'd be lost with- out|you.|A long, long|time a\- go|when I was do-|* w\- n|
 z4 dd- dB |"G " d3 B dd- d2 | d d3 dd ec- |"A7" c=c BA- A2 z2 |"D " z2 DD DF A2 |"G " cd- d6 | %26
w: you picked * me|up and showed me *|true love still could be fo-|* u\- n\- d. *|You're the rea- son I|do things. *|
 z2 GG GA B2 |"D " A8 | z2 FD FG- GF |"A " FE- E6 | z2 FG FA, E2 |"D " D8 | z2 FD FG- GF | %33
w: You're the things that I|do.|You're the rea- son * I'm|liv- ing. *|I'd be lost with- out|you.|You're the rea- son * I'm|
"A " FE- E6 | z2 FG FA, E2 |"D " D8 | z2 FD F2- (3FGF |"A " FE- E6 | z2 FG FA, E2 |"D ""G " D8- | %40
w: liv- ing. *|I'd be lost with- out|you.|You're the rea- * son- I'm|liv- ing. *|I'd be lost with- out|you.|
"D " D8 |] %41
w: |


You've Changed

Context: Originally written in the 1940s, 'You've Changed' has been covered by numerous artists, including Billie Holiday and Frank Sinatra. The song reflects themes of love and transformation, often associated with the emotional complexities of relationships.

The song is characterized by its poignant lyrics that explore the theme of change within a romantic relationship. Musically, it often features a slow tempo and rich harmonic progressions typical of jazz standards. The use of chromaticism in the melody enhances the emotional weight of the lyrics, allowing performers to convey deep feelings of nostalgia and regret. The interplay between vocal lines and instrumental accompaniment creates a lush soundscape that supports the lyrical content, making it a favorite for jazz interpretations.

This piece is marked by its reflective and melancholic tone, featuring a smooth melodic line that flows over intricate chord changes. The arrangement typically includes lush harmonies and a gentle rhythm that enhances the lyrical themes of longing and transformation. The instrumentation often involves piano, bass, and subtle brass or string elements, creating an intimate atmosphere that invites listeners to connect emotionally with the narrative.

In a dimly lit jazz club, a lone singer stands under a soft spotlight, their silhouette casting a long shadow on the wooden stage. The audience is captivated, swaying gently to the slow rhythm as the singer's voice resonates with vulnerability. Around them, patrons sit at small tables adorned with flickering candles, their expressions reflecting a mix of nostalgia and introspection. Outside, rain taps softly against the windows, mirroring the emotional weight of the performance as memories of lost love fill the air.

X:1003
T:You've Changed
C:Carl Fischer
L:1/8
Q:1/4=1
M:2/2
I:linebreak $
K:Eb
V:1 treble
V:1
"Bb+7""_Ballad" B2 ||"Ebmaj7""^A" d6 B2 |"Am7b5" d_dc_c"D+7" B2 =c2 |"Gm7b5" B6 G2 | %4
w: You've|changed, that|spar- kle in your eyes is|gone. Your|
"C7" c_cB=A"C+7" _A2 =c2 |"F9" G6 c2 |"B7" ^FFFG-"Bb13" G2 DC- |"Gm7""C7" C8- | %8
w: smile is just a care- less|yawn. You're|break- ing my heart, _ you've changed.|_|
"Fm7" C4"Bb+7" z2 B2 |"Ebmaj7" d6 B2 |"Am7b5" d_dc_c"D+7" B2 =c2 |"Gm7b5" B6 G2 | %12
w: * You've|changed, your|kiss- es now are so bla-|se. You're|
"C7" c_cB=A"C+7" _A2 =c2 |"F9" G6 c2 |"B7" ^FFFG-"Bb13" G2 D=F- |"Bbm7" F8- |"Eb9" F4 z2 EF || %17
w: bored with me in ev- 'ry|way. I|can't un- der- stand, _ you've changed.|_|* You've for-|
"Abmaj9""^B" GBAG- G2 E_G- |"Db9sus4" G _G3- G4 |"Gm7" FDEF- FDEB- |"Bbm7""Eb7" B6 EF | %21
w: got- ten the words, _ "I love|_ you," _|each mem- o- ry _ that we've shared.|_ You ig-|
"Abmaj9" _GBAG- G2 EG- |"Db9sus4" G _G3- G2 =GA |"Gm7" BBBB"Gbm7" _dd-"B9" dB- | %24
w: nore ev- 'ry star _ a- bove|_ you. _ I can't|re- a- lize you ev- er * cared.|
"Fm7" B4-"Bb7" B2 B2 ||"Ebmaj7" d6 B2 |"Am7b5" d_dc_c"D+7" B2 =c2 |"Gm7b5" B6 G2 | %28
w: _ _ You've|changed, you're|not the an- gel I once|knew. No|
"C7" c_cB=A"C+7" _A2 =c2 |"F9" G6 c2 |"B7" ^FFFG-"Bb13" G2 GE- |"Eb6" E8- | E4 z4 |] %33
w: need to tell me that we're|through. It's|all o- ver now, _ you've changed.|_||


You've Got a Friend

Context: Originally released in 1971 on Carole King's album 'Tapestry', 'You've Got a Friend' became an anthem of friendship and support. The song was also covered by James Taylor, whose version topped the charts, further popularizing its message of unconditional support.

The song features a simple yet profound harmonic structure that emphasizes the emotional depth of the lyrics. It employs a gentle piano accompaniment that complements the heartfelt vocal delivery. The use of major chords creates a warm and inviting atmosphere, while the lyrical content speaks to themes of loyalty and reassurance in relationships. The interplay between King’s and Taylor’s vocals highlights the song's message, with each artist bringing their unique emotional resonance to the piece. The repeated refrain reinforces the idea of unwavering support, making it a timeless classic in the realm of pop music.

This piece is characterized by its soothing melody and heartfelt lyrics that convey a deep sense of comfort and reassurance. The instrumentation is predominantly piano-driven, creating a warm backdrop for the vocal harmonies. The song unfolds with an inviting rhythm and an uplifting chord progression that enhances its themes of friendship and emotional support. The overall sound is soft and melodic, encouraging listeners to reflect on their own relationships.

Imagine a cozy living room bathed in soft afternoon light, with warm hues reflecting off the walls. A group of friends sits together on plush sofas, sharing stories and laughter. One friend, visibly distressed, leans forward, their emotions palpable in the air. As the music plays softly in the background, they feel enveloped by a sense of understanding and support from those around them. The atmosphere is filled with warmth, as each friend offers comforting words and gestures, embodying the essence of unwavering friendship that the music beautifully encapsulates.

X:1004
T:You've Got a Friend
T:You've Got a Friend
T:Carole King
C:Carole King
L:1/8
M:4/4
I:linebreak $
K:Ab
V:1 treble nm="Unnamed (treble staff)"
V:1
"Ab" z8 |"Db/Ab" z8 |"Db/Ab" z8 |"Gm" z4"C7" z A, B,C- |:"Fm" C2 z2 z2 CD | C"C7/G" C3 z F GA- | %6
w: |||When you're down|* and trou\-|* bled and you need|
w: ||||||
"Fm" A3 A G"C7/G" F2 C- |"Fm/Ab" C2"Gm" z2"Fm" z2 z C |"Bbm7" DD z2 z4 |"Eb7" FE CE- E F2 C- | %10
w: * some lov- ing care|* and|no- thing,|no\- thing is go\- * ing right|
w: ||||
"Ab" C2 z2 z4 | z8 |"Gm7" C2 CC- C3 C |"C7" DC C2 z2 z C |"Fm" A3 A- A"C7/G"G FC- | %15
w: ||Close your eyes * and|think of me and|soon I * will be there|
w: |||||
"Fm/Ab" C2 z2"C7/G" z2"Fm" z C |"Bbm7" D2 DD z2 z F | F"Cm7"E CE- E C2 B,- |"Db/Eb" B,2 z2"Eb" z4 | %19
w: * to|bright\- en up e\-|* ven your dark\- * est night||
w: ||||
"Db/Eb" z4"Eb" C D2 E- |"Ab" E2 z2 CD CE- | E2 z2 z D EF- |"Db" F2 z F FE DF- | %23
w: You just call|* out my * name|* and you know|* wher\- e\- ver I am|
w: ||||
"Bbm7" F2 z2"Db/Eb" F2 AF- |"Ab" F E3 z4 | z2 z C CD CC | B,2"Db/Eb" z2 z4 | z8 | %28
w: * I'll come run\-|* ning|to see you a\- gain|||
w: |||||
"Ab" CE E2 EC z F |"Abmaj9" E2 z2 z4 |"Dbmaj9" FA AF"Db6" AF BA- | A/"Fm7"F/E z2"Ebm7" z E Fc- | %32
w: Win\-ter, * spring, sum\- mer fall||all you have to do is call *|* * * and I'll be|
w: ||||
"Db" cB A>F F"Cm7"E C/B,/A,/B,/ |"Bbm7" A,2 z2"Db/Eb" A,B, A,E- |1 E/"Ab"D/C z2 z4 |"Db/Ab" z8 | %36
w: * there * * * * * * * *|* you've got a friend|||
w: ||||
"Db/Ab""Ab" z8 |"Gm7" z4"C7" z A, B,C :|2"Gb" DC DC DC CE- |"Db" ED CD z2 z D ||"Ab" CE CE z F2 E | %41
w: |2.If the sky|Ain't it good to know that you 've|* got friend * when|peo\- ple can be so cold|
w: |||* * a * *||
"Abmaj9" C2 z2 z2 EF- |"Dbmaj7" FG z2 A,B, A,E |"Gb7" D D3 z2 z D |"Fm" C D2 A- AF AG | %45
w: * * hurt|* you yes, and de\- sert|* you and|take your soul * if you let|
w: ||||
"Bb7" F2 z2 z C2 C |"Db/Eb" C2 EC- C B,3 |"Eb" z4 C D2 E |] %48
w: them Oh, but|don't you let * them|You just call|
w: |||


Young And Foolish

Context: Originally featured in the 1954 Broadway musical 'The Golden Apple', 'Young And Foolish' has been covered by various artists over the years, becoming a standard in the jazz repertoire. The song reflects themes of youthful love and the bittersweet nature of growing up.

'Young And Foolish' is characterized by its lyrical simplicity and emotional depth, exploring the fleeting nature of youth and love. The harmonic structure often employs rich jazz chords, creating a lush sound that complements the introspective lyrics. The melody is lyrical and flowing, allowing for expressive vocal interpretations. The song's use of minor keys evokes a sense of nostalgia and longing, enhancing its thematic content about the inevitability of growing older and the wistfulness associated with lost youth.

The music features a smooth, flowing melody that captures the essence of youthful romance. It is structured around a series of rich harmonic progressions that evoke feelings of nostalgia and longing. The instrumentation typically includes piano, bass, and soft percussion, creating a warm and intimate atmosphere. The lyrics reflect on the innocence of youth and the bittersweet nature of love, emphasizing emotional vulnerability.

The music plays softly in a dimly lit café during a late evening gathering. A couple sits at a small table by the window, their hands intertwined as they share stories of their past. Outside, the streetlights flicker against the backdrop of a starry night sky. The atmosphere is filled with a sense of warmth and intimacy as they reminisce about their youthful adventures, laughter echoing softly amidst the gentle clinking of glasses. The scene captures both joy and melancholy as they realize how quickly time has passed, embodying the essence of being young and foolish.

X:1005
T:Young And Foolish
T:Young And Foolish
C:Albert Hague
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice"
%%MIDI program 52
V:1
|:"Cmaj7" G3"Am7" C |"Dm7" C"G7" D3 |"Cmaj7" z E E F |"Gm7" F G"C7" G2 |"Fmaj7" A3 D | %5
w: Young and|fool- sish,|why is it|wrong to be|young and|
"Bb7" D"A7" E3 |"Dm7" z F F G |"G7" G A A2 |"Cmaj7" B c c3/2 B/ |"Bdim7" B c"E+7" c3/2 B/ | %10
w: fool- ish?|We have- n't|long to be.|Soon e- nough the|care- free days, the|
"Am7" c G"Bdim7" E"E7" D |"Am7" C4 |"Am7" B c c3/2 c/ |"D7" c d B c |"Dm7" d4- |"G7" d2 z2 | %16
w: sun- lit days go|by.|Soon e- nough the|blue- bird has to|fly.||
"Cmaj7" G3"Am7" C |"Dm7" C"G7" D3 |"Cmaj7" z E E F |"Gm7" F G"C7" G2 |"Fmaj7" A3 D | %21
w: We were|fool- ish,|one day we|fell in love.|Now we|
"Bb7" D"A7" E3 |"Dm7" z F F G |"G7" G A A2 |"Cmaj7" B c c B |"Bdim7" B"E+7" c3 |"Am7" c d d c | %27
w: won- der|what we were|dream- ing of?|Smil- ing in the|sun- light,|laugh- ing in the|
"D7" e3"Bb7" e |"Cmaj7/E" e c"A+7" A F |"Dm7" D3/2 d/"G7" (3d c B |1"Cmaj7""Dm7" c2"G7" z2 :|2 %31
w: rain, I|wish that we were|young and fool- ish a-|gain!|
"Cmaj7" c4- || c2 z2 |] %33
w: gain!||


Younger Than Springtime

Context: Originally featured in the musical 'South Pacific' (1949), this song expresses themes of youthful love and the beauty of spring. It has been covered by numerous artists and remains a staple in musical theatre repertoire.

The song is characterized by its lush, lyrical melody that captures the essence of spring and renewal. The harmonic structure employs rich chromaticism, typical of Rodgers' compositions, which enhances the emotional depth. The textural interplay between the vocal line and orchestration creates a sense of longing and hope, reflecting the protagonist's feelings of love and innocence. The use of major keys contributes to an uplifting atmosphere, while the dynamics shift to emphasize moments of introspection and yearning.

This piece features a soaring melody that evokes feelings of warmth and nostalgia. The arrangement typically includes lush orchestral backing, with strings and woodwinds creating a gentle, flowing accompaniment. The vocal delivery is often tender and expressive, highlighting the emotional weight of the lyrics that celebrate youth and love.

Set in a sun-drenched tropical landscape, the scene unfolds during a serene afternoon. Lush greenery surrounds a young couple, who are dressed in light, flowing attire that sways gently in the warm breeze. The sunlight filters through the leaves, casting playful shadows on their faces as they gaze into each other's eyes, filled with hope and dreams for the future. Birds chirp softly in the background, enhancing the idyllic atmosphere as they share intimate moments, expressing their love amidst the beauty of nature.

X:1006
T:Younger Than Springtime
T:Younger Than Springtime
T:(from South Pacific)
T:Richard Rodgers
T:Oscar Hammerstein II
C:Richard Rodgers
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 z"C" C C"G" D | E"F" F/F/ F"C" E |"G" D4- | D3 z |"C" z C/C/ C"G" D | D"F" F F"C" E |"Bb" D4- | %7
w: I touch your|hand and my arms grow|strong||like a pair of|birds that burst with|song|
 D3 z |"Dm" z D D"G+" E |"A7b9" E G/G/ G F |"Dm" F4- |"Fm6" F _A/=A/ G F |"C" E4- |"C#+7" E G F E | %14
w: |My eyes look|down at your love- ly|face|* and I hold the|world|* in my em-|
"Dm7" D4- |"G7" D3 z ||"Cmaj7" E/F/ G A C | z D E2 |"Dm7" D/E/ F G B, |"G7" z C D2 | %20
w: brace||Young- er than Spring- time|are you|soft- er than star- light|are you|
"Cmaj7" E/F/ G A B |"Am7" c B/A/ G A |"D7sus4" G2"D7" ^F2 |"Gmaj7" ^F2"G7" =F2 | %24
w: warm- er than winds of|June are the gen- tle|lips you|gave me|
"Cmaj7" E/F/ G A C | z D E2 |"Dm7" D/E/ F G B, |"G7" z C D2 |"Cmaj7" E/F/ G A B |"Am7" c B/A/ G A | %30
w: Gay- er than laugh- ter|are you|sweet- er than mus- ic|are you|an- gel and lov- er|heav- en on earth are|
"D7sus4" G2"D7" ^F2 |"G" G/ z/ D"G#+7" D D |"Am7" E3"D7" ^F |"Gmaj7" ^F3 G |"Am7" G3"D7" A | %35
w: you to|me and when your|youth and|joy in-|vade my|
"Gsus4" D/ z/ D"G#+7" D D |"Am7" E3"D7" ^F |"Gmaj7" ^F3 G |"Dm7" G4 |"G7" G4 |"Cmaj7" E/F/ G A C | %41
w: arms and fill my|heart as|now they|do|then|young- er than spring- time|
 z D E2 |"Dm7" D/E/ F G B, |"G7" z C D2 |"Cmaj7" E/F/ G A B |"Am7" c B/A/ G A |"D7" d4 |"G7" d4 | %48
w: am I|gay- er- than laugh- ter|am I|an- gel and lov- er,|heav- en and earth am|I|with|
"C6" c4- | c3 z |] %50
w: You!||


Your Cheatin' Heart

Context: Released in 1952, 'Your Cheatin' Heart' is one of Hank Williams' most famous songs, often regarded as a classic in the country music genre. The song reflects themes of heartbreak and betrayal, showcasing Williams' poignant songwriting and emotive vocal delivery.

'Your Cheatin' Heart' is characterized by its simple yet powerful chord progression, typically following a I-IV-V pattern common in country music. The song employs a slow tempo that enhances the emotional weight of the lyrics, which express feelings of sorrow and betrayal. The use of traditional instrumentation, including steel guitar and fiddle, adds to its authenticity and roots in honky-tonk music. Lyrically, the song captures the pain of infidelity through vivid imagery and relatable sentiments, making it resonate with listeners across generations. The repetitive structure of the verses emphasizes the protagonist's despair, while the melodic line conveys a sense of longing and regret.

This piece features a slow-paced melody underscored by a gentle yet sorrowful arrangement. The instrumentation includes prominent use of acoustic guitar, steel guitar, and subtle strings, creating a rich soundscape that complements the emotional depth of the lyrics. The vocal delivery is heartfelt and expressive, conveying a sense of longing and pain that resonates throughout the performance. The overall atmosphere is one of melancholy and reflection, inviting listeners to connect with the themes of love lost and betrayal.

The music plays in a dimly lit bar on a rainy evening, where a solitary figure sits at the end of the counter nursing a drink. Shadows dance across the walls as raindrops patter against the window, creating a somber ambiance. The character, dressed in worn-out jeans and a faded flannel shirt, gazes out into the distance, lost in memories of happier times. Around them, patrons engage in hushed conversations, their laughter contrasting with the protagonist's sorrow. A flickering neon sign casts an ethereal glow over the scene as the music swells, capturing the essence of heartbreak and nostalgia that permeates the air.

X:1007
T:Your Cheatin' Heart
T:Your cheatin heart
T:Hank Williams
C:Hank Williams
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 z"G7" G c A/G/ |:"C" E4- |"C7" E G A G |"F" F4- | F c c d/c/ |"G7" B4- | B G A F |"C" E4- | %8
w: Your cheat- in *|heart|* will make you|weep|* you'll cry and *|cry|* and try to|sleep|
w: your cheat- in *|heart|* will pine some|day|* and crave the *|love|* you threw a-|way|
 E G"G7" c A/G/ |"C" E4- |"C7" E G A G |"F" F4- | F c c d/c/ |"G7" B4- | B E F B, |"C" C4- | %16
w: * but sleep wont *|come|* the whole night|through|* your cheat- in *|heart|* will tell on|you|
w: * the time will *|come|* when you'll be|blue|* your cheat- in *|heart|* will tell on|you|
 C c"C7" c c |"F" c4- | c c c3/2 c/ |"C" A/G/- G3- | G c c c |"D7" c4- | c A B c |"G7" B4- | %24
w: * When tears come|down|* like fall- in|rain * *|* you'll toss a-|round|* and call my|name|
w: ||||||||
 B G c A/G/ |"C" E4- |"C7" E G A G |"F" F4- | F c c d/c/ |"G7" B4- | B G A B, |1"C" C4- | %32
w: * you'll walk the *|floor|* the way I|do|* your cheat- ing *|heart|* will tell on|you|
w: ||||||||
 C G"G7" c A/G/ :|2"C" C4- | C3 z |] %35
w: * your cheat- in *|you.||
w: |||


Your Song

Context: Released in 1970, 'Your Song' is one of Elton John's most iconic tracks, co-written with lyricist Bernie Taupin. The song showcases John's heartfelt piano melodies and Taupin's poignant lyrics, marking a significant moment in pop music history. It has been covered by various artists and remains a staple in John's live performances.

'Your Song' features a simple yet effective chord progression that enhances its emotional impact. The song is structured in a traditional verse-chorus format, with a memorable melody that captures the essence of youthful love and vulnerability. The use of the piano as the primary instrument creates an intimate atmosphere, while John's vocal delivery conveys sincerity and warmth. The lyrics reflect a personal confession, emphasizing themes of love and devotion, making it relatable to a wide audience.

The music begins with a gentle piano introduction, establishing a tender and reflective mood. As the vocals enter, they are characterized by a soft yet powerful delivery that evokes feelings of nostalgia and affection. The instrumentation gradually builds, incorporating strings and subtle harmonies that enhance the overall emotional depth. The song's lyrical content expresses heartfelt sentiments, focusing on the simplicity and beauty of love, making it resonate with listeners.

The music plays during a serene sunset at a picturesque park, where a couple sits on a blanket surrounded by blooming flowers. The sky is painted in hues of orange and pink, casting a warm glow over the scene. The characters, both in their early twenties, share glances filled with affection and hope. As they lean closer together, the soft melodies envelop them, creating an intimate atmosphere. Nearby, children play and laughter fills the air, contrasting with the couple's quiet moment of connection as they whisper sweet nothings to each other.

X:1008
T:Your Song
C:Elton John
%%score ( 1 2 )
L:1/16
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Alto Saxophone" snm="Alto Sax."
V:2 treble
L:1/8
V:1
"^Bb" z8"^Eb/Bb" z8 |"^F/Bb" z8"^Eb/Bb" z8 |:S"^Bb" z2 dc dcd2"^EbMaj7" d2<d2- d4 | %3
w: ||It's a lit- tle bit fun- ny _|
w: ||* If I was a sculp- tor _|
w: ||* I sat on the roof _ _|
w: ||So ex- cuse me for- get- ting _|
"F" z2 cc- cfc2"Dm" (d4 c4) |"Gm"z2zG BBAB-"Gm/F" B2>A2- A2<B2 | %5
w: this feel- _ ing in- side, _|I'm not one of those _ who _ can|
w: but then * a- gain no *|* * who makes po- _ tions in a|
w: and kicked _ off the moss, *|* * * of the vers- es, well they've|
w: but these _ things I do, _|You see I've for- got- ten if * they're|
"Gm/E" z2 Bd- d2<B2"^Eb" (_dcB2 FGB2) |"^Bb/F" z2 GB- BBB2"F" d(c2B- B2<)c2 | %7
w: eas- i- _ ly, hide, _ _ _ _ _|I'm don't _ have much mon- ey, _ _ but|
w: trav- el- _ in' show, _ _ _ _ I|* know _ it's not much but it's _ the|
w: got me _ quite cross, _ _ _ _ _|But the sun's been quite kind _ _ _ _|
w: green or _ they're blue, _ _ _ _ _|An- y- way _ the thing _ _ _ is|
"D"z2d2 f2<g2"Gm" (3(_dcB G6) |"^Bb" z2 BB- Bdf2"Cm7" g4 (3([dc]c63/64B c2) |1 %9
w: boy, if I did _ _ _|I'd buy _ a big house where _ _ _|
w: best I can do, _ _ _|My gift _ is my song and _ _ _|
w: while I wrote~this song, _ _ _|It's for peo- ple like you, that _ _ _|
w: what I really mean, _ _ _|Yours are _ the * * eyes _ _ _|
"^Eb" z2 GB- B2<B2"F" c8 |[M:2/4]"Fsus4" z4"F" z4 :|2[M:4/4]"^Eb" z2 GB- BBB2-"^Bb" B8 | %12
w: we both _ could live.|||
w: ||this one's _ for you. _|
w: keep it _ turned on.|||
w: ||I've ev- _ er seen. _|
[M:2/4]"^Eb/Bb" z4"^Bb" z4 ||[M:4/4]"F/A" z2 df- fdf2"Gm" g2fd- dcB2 | %14
w: ||
w: |And you _ can tell ev- 'ry- bod- _ _ y|
w: ||
w: ||
"Cm7"z2zG- GBG(d-"^Eb" (3dcB- B6) |"F/A" z2 df- f2f2"Gm" (g2<f2) dcB2- | %16
w: ||
w: This _ is your song. _ _ _ _|It may * be quite _ sim- ple but,|
w: ||
w: ||
"Cm7"B2 z2 GBG(d-"^Eb" (3dcB-O B6)"^Last time to Coda" |"Gm" z dgf g2<b2-"Gm/F" bfgf g2<b2- | %18
w: ||
w: * now that it's done _ _ _ _|I hope you don't mind, _ I hope you don't mind|
w: ||
w: ||
"Gm/E" bg^fg- gb2(g/=f/)"Eb6" !fermata!g4z2g2 |"^Bb/D" f2>d2- d2<B2"^Eb6" c2>G2- G2>G2 | %20
w: ||
w: _ that I put _ down in _ words How|won- der- _ ful life is _ while|
w: ||
w: ||
"^Eb" (_dc2)B- BBc2-"F" c8 |[M:2/4]"Fsus4" z4"F" z4"^D.S. al Coda with repeat" |: %22
w: ||
w: you're * in _ the world. _||
w: ||
w: ||
[M:4/4]"Gm"z"^Coda"dgf g2<b2-"Gm/F" bfgf g2<b2- |"Gm/E" bg^fg- gb2(g/=f/)"^Eb6" !fermata!g4z2g2 | %24
w: I hope you don't mind _ I hope you don't mind|_ that I put _ down in _ words How|
w: ||
w: ||
w: ||
"^Bb/D" f2>d2- d2<B2"^Eb" c2>G2- G2>G2 |1"^Eb" (_dc2)B- BBc2-"F" c8 |[M:2/4]"Fsus4" z4"F" z4 :|2 %27
w: won- der- * ful life is _ while|you're _ in _ the world _||
w: |||
w: |||
w: |||
"^Eb" (_dc2)B- BBB2- |[M:4/4]"^Bb" B8-"^Eb/Bb" B8 ||"^F/Bb" z8"^Eb/Bb" z8 |"^Bb" z16 |] %31
w: you're _ in _ the world.|_ _|||
w: ||||
w: ||||
w: ||||
V:2
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Yours Is My Heart Alone

Franz Lehar
Fritz Lohner
Harry B. Smith
Ludwig Herzer

Context: Originally composed for the operetta 'The Land of Smiles' in 1929, this piece has become a staple of romantic classical music, often performed in concert settings and recorded by various artists. It features a lush orchestration typical of Lehar's style, blending operatic vocals with sentimental melodies.

The piece is characterized by its lyrical melody and rich harmonic structure, typical of early 20th-century operetta. The use of chromaticism and modulation contributes to the emotional depth, evoking feelings of longing and nostalgia. The vocal lines are designed to showcase the singer's expressiveness, often employing wide intervals that enhance the dramatic effect. The orchestration supports the vocal line with lush strings and woodwinds, creating a warm, enveloping sound that complements the theme of love and loss.

This music piece features a sweeping melodic line that conveys deep emotion, characterized by its expressive phrasing and intricate ornamentation. The harmonic progressions are rich and varied, often moving through unexpected modulations that enhance the sense of yearning. The orchestral accompaniment is lush, with strings providing a warm foundation while woodwinds add color and depth. The overall atmosphere is one of romantic melancholy, inviting listeners to immerse themselves in its emotional landscape.

Imagine a dimly lit ballroom in early 20th-century Vienna, where elegantly dressed couples sway gently to the music. Chandeliers cast a soft glow over the polished wooden floor as the scent of blooming roses fills the air. A lone singer stands on a small stage adorned with velvet curtains, their voice soaring above the murmurs of the crowd. The audience is captivated, their expressions reflecting a mix of longing and nostalgia as they listen to the poignant lyrics about love lost and dreams unfulfilled. Outside, a light snow begins to fall, adding to the enchanting atmosphere of this romantic evening.

X:1009
T:Yours Is My Heart Alone
T:Your's Is My Heart Alone
C:Franz Lehar
L:1/4
M:2/2
I:linebreak $
K:F
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
|:"Bdim7" F4- |"E7b9" F2 E F |"Am7" E D C2- |"D7" C D A, B, |"Gm7" C4- |"C7" C D B, A, | %6
w: Your's|_ is my|heart a- lone|_ and with- out|you|_ life holds no|
"Am7""D7" C4- |"Gm7" C2"C7" z2 ||"Bdim7" F4- |"E7b9" F2 E F |"Am7" E D C2- |"D7" C D E F | %12
w: charm.|_|Your's|_ ev- 'ry|thought I own,|_ our love the|
"Dm7" G4- |"G7" G A F E |"Gm7" G4- |"C7" G2 z2 ||"Adim7" c4- |"D7b9" c2 B A |"Gm7" (3B A G D2- | %19
w: theme|_ of ev- 'ry|dream.|_|All|_ that makes|life seem worth- while|
 D D E F |"Bbm7" B4- |"Eb7" B2 A G |"Fmaj7" (3A G F A,2- | A, B, =B, C |"Bdim7" F4- | %25
w: _ dwells in your|eyes|_ and the|spell of your smile.|_ There is no|song|
"E7b9" F2 E F |"Am7" E D C2- |"D7" C D A, B, |"Gm7" C D F A |"C7" G2 A2 |1"F6" F4- || %31
w: _ half so|sweet to me|_ as your voice|whis- per- ing "I|love you,|dear."|
"Gm7" F2"C7" z2 :|2"F6" F4- || F2 z2 | %34
w: _|dear."|_|


Zip-a-dee-doo-dah

Context: Originally featured in Disney's animated film 'Song of the South' (1946), 'Zip-a-dee-doo-dah' became an iconic song representing joy and carefree spirit. The song won the Academy Award for Best Original Song and has been covered by numerous artists, cementing its place in American music history.

The song is characterized by its upbeat tempo and catchy melody, which evoke feelings of happiness and nostalgia. It employs a simple yet effective structure, typically featuring a verse-chorus form that is easy to remember. The lyrics convey a sense of optimism and carefree living, encapsulated in the repeated refrain that suggests a sunny outlook on life. Harmonically, the song utilizes major chords to reinforce its joyful message, creating a light-hearted atmosphere. The orchestration often includes brass and woodwind instruments, contributing to its lively character. The use of call-and-response patterns in the vocal arrangements adds to its engaging nature, making it suitable for sing-alongs.

This piece features a lively and cheerful melody that captures the essence of joy and optimism. The rhythm is bouncy, encouraging movement and dance. Instrumentally, it blends elements of jazz with traditional pop, showcasing vibrant brass sections and rhythmic percussion. The vocal delivery is bright and spirited, often incorporating playful inflections that enhance the song's overall lightheartedness. The lyrics reflect themes of happiness and carefree living, inviting listeners to embrace a positive mindset.

The music plays in a sunlit meadow during a warm afternoon, where children are playing games and families are enjoying picnics on colorful blankets. Laughter fills the air as people dance freely, their movements synchronized with the upbeat rhythm of the song. Nearby, a group of friends gathers around a guitar player who strums along, encouraging everyone to join in singing. The scene is vibrant with blooming flowers swaying gently in the breeze, and the sky is a brilliant blue, enhancing the overall feeling of joy and community.

X:1010
T:Zip-a-dee-doo-dah
T:Zip-a-dee-doo-dah
C:Allie Wrubel
L:1/4
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"Bb" D z/ D/"F7/C" E"Bb/D" F- | F"Bb""Cm""Bb" B3 |"Eb" G z/ G/ E"Bb/D" F- | F4 |"Eb" B2 B2 | %5
w: Zip- a- dee- doo-|* dah,|zip- a- dee- ay!|_|My oh|
"Bb" (G F) D B, |"C9" D B, D"F7" C- | C4 |"Bb" D3/2 D/"F7/C" E"Bb/D" F- | F"Bb" B3 | %10
w: my _ what a|won- der- ful day!|_|Plen- ty of sun-|* shine|
"Eb" G3/2 G/ E"Bb" F- | F4 | G z/ A/ B"Bb/F" d- | d"Gm" B3 |"Eb6" c z/ c/"F9" G"Bb" B- | B z B G | %16
w: head- in' my way.|_|Zip- a- dee- doo-|* dah,|zip- a- dee- ay!|_ Mis- ter|
"F7" A2 G2 | E2 C2 |"Bbdim7" G2"Bb" F2- | F z A"Gm7" B |"C7" c3 d | B c3 |"F" z A/B/ A G | %23
w: blue- bird|on my|shoul- der|_ it's the|truth, it's|"act- ch'll"|ev- 'ry- thing is|
 F =E _E C |"Bb" D z/ D/"F7/C" E"Bb/D" F- | F"Bb""Cm""Bb" B3 |"Eb" G z/ G/ E"Bb" F- | F4 | %28
w: "sat- is fact- ch'll."|Zip- a- dee- doo-|* dah,|zip- a- dee- ay!|_|
"Eb" G3/2 A/ B"Bb" d- | d"Gm" B3 |"C7" c3/2 G/"F7" A"Bb" B- |1"Bb/D" B2"Dbdim" z"F7/C" z :|2 %32
w: Won- der- ful feel-|* in',|won- der- ful day!|_|
"Bb" B3 z |] %33
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