San Antonio Rose

Context: Originally recorded in 1940, 'San Antonio Rose' became one of Bob Wills' signature songs and a hallmark of the Western Swing genre. The song is known for its catchy melody and has been covered by numerous artists over the decades.

The piece features a blend of traditional country and jazz elements, characterized by its use of fiddles, steel guitars, and a rhythm section that emphasizes a swinging beat. The structure typically follows a verse-chorus format, with instrumental interludes that showcase the virtuosity of the musicians. The harmonic progression is simple yet effective, allowing for melodic improvisation that is central to the Western Swing style. The song's tempo and lively rhythm make it suitable for dancing, reflecting the social context of its origin in Texas dance halls.

The music is marked by an upbeat tempo and a lively swing feel, with prominent fiddle melodies accompanied by rhythmic guitar strumming and a steady bass line. The instrumentation creates a rich tapestry of sound, inviting listeners to tap their feet or dance along. The overall mood is joyful and celebratory, evoking images of social gatherings and festive occasions.

In a bustling Texas dance hall during the late evening, warm light spills from overhead chandeliers, casting a golden glow on couples twirling across the polished wooden floor. The air is filled with laughter and chatter as patrons enjoy their drinks. A live band plays 'San Antonio Rose,' and dancers move in sync to the infectious rhythm. Men in cowboy hats spin their partners, while women in colorful dresses twirl gracefully, embodying the spirit of joy and community that defines this lively setting.

X:705
T:San Antonio Rose
T:San Antonio Rose
C:Bob Wills
L:1/4
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z2"C" G c | e3 c |"C7" G2 E C |"F" A3 F |"D7" D3 A |"G7" B3 A | F2 D ^D |"C" E4- | E2 G c | %9
w: Deep with-|in my|heart lies a|mel- o-|dy, A|song of|old San An-|tone.|_ Where in|
"C" e3 c |"C7" G2 E C |"F" A3 F |"D7" D3 A |"G7" B3 A | G2 A G |"C" (G c3- | c2) G F | E3 G | %18
w: dreams I(|live with a|mem- o-|ry, Be-|neath the|stars all a-|lone. _|_ It was|there I|
 c3 E |"F" F3/2 G/ A F |"D7" D3 A |"G7" B3 A | G2 A G |"C" E2 G c | E3 G | E3 G |"C7" c3 E | %27
w: found be-|side the Al- a-|mo, En-|chant- ment|strange as the|blue up a-|bove. A|moon- lit|pass that|
"F" F G A F |"D7" D3 A |"G7" B3 A | G G A G |"C" (G c3- | c4) |"G" d d d ^c | c B2 d | %35
w: on- ly she would|know, Still|hears my|brok- en son of|love. _|_|Moon in all your|splen- dor know|
"D7" ^f2 f =f | e4 | z ^f f =f | e2 ^f e |"G" d3 B | G4 | d d d ^c | c B2 d |"D7" ^f f e/f/=f/e/- | %44
w: on- ly my|heart,|Call back my|Rose, Rose of|San An|tone.|Lips so sweet and|ten- der, like|pet- als fall ing a part,|
 e4 | z ^f f =f | e2 ^f e |"G" d3 e |"G7" =f4 |"C" e3 c |"C7" G2 E C |"F" A3 F |"D7" D3 A | %53
w: _|Speak once a-|gain of my|love my|own.|Brok- en|song, emp- ty|words I|know still|
"G7" B2 A G | F2 D ^D |"C" E4- | E2 G c | e3 c |"C7" G2 E C |"F" A3 F |"D7" D3 A |"G7" B3 A | %62
w: live in my|heart all a-|lone.|_ For that|moon- lit|pass bhy the|Al- a-|mo And|Rose, my|
 G G A G |"C" (G c3- | c) z z2 |] %65
w: Rose of San An-|tone. _|_|


San Francisco Bay Blues

Context: Originally written by Jesse Fuller in the 1950s, 'San Francisco Bay Blues' reflects the experiences of a man longing for love and grappling with the challenges of life in San Francisco. Fuller's unique style combines fingerpicking guitar techniques with soulful vocals, making it a staple in the blues genre.

Musically, 'San Francisco Bay Blues' employs a 12-bar blues structure that is characteristic of the genre. The song features a repetitive chord progression that creates a sense of longing and nostalgia. Fuller's use of fingerstyle guitar allows for intricate melodies that intertwine with his vocal lines, enhancing the emotional depth of the lyrics. The lyrical content explores themes of love, loss, and yearning, encapsulating the struggles faced by individuals in urban settings. The interplay between major and minor chords in the progression adds to the song's bittersweet quality, reflecting the complexities of human emotions.

The piece is characterized by its rhythmic fingerpicking guitar style, which provides a steady yet flowing backdrop to the expressive vocal delivery. The melody is catchy and memorable, often evoking feelings of nostalgia and reflection. The lyrics tell a poignant story, filled with imagery that paints a vivid picture of longing and heartache. The overall atmosphere is both melancholic and uplifting, inviting listeners to connect with their own experiences of love and loss.

The music plays during a late afternoon in a bustling San Francisco neighborhood, where sunlight filters through the leaves of trees lining the street. A solitary figure sits on a park bench, strumming his guitar while passersby stop to listen. The air is filled with the sounds of laughter and conversation, but there's a palpable sense of yearning as the musician sings about lost love. Nearby, a couple walks hand-in-hand, their joy contrasting with the musician's reflective mood. As he sings about his dreams and disappointments, the scene captures both the vibrancy of city life and the solitude that often accompanies it.

X:706
T:San Francisco Bay Blues
T:San Francisco Bay Blues
C:Jesse Fuller
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"^N.C." z4 z EEE |"C" G2 GG GGG^G |"F" A^GAG A A3 |"C" =G8- |"C7" G2 z2 z4 |"F" A2 c2 c c3 | %6
w: I got the|blues for my ba- by, left me|by the San Fran- cis- co|Bay;|_|O- cean lin- er|
 AB c2 c2 A2 |"C" G8- |"C7" G2 z2 z4 |"F" Accc ccAc- |"F#dim" c4 z ccd |"C/G" e2 e^d e e3 | %12
w: took her so far a-|way.|_|Did- n't mean to treat her so bad,|_ she was the|best gal I ev- er|
"A7" (=cA-) A6 |"D7" e2 d(d c) A3 | e2 d(c- c) A3 |"G7" z BBB dddd- | d4 z2 z G |"C" G G2 G GGG^G | %18
w: had. _ _|Said good- bye, _ _|made me cry, _ _|I wan- na lay down and die.|_ I|ain't got a nick- el and I|
"F" A2 A^G A A3 |"C" =G8- |"C7" G2 z2 z2 GG |"F" AA c2 c3 G | Accc c2 cB- |"E7" B8- | %24
w: aint got a lous- y|dime;|_ If she|ev- er comes back, I|think I'm gon- na lose my mind.|_|
 B2 z2 z2 ^GG |"F" Ac c2 c2 A2 |"F#dim" c6 cc |"C/G" eeee e2 e2 |"A7" (cA-) A4 z2 | %29
w: * If she|ev- er comes back to|stay, It- 'll|be an- oth- er brand new|day, _ _|
"D7" e^ded ed e2 |"G7" gee^d e e3 |"C" (ec-) c6- | c2 z2 z4 |] %33
w: Walk- in' with my ba- by down|by the San Fran- cis- co|bay. _ _|_|


Satan Your Kingdom Must Come Down

Context: This piece is a traditional American folk song that has been adapted and popularized by various artists, most notably Robert Plant. It is often associated with themes of social justice and spiritual awakening.

The song utilizes a repetitive structure that enhances its hypnotic quality, creating a meditative atmosphere. The use of minor chords contributes to a somber yet powerful emotional resonance. Lyrically, it reflects themes of struggle against oppression, invoking a sense of urgency and hope for redemption. The vocal delivery varies between soft, reflective passages and more impassioned cries, mirroring the emotional journey of the lyrics. Instrumentally, the arrangement often includes acoustic guitar and harmonica, which ground the piece in its folk roots while allowing for expressive improvisation.

The music features a slow tempo with a steady rhythm that invites introspection. The instrumentation typically includes acoustic guitar, providing a warm and earthy sound, complemented by harmonica or other traditional instruments. Vocals are delivered with a blend of tenderness and fervor, capturing the emotional weight of the lyrics. The overall mood oscillates between melancholy and defiance, creating a rich tapestry of sound that resonates deeply with listeners.

In a dimly lit room filled with an eclectic mix of people, the atmosphere is thick with anticipation as the music begins to play. The flickering candlelight casts dancing shadows on the walls, illuminating faces that reflect a range of emotions from sorrow to hope. A lone figure stands at the front, strumming an acoustic guitar softly while the audience sways gently to the rhythm. As the song progresses, some listeners close their eyes, lost in thought, while others nod along, feeling the weight of the message resonate within them. Outside, a storm brews, thunder rumbling in the distance, echoing the turmoil expressed in the lyrics. This moment captures not only the essence of the music but also its power to unite and inspire those who hear it.

X:707
T:Satan Your Kingdom Must Come Down
T:Satan Your Kingdom Must Come Down
T:Traditional Gospel
C:Traditional adapted by Robert Plant
L:1/4
M:4/4
I:linebreak $
K:Bb
V:1 treble
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"Gm" G G2 B | G D F ^F | G4- | G4 | d d2 d | d d d d |"D7" d4- | d2 d d |"Gm" d2 d d | d c B2 | %10
w: Sat- an your|king- dom must come|down||Sat- an your|king- dom must come|down|* You been|will- in' your|e- * vil|
"Cm" c2 (3d c B |"Gm" G4 |"Gm" G G2 B |"D7" G D F ^F |"Gm" G4- | G4 :| %16
w: all o- ver this|town.|Sat- an your|king- dom must come|down.||


Satin Doll

Context: Composed in 1953, 'Satin Doll' is a jazz standard that showcases the collaboration between composer Billy Strayhorn and bandleader Duke Ellington. The piece is characterized by its smooth melodies and sophisticated harmonies, becoming a staple in the jazz repertoire. It has been recorded by numerous artists and remains popular in both live performances and recordings.

'Satin Doll' is notable for its use of sophisticated chord changes and a distinctive AABA structure. The melody is primarily carried by the piano, with a flowing, lyrical quality that contrasts with the rhythmic pulse of the accompaniment. The harmonic progression features extended chords, including major seventh and minor seventh chords, which contribute to its lush sound. The interplay between solo instruments and the ensemble creates a dynamic texture, allowing for improvisation that is central to jazz performance. The piece's swing feel invites a relaxed yet engaging listening experience, making it ideal for both casual listening and formal jazz settings.

'Satin Doll' features a smooth, flowing melody that is both elegant and expressive. The piece employs a moderate tempo with a laid-back swing feel, characterized by syncopated rhythms and rich harmonic textures. Instrumentation typically includes piano, bass, drums, and horns, creating a warm and inviting soundscape. The melody often showcases intricate phrasing, allowing performers to explore variations while maintaining the song's core themes.

The music plays in an intimate jazz club during the late evening hours. Soft lighting casts a warm glow over patrons seated at small tables adorned with flickering candles. A trio of musicians occupies the small stage: a pianist elegantly glides across the keys, while a bassist provides a steady pulse and a drummer brushes lightly on the snare. The audience sways gently to the rhythm, lost in conversation or simply enjoying the ambiance. As 'Satin Doll' unfolds, couples share quiet moments, laughter mingling with the music as it fills the air with sophistication and charm.

X:708
T:Satin Doll
C:Billy Strayhorn, Duke Ellington
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Alto Saxophone" snm="A. Sax."
%%MIDI program 5
V:1
|:"Dm" AGA.G-"G7" G A3 |"Dm" z A3"G7" G A3 |"Em" BAB.A-"A7" A B3 |"Em" z B3"A7" A B3 | %4
w: Cig- a- rette hold- _ er|which wigs me,|O- ver her should- _ er,|she digs me,|
w: Ba- by shall we _ go|out skip- pin',|Care- ful, a- mi- _ go|you're flip- pin',|
"Am" z d3"D7" c d3 |"Abm" z _B3"Db7" _A2 BG- |1"C7" G8-"Cb7" |"Bb7" G2 z2"A7" z4 :|2"C" G8 | %9
w: Out cat- tin'|that Sat- in Doll.|_|||
w: Speaks La- tin,|that Sat- in Doll.||||
z4z2zG ||"Gm" c2 _BA GA B2 |"C7" c2 _BA GABc- |"F" c8- | c6zc |"Am" dcBA- AB c2 |"D7" dcBA- ABcd- | %16
w: She's|no- bo- dy's fool, so I'm|play- ing it cool as can be,|_|* I'll|give it a whirl _ but I|ain't for no girl _ catch- ing me,|
w: |||||||
"G7" d8- | d z z2 z4 ||"Dm" AGA.G-"G7" G A3 |"Dm" z A3"G7" G A3 |"Em" BAB.A-"A7" A B3 | %21
w: _||Tel- e- phone num- _ bers,|well, you know,|Do- ing my rhum- _ ba's|
w: |||||
"Em" z B3"A7" A B3 |"Am" z d3"D7" c d3 |"Abm" z _B3"Db7" _A2 BG- |"C" G8- |"A7" G2 z2 z4 |] %26
w: with u- no,|And that 'n'|my Sat- in *|||
w: |||||


Save The Last Dance For Me

Context: Originally recorded by The Drifters in 1960, this song has become a timeless classic, often associated with themes of love and longing. It was written by the renowned songwriting duo Mort Shuman and Doc Pomus, who crafted many hits during the early rock and roll era. The song's enduring popularity has led to numerous covers by various artists across different genres.

The composition features a 4/4 time signature and is characterized by its smooth melody and heartfelt lyrics that evoke feelings of nostalgia and yearning. The use of a prominent backbeat combined with lush harmonies creates a rich sonic texture. The lyrical narrative centers around themes of love, loss, and the bittersweet nature of relationships, encapsulated in the metaphor of dancing. The song's structure follows a traditional verse-chorus format, allowing for emotional crescendos that enhance its lyrical impact. Instrumentally, it employs classic doo-wop elements, with vocal harmonies that complement the lead singer's emotive delivery.

This piece is marked by its melodic simplicity and emotional depth, featuring a steady tempo that invites listeners to reflect on personal experiences of love and separation. The instrumentation typically includes smooth vocal harmonies, rhythmic guitar strumming, and a steady drumbeat that together create an inviting atmosphere. The lyrics express a poignant longing for connection and the desire to cherish fleeting moments shared with a loved one.

Set in a dimly lit ballroom during the late hours of a romantic evening, couples sway gently to the music under soft, twinkling lights. The air is filled with a warm ambiance as the protagonist watches their partner dance with someone else, their heart heavy with unspoken emotions. The scene is rich with visual details: elegant dresses swirl gracefully while polished shoes glide across the wooden floor. A sense of nostalgia permeates the atmosphere as memories of past dances flood back, each note resonating with the bittersweet reality of love lost yet cherished.

X:709
T:Save The Last Dance For Me
T:Save The ast Dance For Me
C:Mort Shuman
L:1/8
M:2/2
I:linebreak $
K:Eb
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
 z4 z2 EF |:"Eb" G2 z2 z2 GG | G2 GG G2 G2 | G2 GG- G2 AG |"Bb7" G2 FF- F4 | z4 z2 FG | %6
w: You can|dance ev- 'ry|dance with the guy who|gave you the eye let him|hold you tight. _|You can|
w: |know that the|mus- ic is fine, like|spark- ling wine _ go and|have your fun. _|Laught and|
"B7" A2 z2 z2 AA | A2 AA- A2 A2 | A2 AA- A2 BA |"Eb" A2 GG- G4 | z2 G2"Bb7" A2"Eb7" B2 | %11
w: smile ev- 'ry|smile for the man who|held your hand _ 'neath the|pale moon- light. _|But don't for-|
w: sing but while|we're a- part _ don't|give your heart _ to *|an- y- one. _||
"Ab" c2 c2 c c2 d | e2 e2 fedc |"Eb" c2 BB- B4 | z4 z2 B2 |"Bb7" B F3- F2 FG | A4 G2 F2 |1 %17
w: get who's tak- ing you|home and in whose arms you're|gon- na be. _|So|dar- lin', _ save the|last dance for|
w: ||||||
"Eb" E8 || z4 z2 EF :|2"Eb" E8 || z2"^(Tacet)" B,B, EECB, |"Bb7" F2 FF- F4 | z2 DD FFDD | %23
w: me.|Oh I|me.|Ba- by don't you know I|love you so? _|Can't you feel it when we|
w: ||||||
"Eb" E2 z2 z4 | z2 B,B, EECB, |"Bb7" F2 FF- F4 | (3z2 B2 B2 (3A2 G2 F2 |"Eb" E2 z2 z4 | %28
w: touch?|I can nev- er nev- er|let you go. _|I love you, oh, so|much|
w: |||||
"Eb" z4 z2 EF |"Eb" G2 z2 z2 GG | G2 GG- G2 GG | G2 GG- G2 AG |"Bb7" G2 FF- F4 | z4 z2 FG | %34
w: You can|dance, go and|car- ry on _ til the|night is gone _ and it's|time to go. _|If he|
w: ||||||
 A2 z2 z2 AA | A2 AA- A2 AA | A2 AA- A2 BA |"Eb" A2 GG- G4 | z2 G2"Bb7" A2"Eb" B2 | %39
w: asks if you're|all a- lone, _ can he|take you home _ you must|tell him no. _|'Cause don't for-|
w: |||||
"Ab" c2 c2 c c2 d | e2 e2 fedc |"Eb" c2 BB- B4 | z4 z2 B2 |"Bb7" B F3- F2 FG | A4 G2 F2 |"Eb" E8 |] %46
w: get who's tak- ing you|home and in whose arms you're|gon- na be. _|So|dar- lin', _ save the|last dance for|me.|
w: |||||||


Scarlet Ribbons

Context: Originally written in the 1940s, 'Scarlet Ribbons' has been covered by numerous artists, including The Browns and Joan Baez. The song's poignant lyrics reflect themes of longing and unfulfilled wishes, resonating with audiences across generations.

The song is structured around a simple yet emotive melody that utilizes a moderate tempo and a straightforward chord progression, typically in a major key. Lyrically, it explores the themes of love and loss through the metaphor of 'scarlet ribbons,' which symbolize cherished memories or unfulfilled desires. The recurring motif of longing is enhanced by the use of soft dynamics and gentle instrumentation, creating an intimate atmosphere. Harmonically, the piece often employs diatonic chords with occasional chromaticism to evoke emotional depth. The vocal delivery is characterized by sincerity and vulnerability, inviting listeners to connect with the narrative on a personal level.

This music piece features a gentle melody characterized by flowing lines and a soothing rhythm. The instrumentation typically includes soft strings or piano, which complement the tender vocal delivery. The lyrics convey deep emotional resonance, reflecting on themes of nostalgia and yearning. The overall sound is warm and inviting, making it suitable for reflective moments.

The music plays softly in a dimly lit room filled with vintage decor, where an elderly woman sits alone, gazing out of a window at a garden overgrown with wildflowers. The sun sets gently on the horizon, casting golden hues across her face as she clutches a faded photograph of her youth. Her eyes glisten with tears as she reminisces about lost love and dreams that never came to fruition. Outside, children play joyfully in the distance, their laughter contrasting with her quiet sorrow. The scene encapsulates a poignant moment of reflection, where the music enhances the bittersweet atmosphere of memory and longing.

X:710
T:Scarlet Ribbons
T:Scarlet Ribbons
T:(for her hair)
T:Evelyn Danzig
T:Jack Segal
C:Evelyn Danzig
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"G" G z2 B"C" A3 E |"D7" F3 A"G" G2 D2 | E3"D7" G F2 C2 | E3 D"G" D4 | G3 B"C" A3 E | %5
w: I peeked in to|say good- night and|then I heard my|child in prayr|and for me some|
"D7" F3 A"G" G2 D2 | E3 G"D7" F2"C" C2 | E3"D7" D D4 | z8 | z8 |"G" G3 B"C" A3 E | %11
w: scar- let rib- bons|scar- let rib- bons|for my hair|||all the stores were|
"D7" F3 A"G" G2 D2 | E3 G"D7" F2"C" C2 | E3"D7" D D4 | G3 B"C" A3"D7" E | F3 A"G" G2 D2 | %16
w: closed and shut- tered|all the streets were|dark and bare|In our town no|scar- let rib- bons|
 E3"D7" G G2"C" C2 |"D7" E3 D"G" D4 | z8 | z8 |"G" G3 G"D" A3 A |"G7" B3 B"C" d2 c2 | %22
w: Not one rib- bon|for her hair|||thru the night my|heart was ach- ing|
"Em" E3 E"G" F3 F |"Em" G3"Am7" G B2 A2 |"G" G3 B"C" A3 E |"D7" F3 A"G" G2 D2 | E3"D7" G F2"C" C2 | %27
w: just be- fore the|dawn was break- ing|I peeked in and|on her bed in|gay pro- fu- sion|
 E3"D7" D"G" D4 | G3"C" B A3 E |"D7" F3 A"G" G2 D2 | E3 G"D7" F2 C2 |"C" E3 D"G" D4 | z8 | z8 | %34
w: ly- ing there|love- ly rib- bons|scar- let rib- bons|scar- let rib- bons|for her hair.|||
"G" G3 G"D" A3 A |"G7" B3 B"C" d2 c2 |"Em" E3 E"G" F3 F |"Em" G3 G"Am7" B2 A2 |"G" G3 B"C" A3 F | %39
w: If I live to|be two hun- dred|I will nev- er|know from where *|came those love- ly|
"D7" F3 A"Gm" G2 D2 |"G" E3 G"D7" F2"C" C2 |"D7" EDFD"G" G4- | G8- | G2 z2 z4 |] %44
w: scar- let rib- bons|scar- let rib- bons|for * her * hair.|||


Scrapple From The Apple

Context: Scrapple From The Apple is a jazz standard composed by Charlie Parker in the 1940s. It is a quintessential example of bebop, showcasing Parker's innovative approach to melody and harmony. The title is a playful reference to a Pennsylvania Dutch dish made from pork scraps, reflecting Parker's roots and his ability to infuse humor into his music. The piece has been covered by numerous artists and remains a staple in jazz repertoire.

Musically, Scrapple From The Apple is characterized by its complex chord changes and rapid tempo, typical of the bebop style. The piece is structured around a 32-bar AABA form, with the A sections presenting a catchy melody that is harmonically rich, often using altered chords and substitutions that challenge traditional jazz harmony. Parker's improvisation over these changes showcases his virtuosic saxophone technique and innovative phrasing, often incorporating syncopation and unexpected rhythmic accents. The use of chromaticism and intricate melodic lines reflects the intellectual depth of bebop, while also maintaining an engaging and lively character that invites interaction from other musicians.

The music features a lively tempo with intricate saxophone melodies that weave through complex chord progressions. The rhythm section provides a dynamic backdrop with syncopated bass lines and energetic drumming, creating an atmosphere of spontaneity and excitement. The interplay between the soloist and accompanying musicians highlights the improvisational nature of jazz, where each performance can vary significantly while maintaining the core structure of the piece.

The music plays in a dimly lit jazz club during the late hours of the night, where patrons are seated at small tables, their faces illuminated by soft candlelight. Musicians are on stage, passionately performing as the saxophonist takes center stage, his fingers dancing over the keys with remarkable speed. The audience sways gently to the rhythm, captivated by the energy and skill displayed. Waiters weave through the crowd, balancing trays of drinks while the air fills with laughter and conversation. The scene embodies a vibrant nightlife where creativity and camaraderie flourish, enhanced by the infectious spirit of the music.

X:711
T:Scrapple From The Apple
T:Scrapple From The Apple
C:Charlie Parker
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"Gm7" z ^FGB AG=FD |"C7" Gc z2 z B2 A |"Gm7" B>f (3dBG ADG_D |"C7" z2 z A- A B2 A | %4
"F" c>A (3GFG- G2 z f |"Bb7" d2"Bdim7" z e- ed (3AB=B |"F" c2 z A BA^GA | cABc z4 | %8
"Gm7" z ^FGB AG=FD |"C7" Gc z2 z B2 A |"Gm7" B>f (3dBG ADG_D |"C7" z2 z A- A B2 A | %12
"F" c>A (3GFG- G2 z f |"Bb7" d2 z e-"Bdim7" ed (3AB=B |"F" c2 z A BA^GA | FCEF z4 | %16
"Em7" z4 (3^f/g/f/ ed_d |"A7" =BAG^F ED^CE |"D7" G =B2 G AE- E2 | z2 z D/_D/ C/=B,/A,/G,/_G, z | %20
"G7" z2 z D/E/ F/G/ A/4=B/4c/4d/4 e/d/^c/d/ | g2 eA- A^F (3GBd |"Gm7" f (3e/d/c/ BA GF (3EGB | %23
"C7" d2 GA cB- B2 |"Gm7" z ^FGB AG=FD |"C7" Gc z2 z B2 A |"Gm7" B>e (3dBG ADG_D | %27
"C7" z2 z A- A B2 A |"F" c>A (3GFG- G2 z f |"Bb7" d2 z e-"Bdim7" ed (3AB=B |"F" c2 z A BA^GA | %31
 FCEF z4 |] %32


Sealed With a Kiss

Context: Originally released in 1960 by Brian Hyland, 'Sealed With a Kiss' has been covered by various artists, including the more popular version by Bobby Vinton in 1972. The song captures themes of love and longing, often associated with summer romances and farewells.

'Sealed With a Kiss' is characterized by its simple yet poignant lyrical structure, which evokes a sense of nostalgia and yearning. The melody is built on a diatonic scale, primarily utilizing major chords that create an uplifting yet bittersweet atmosphere. The use of repetition in the chorus emphasizes the emotional weight of the message, reinforcing the feelings of love and loss. The arrangement typically features lush string sections that enhance the romantic quality of the piece, while the vocal delivery often employs a soft, emotive style that resonates with listeners on a personal level.

The music features a gentle melody that flows smoothly, characterized by soft instrumental backing and heartfelt vocals. It conveys emotions of affection and melancholy, encapsulating the essence of parting from a loved one. The instrumentation includes strings and light percussion, creating an airy sound that complements the lyrical themes of love and longing.

The music plays during a warm summer evening at a beachside farewell party. The sun is setting, casting golden hues across the sky as couples share tender moments. A young couple stands apart from the crowd, gazing into each other's eyes with tears glistening in their eyes. As they embrace for one last time, the waves gently lap at their feet, echoing their heartbeats. Friends around them laugh and dance, but the couple is lost in their own world, savoring every second before they part ways. The atmosphere is filled with bittersweet joy as the music swells, capturing the essence of love that feels both eternal and fleeting.

X:712
T:Sealed With a Kiss
T:Sealed With a Kiss
T:Peter Udell and Gary Geld
T:(c)
C:Peter Udell and Gary Geld
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:Dmin
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
"^Slow" D"^N.C."DFFAA ||"G" G4-"Gm" G2 FE |"Dm" F2 D2- D4 |"Bb" (3B2 B2 G2"C7" (3c2 c2 G2 | %4
w: 'Though we got- ta' say good-|bye _ for the|sum- mer- _|dar- ling, I pro- mise you|
"F" A3 A"D7" dcBA |"Gm" B4-"C7" B2 cB |"F" A2 AG"Dm" AF D2- |"Gm" D4"A7" G2 FE | %8
w: this, I'll send you all my|love- _ ev- ery|day in a let- * ter|_ sealed with a|
"Dm" D2"^N.C." DD FFAA |"G" G4-"Gm" G2 FE |"Dm" F2 D2- D3 D |"Bb" (3B2 B2 G2"C7" c3 G | %12
w: kiss. Yes, it's gon- na' be a|cold _ lon- ley|sum- mer, _ but|I'll fill the emp- ti-|
"F" A3 A"D7" dcBA |"Gm" B4-"C7" B2 cB |"F" A2 AG"Dm" AF D2- |"Gm" D4"A7" G2 FE |"Dm" D4- D2 D2 | %17
w: ness. I'll send you all my|dreams- _ ev- ery|day in a let- * ter|_ sealed with a|kiss. _ I'll|
"G" =B2 B2- B2 AG |"Dm" A2 A2- A2 D2 |"G" =B2 B2 B2 AG |"Dm" A4- A2 D2 |"G" =B3 B (3B2 A2 G2 | %22
w: see you _ in the|sun- light, _ I'll|hear your voice ev- ery-|where, _ I'll|run to ten- der- ly|
"Dm" A2 A2- A2 A2 |"E7" ^G2 G2 (3G2 ^F2 G2 |"A7" A2"^N.C." dd dAGF |"G" G4-"Gm" G2 FE | %26
w: hold you, _ but|dar- ling, you won't be|there. I don't want to say good-|bye _ for the|
"Dm" F2 D2- D4 |"Bb" (3B2 B2 G2"C7" c3 G |"F" A3 A"D7" dcBA |"Gm" B3 G"C7" c2 cB |"Dm" A2 d2- d4 | %31
w: sum- mer, _|kno- wing the love we'll|miss. Oh, let us make a|pledge to meet in sep-|tem- ber _|
"Gm" z2 z D"C" EFEC |"Dm" D8 |"Gm" z2 z D"C" EFEC |"D" D8 |] %35
w: and seal it with a|kiss,|and seal it with a|kiss.|


See See Rider

Context: Originally recorded by Ma Rainey in 1923, 'See See Rider' has become a blues standard, covered by numerous artists over the decades. The song's themes revolve around heartache and longing, often reflecting the struggles of African American life in the early 20th century. Ma Rainey, known as the 'Mother of the Blues,' played a pivotal role in popularizing this genre.

Musically, 'See See Rider' features a twelve-bar blues structure that is characteristic of the genre. The song employs call-and-response patterns, a common technique in African American music that emphasizes the emotional dialogue between the singer and instrumentalists. The use of a swing rhythm creates a laid-back yet poignant atmosphere, while Rainey's powerful vocal delivery conveys deep emotion and resilience. The lyrics express themes of loss and betrayal, with the recurring line 'See See Rider' serving as both a lament and a rallying cry for those experiencing heartache. The instrumentation typically includes guitar, piano, and brass, which together create a rich tapestry of sound that enhances the narrative quality of the lyrics.

The piece is characterized by its emotive vocal delivery and rhythmic complexity. It features a prominent use of syncopation and a strong backbeat, which drives the music forward while allowing for expressive phrasing. The instrumentation often includes acoustic guitar and piano, providing a warm harmonic foundation that supports the lead vocals. The lyrics convey themes of love lost and emotional turmoil, creating an atmosphere that resonates with listeners on a personal level.

The music plays in a dimly lit bar during the late evening hours, where patrons are gathered around small tables, their faces illuminated by flickering candlelight. A lone woman sits at the bar, her expression reflecting sorrow as she stares into her drink. The air is thick with smoke and the sounds of clinking glasses blend with the soulful strains of the music. In one corner, a small band plays passionately; the guitarist strums gently while the pianist adds melodic flourishes. As the singer's voice rises above the instruments, it captures the attention of everyone in the room, evoking feelings of nostalgia and heartache. Outside, rain begins to fall softly against the windows, mirroring the emotional weight of the performance.


Send In The Clowns

Context: Originally written for the musical 'A Little Night Music', this song has become one of Sondheim's most famous pieces, often interpreted as a poignant reflection on lost love and missed opportunities.

The song is characterized by its use of rich harmonic structures and lyrical depth, showcasing Sondheim's signature style. The music features a slow, waltz-like tempo that enhances the emotional weight of the lyrics. The melodic line is expressive, with a gentle rise and fall that mirrors the sentiment of yearning and regret. The use of chromaticism adds to the complexity, creating a sense of unresolved tension that reflects the themes of longing and introspection. The lyrics employ vivid imagery and metaphors, particularly in their exploration of theatricality and performance, suggesting that life itself can be seen as a stage where we often fail to express our true emotions.

This piece features a haunting melody that unfolds with a delicate yet powerful emotional resonance. The instrumentation typically includes piano and strings, creating an intimate atmosphere. The vocal delivery is nuanced, requiring both technical skill and emotional depth from the performer. The song's structure allows for dynamic contrasts, moving from soft, reflective passages to more intense climaxes that convey the protagonist's inner turmoil.

Set in a dimly lit theatre during a late-night performance, the stage is adorned with soft lighting that casts gentle shadows across the scene. A solitary figure stands center stage, dressed in elegant evening wear, their expression a blend of sorrow and nostalgia. As they sing, the audience is captivated by their vulnerability. Around them, memories flicker like ghostly images—moments of love shared and lost, laughter echoing in the background. The air is thick with emotion as the character reflects on choices made and paths not taken, evoking a sense of longing that resonates deeply with everyone present.

X:714
T:Send In The Clowns
T:SEND IN THE CLOWNS
C:Stephen Sondheim
L:1/8
M:12/8
I:linebreak $
K:Eb
V:1 treble
%%MIDI program 0
V:1
"^Lento" A,B,E |:"Eb" E3 z3 z3"Ebsus4" A,B,E |"Eb" E3 z3 z3"Emaj9" FGE |[M:9/8]"Eb" FGG G3 GBB, | %4
w: Is- n't it|rich? * we a|pair? Me here at|last on the ground, you in mid-|
w: |bliss? * you ap-|prove? One who keeps|tear- ing a- round, one who can't|
[M:12/8]"Abmaj9" C3 z3 z3"Ab6" CEA, |1"Bb/Eb" B,6 z4"Ab/Eb" z2 |"Bb/Eb" z6 z3"Ab/Eb" A,B,E :|2 %7
w: air. Send In The|Clowns.|Is- n't it|
w: move. Where are the|||
"Bb/Eb" B,6 z3"Fm/Eb" CED ||"Eb" E6 z3 DGF |"Gm" G6 z3"Dm7" DGF |"Gm" G6 z3"Dm9" D=AF | %11
w: clowns Send In The|Clowns. Just when I'd|stopped o- pen- ing|doors, Fi- nal- ly|
w: ||||
[M:9/8]"Gm" G=AA ABB BAF |[M:12/8]"Cm7" G6 z3"G" DGD |[M:9/8]"Eb6/Bb" EFF"F7/A" FGG"Ab6" GFC | %14
w: know- ing the one that I want- ed was|yours, Mak- ing my|en- trance a- gain with my u- su- al|
w: |||
[M:12/8]"Gsus4" D6 z3"Fm7b5" _CEC |"Gm/Bb" D6 z3"Ab6/Bb" CEA, |"Bb/Eb" B,6 z4"Ab" z2 | %17
w: flair, Sure of my|lines, No one is|there.|
w: |||
"Eb/Eb""B" z6 z3"Ab" A,B,E |:"Eb" E3 z3 z3"Ebsus4" A,B,E |"Eb" E3 z3 z3"Ebmaj9" FGE | %20
w: Don't you love|farce? My fault, I|fear. I thought that|
w: |rich, Is- n't it|queer, Los- ing my|
[M:9/8]"Eb" FGG G B2 GBB, |[M:12/8]"Abmaj9" C6 z2 B,"Ab6" CEA, |"B7/Eb" B,6 z2 B, CEA, |1 %23
w: you'd want what I want. Sor- ry, my|dear. But where are the|clowns Quick Send In The|
w: tim- ing this late * in my ca-|reer? And where are the|clowns There ought to be|
"Bb9/Eb" B,6 z2 B, CED |"Eb" E6 z4"Ebsus4" z2 |"Eb" z6 z3"Ebsus4" A,B,E :|2"Bb9/Eb" B,6 z2 B, CEF | %27
w: Clowns. Don't both- er, they're|here|Is- n't it|clowns. Well, may- be next|
w: ||||
"Eb" E6 z4"Ebsus4" z2 |"Eb" z12 |] %29
w: year||
w: ||


Sentimental Me

Context: Originally recorded in the early 1960s, 'Sentimental Me' became popular through various covers, notably by artists in the country and pop genres. The song reflects themes of love and longing, capturing the emotional essence of reminiscence.

The song is characterized by its simple yet poignant melody, often accompanied by acoustic instrumentation that enhances its nostalgic feel. The lyrical content revolves around themes of love and memory, employing a straightforward narrative style that resonates with listeners on an emotional level. The harmonic structure typically follows a classic I-IV-V progression, which is common in both country and pop music, allowing for a singable chorus that invites audience participation. The use of dynamics throughout the piece varies, with softer verses leading into more powerful choruses, creating an emotional arc that mirrors the sentiments expressed in the lyrics.

This piece features a gentle melody underpinned by acoustic guitar and soft harmonies. The vocals are delivered with a heartfelt sincerity, emphasizing the emotional weight of the lyrics. The arrangement is minimalistic, allowing the listener to focus on the lyrical narrative that speaks to themes of nostalgia and longing. The overall sound is warm and inviting, evoking a sense of comfort and familiarity.

The music plays softly in a cozy living room filled with warm lighting from a fireplace. A couple sits together on a vintage sofa, their hands intertwined as they reminisce about their past. Photographs adorn the walls, capturing moments from their shared history—weddings, vacations, and family gatherings. Outside, the sun sets, casting golden hues through the window, enhancing the intimate atmosphere. As they listen to the song, smiles and gentle laughter punctuate their conversation, reflecting both joy and a bittersweet acknowledgment of time passing.

X:715
T:Sentimental Me
T:Sentimental me
T:Jim Morehead
T:Jimmy Cassin
C:Jim Morehead
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4"^N.C." B,DCB, |"Gm7" _B,8- | _B,4"C7" EFED |"F" C8- | C4 AAGF |"C7" E4 GGFE | D4 FFED | %7
w: Sen- ti- men- tal|me|* guess I'll al- ways|be|* so in love with|you dont know what to|do sen- ti- me- tal|
"F" C8- |"D7" C4"C7" CDCB, |"Gm7" _B,8- |"C7" _B,4 EFED |"F" C8- | C4 AAGF |"C7" E4 GGFE | %14
w: me|* dream- ing while I|live|* liv- ing just to|give|* all my love to|you no- one else will|
"F" D4 FFEG |"A7" F8- | F4 EFG^G |"Dm" A8- | A2 A2 AGFE |"E7" F8- | F4 GFED |"E7" E8- | %22
w: do sen- ti- men- tal|me|* reach- ing for the|moon|* and wish- ing on a|star|* on my hon- ey-|moon|
 E2 B,2 B,2 CD |"Am" E4"E7" E4 |"C7" E4 CDCB, |"Gm7" _B,8- |"C7" _B,4 EFED |"F" C8- | C4 AAGF | %29
w: * I want to be|where you|are dar- ling cant you|see|* it was meant to|be?|* I'm in love with|
"C7" E4 GGFE | D4 FFEG |"F" F8- | F2 z2 z4 | z2 z2 z4 | z8 |] %35
w: you say you love me|too sen- ti- men- tal|me.||||


Senza Fine

Context: Senza Fine is a classic Italian song written by Gino Paoli in 1961. It has been covered by numerous artists and is known for its poignant lyrics and melodic structure. The song reflects themes of love and loss, capturing the bittersweet essence of romantic relationships.

Musically, 'Senza Fine' is characterized by its lyrical melody and harmonic richness, often employing major and minor modal shifts that evoke deep emotional responses. The song's structure typically follows a verse-chorus format, with a smooth flow that allows for expressive vocal delivery. The use of chromaticism and subtle syncopation adds to its jazz influences, creating a sense of longing and nostalgia. The lyrics poetically convey the complexities of love, intertwining personal reflection with universal themes of desire and heartache.

This piece features a soft, flowing melody that captures the essence of yearning and affection. The instrumentation often includes piano and strings, creating a lush backdrop that enhances the emotional weight of the vocals. The singer's delivery is typically heartfelt, with a focus on conveying the nuances of love's joys and sorrows. The harmonic progressions are rich yet accessible, allowing listeners to connect deeply with the music's sentiment.

Imagine a dimly lit café in a quaint Italian town during twilight. The warm glow of lanterns casts soft shadows on the cobblestone streets outside. Inside, couples sit closely at small tables, their conversations mingling with the gentle strains of 'Senza Fine' playing in the background. A singer stands at a small stage, bathed in golden light, pouring their heart into the performance. Patrons pause to listen, some lost in thought as they reflect on their own romantic experiences. The atmosphere is thick with emotion, as the music evokes memories of love lost and cherished moments shared.

X:716
T:Senza Fine
T:Senza Fine
T:Gino Paoli
T:Alec Wilder
C:Gino Paoli
L:1/4
M:3/4
I:linebreak $
K:Eb
V:1 treble
%%MIDI program 0
V:1
|:"Eb" F2 E |"Cm7" F2 E |"Fm7" z C E |"Bb7" F G B |"Eb" F2 E |"Cm7" F2 E |"Fm7" z C E | %7
w: Sen- za|Fi- ne,|Let it|al- ways be|Sen- za|Fi- ne.|There's no|
w: Sen- za|Fi- ne,|Let it|al- way be|Sen- za|Fi- ne.|Nev- er|
"Bb7" F G B |"C#m7" =B2"F#7" ^A |"C#m7" =B2"F#7" ^A |"B" ^A2 ^G |"G#m7" ^A2 ^G |"C#m7" =B2 ^A | %13
w: end to our|love, our|hopes, our|dreams, our|sighs, No|end at|
w: end- ing the|sun- lit|days, the|moon- lit|nights. The|sea, the|
 =B2"F#7" ^A |"B" ^A2 ^G | ^A2 ^G |"F7" _A2 _G | _A2 _G |1"Bb7" _G2 F | _G2 F :|2"Bb7" _G3 | %21
w: all, no|sad good-|byes. No|fears, no|tears, no|love that|dies. It's|ev-|
w: sand, the|star- ry|heights are|yours and|mine for||||
"Bb7" F3 ||"Bbm7" F2 F |"Eb7" G2 G |"Abmaj7" c2 c | G2 G |"Bbm7" F2 F |"Eb7" G2 G |"Abmaj7" c2 c | %29
w: er.|All we|are and|all we|know is|love and|love a-|lone, and|
w: ||||||||
 G2 G |"Bbm7" c2 B | c2 B |"Eb7b9" c2 B | c2 B |"Ab" B2 A | B2 A |"Fm7" B2 A | B2 A |"G7" A2 G | %39
w: so the|world may|spin it's|wear- y|way, it's|lone- ly|night and|lone- ly|day, while|we go|
w: ||||||||||
 A2 G |"C7" A2 G | A2 G |"F7" G2 F | G2 F |"Bb7" G2 F | G2 z |"Eb" F2 E |"Cm7" F2 E |"Fm7" z C E | %49
w: float- ing|far a-|bove in|nev- er|end- ing|time- less|love.|Sen- za|Fi- ne,|La la|
w: ||||||||||
"Bb7" F G B |"Eb" F2 E |"Cm7" F2 E |"Fm7" z C E |"Bb7" F G B |"Eb" F3 | E3 |] %56
w: la la la|Sen- za|Fi- ne,|La la|la la la|La|la.|
w: |||||||


Serenade In Blue

Context: Originally composed in 1940, 'Serenade In Blue' became a standard in the jazz repertoire and has been performed by numerous artists. It is known for its lush orchestration and heartfelt melodies, often associated with the romantic and sentimental themes of the era.

'Serenade In Blue' features a smooth, flowing melody that exemplifies the characteristics of jazz ballads from the 1940s. The piece is structured around a series of rich harmonic progressions that create a sense of longing and nostalgia. The use of extended chords and chromaticism adds depth to the emotional expression, while the orchestration typically includes strings, woodwinds, and brass, contributing to its lush sound. The song's lyrical content often reflects themes of love and loss, making it a favorite for vocalists and instrumentalists alike. The arrangement allows for improvisation, which is a hallmark of jazz performance, enabling artists to infuse their personal style into the piece.

This music piece is characterized by its smooth melodic lines and intricate harmonies that evoke a deep sense of emotion. The orchestration typically includes a combination of strings and brass, creating a rich texture that supports the main melody. The rhythm is gentle and flowing, often featuring syncopation that adds to its swing feel. The overall atmosphere is romantic and reflective, making it suitable for intimate settings or nostalgic moments.

The music plays softly in a dimly lit jazz club during the late evening hours. The room is filled with a warm glow from vintage lamps casting soft shadows on the polished wooden tables. Couples are seated closely together, their faces illuminated by the flickering candlelight as they lean in to share whispered conversations. On stage, a small ensemble performs with a focus on the smooth saxophone solo that carries the melody, while the piano provides gentle chords in the background. The audience sways slightly to the rhythm, lost in the emotional depth of the music, as memories of love and longing fill the air.

X:717
T:Serenade In Blue
T:Serenade In Blue
C:Harry Warren
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
|:"Eb" D>ED>E ^F>G (3Bc_d- |"C+7" _d6- _d>c |"F9" =B>cB>c"B7" (3^FGF-"Bb7" F>G | %3
w: When I hear the ser- e- nade in blue.,|* * I'm|some- where in an- oth- er world * a-|
"Eb/G" D3 F"B7/F#" _D4 |"Fm7" =B,>CB,>C B>A"Db7" (3BAG- |"G7" G6"C7" (3ABF- | %6
w: lone with you,|shar- ing all the joys we used to know|* man- y moons|
"F7""Abm6" F6"Bb7" G2 |"Eb""Fm7""Bb7" C8 |"Eb" D>ED>E ^F>G (3Bc_d- |"C+7" _d6- _d>c | %10
w: * a-|go|Once a- gain your face comes back to me,|* * just|
"F9" =B>cB>c"B7" ^F>G"Bb7" (3FGD- |"Eb/G" D3 F"B7/F#" _D4 |"Fm7" =B,>CB,>C _B>A"Db7" (3BAG- | %13
w: like the theme of some for- got- ten mel-|* o- dy|in the al- bum of my mem- o- ry,|
"G7" G6"C7" (3ABF- |"F7" F6"Abm6""Bb7" G2 |"Eb6" E6"Eb7" z E |"Ab6" F>EF>E (3FEF- F>E | %17
w: * Ser- e- nade|* in|blue. It|seems like on- ly yes- ter- day , a|
"Ab" F>EF>E (3_GEF- F>E |"Gb6" F>EF>E (3FEF- F>E |"Gb" F>EF>E (3AEF- F>E | %20
w: small caf- e a crowd- ed floor, * and|as we dance the night a- way, * I|hear you say "For- ev- er more," * and|
"F7" F>EF>E"Cm7/G" (3FEF- F>E |"G#dim" F>EF>E"F7/A" c>EF>E |"Bb7" B3 =A"Fm7" _A>CE"Fm7/Bb"F- | %23
w: then the song be- came a sigh, * for-|ev- er more be- came good- bye, but|you re- mained in my heart.|
 F4"Bb7b9" G4 |"Eb" D>ED>E ^F>G (3Bc_d- |"C+7" _d6- _d>c |"F9" =B>cB>c"B7" ^F>G"Bb7"F>G | %27
w: * So|tell me dar- ling, is there still a spark|* * or|on- ly lone- ly ash- es of the|
"Eb/G" D3 F"B7/F#" _D4 |"Fm7" =B,>CB,>C B>A (3BcG- |"G7""G7b5""C7" G6 (3dcG- |"F9" G4"E7" G4 |1 %31
w: flame we knew;|should I go on whist- ling in the dark?|* Ser- e nade|* in|
"Eb" E4-"Abmaj7" E2"Bb7" z2 :|2"Eb" E4- E2 z2 |] %33
w: blue. *|blue. *|


Serenade to Spring

Context: Originally composed by Rolf Løvland, 'Serenade to Spring' is a piece that evokes the beauty and renewal of springtime. It is often performed by choral groups and has been featured in various albums, showcasing its popularity in contemporary classical music.

'Serenade to Spring' is characterized by its lyrical melodies and harmonic richness, often employing a blend of major and minor tonalities to evoke emotional depth. The piece features a gentle flowing rhythm that mirrors the themes of nature's rebirth. The use of dynamics and phrasing creates a serene atmosphere, inviting listeners to reflect on the beauty of spring. The choral arrangement often highlights the interplay between voices, creating a lush tapestry of sound that enhances the theme of renewal.

This composition features a soft, flowing melody that captures the essence of spring. It incorporates lush harmonies and gentle dynamics, creating a peaceful ambiance. The instrumentation typically includes strings and woodwinds, which contribute to the serene atmosphere. The piece progresses through various sections, each reflecting different aspects of spring's beauty, such as blooming flowers and gentle breezes.

The music plays during a serene spring morning in a lush garden filled with blooming flowers and vibrant greenery. Sunlight filters through the trees, casting dappled shadows on the ground. Birds chirp melodically in the background as a gentle breeze rustles the leaves. In this idyllic setting, individuals stroll leisurely along winding paths, pausing to admire the blossoms and breathe in the fragrant air. The atmosphere is one of tranquility and renewal, perfectly complemented by the soothing sounds of 'Serenade to Spring'.

X:718
T:Serenade to Spring
T:Serenade to Spring
T:Rolf Lovland
T:performed by Secret Garden (C)
T:agbo: iseu(http://blog.xcoda.net) v 4.2
C:Rolf Lovland
%%score 1 2
L:1/4
M:3/4
I:linebreak $
K:none
V:1 treble transpose=-2 nm="Flute"
%%MIDI program 73
%%MIDI control 7 75
%%MIDI control 10 64
V:2 treble transpose=-2 nm="B"
%%MIDI program 71
%%MIDI control 7 93
%%MIDI control 10 64
V:1
[K:D] z2 F/G/ | A d A | G2 E/F/ | G e G | F2 D/E/ | F d B | A2 ^G | A3- | A z F/G/ | A d A | %10
 G2 E/F/ | G e G | F2 A | d f d | B g e | c3 | d2 z | A G A | B b/a/ g/f/ | e A2 | z f/a/ d'/c'/ | %21
 b2 d | ^e2 e | f3- | f2 d/e/ | f e d | G2 c/d/ | e3/2 d/ e | f2 e/f/ | g3/2 f/ e | d e c | d3 | %32
 B3 | a d/e/ f/a/ | g f e/d/ | f3 | d3 | c3 | A3 | B2 d | d2 e | c3 | d c2 | d f d | e2 e | c3 | %46
 d3 | f a f | g b g | a2 g | f2 d/e/ | f e d | G2 c/d/ | e3/2 d/ c | F2 B/c/ | d2 d | c2 B | c3- | %58
 c2 z | d2 f | e2 a/b/ | c'3/2 b/ c' | d'/ z/ d'/c'/ b/f/ | g3/2 f/ g | b a g | f3- | f2 e/f/ | %67
 g3/2 f/ e | d e c | d3- | d2 z |] %71
V:2
[K:D] z3 | F3 | D3 | C3 | A,3 | B,2 D | D2 E | C3 | D C2 | D F D | E2 E | C3 | D3 | F A F | G B G | %15
 A2 G | F2 d/e/ | f e d | G2 c/d/ | e3/2 d/ c | F2 B/c/ | d2 d | c2 B | c3- | c2 F/G/ | A G F | %26
 D2 A/B/ | c3/2 B/ c | d2 B | B3/2 A/ G | F G E | F D/E/ F/A/ | G F E/D/ | F3 | B2 F/G/ | A d A | %36
 G2 E/F/ | G e G | F2 D/E/ | F d B | A2 ^G | A3- | A z F/G/ | A d A | G2 E/F/ | G e G | F2 A | %47
 d f d | B g e | c3 | d2 z | A G A | B b/a/ g/f/ | e A2 | z f/a/ d'/c'/ | b2 d | ^e2 e | f3- | %58
 f2 d/e/ | f e d | G2 c/d/ | e3/2 d/ e | f2 e/f/ | g3/2 f/ e | d e c | d3- | d2 B | b3/2 a/ g | %68
 a a g | f3- | f2 z |] %71


Set Fire To The Rain

Context: Released in 2011 as part of Adele's second studio album, '21', 'Set Fire To The Rain' showcases Adele's vocal prowess and emotional depth. The song became a commercial success, topping charts worldwide and receiving multiple awards, including a Grammy Award for Best Pop Solo Performance.

Musically, 'Set Fire To The Rain' is characterized by its blend of pop and soul elements, featuring a strong piano accompaniment and orchestral strings that enhance the emotional intensity. The song employs a dynamic structure, transitioning between soft verses and a powerful chorus, which reflects the tumultuous emotions of love and heartbreak. Lyrically, it uses vivid imagery to convey themes of passion and pain, with metaphors that evoke both warmth and destruction. The vocal delivery is marked by powerful crescendos and nuanced phrasing, showcasing Adele's ability to convey deep emotion through her voice.

The piece features a rich harmonic structure with a prominent use of minor keys that evoke a sense of melancholy. The instrumentation includes piano, strings, and subtle percussion that build gradually throughout the song. The vocal line is expressive, characterized by both soaring high notes and intimate low passages, reflecting the emotional journey of the lyrics. The overall sound is polished yet raw, capturing the essence of vulnerability in the face of love's complexities.

In a dimly lit room filled with flickering candlelight, a woman stands by a rain-soaked window, her silhouette framed against the glass. Outside, heavy rain cascades down, mirroring her inner turmoil. She gazes out at the stormy night, her expression a mix of longing and sorrow. As the music swells, she recalls moments of passion intertwined with heartbreak. Memories flood her mind—laughter shared under the stars now overshadowed by tears. The atmosphere is thick with emotion; each raindrop seems to echo her heartache as she clutches a photograph close to her chest, lost in reflection.

X:719
T:Set Fire To The Rain
C:Fraser Smith
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="[Unnamed (treble staff)]"
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z4 z2 z/"CN.C." C/C/C/ ||"Dm" F4 z2 z G |"F" F4 z F FF |"C" E3 E EE E2- |"Gm" EF z2 z2 z C/C/ | %5
w: I let it|fall, my|heart. And as it|fell you rose to claim|* it. It was|
w: |||||
"Dm" F4 z3/2 C/ C/C/G |"F" (F/D/C D2) z F FF |"C" EE E2- ECCC- | CD z2 z2 z C |:"Dm" F4 z2 z G/G/ | %10
w: dark and I was o-|ver _ _ _ un- til you|kissed my * lips and you saved|* me. My|hands they were|
w: ||||I~lay with *|
"F" F4 z F2 E |"C" E3 C CD (D/C/A, |"Gm" D4) z2 z C |"Dm" F4 z G GF- |"F" F2 z2 z F FE- | %15
w: strong, but my|knees were far too * weak *|* to|stand in your arms.|_ wit- out fall-|
w: you I could|stay there, just _ _ close _|my you|here for- ev- er|_ You and me|
"C" E3 E EF (F2- |"Csus4" FD) z2 z D"C" DD ||"Bb6" D3 E D2 DE |"Gm" FEDF EDDD |"Dm" D3 E D2 DE | %20
w: _ ing to your feet.|* * But there's a|side to you that I|nev- er knew, nev- er knew. All the|things you'd say, they were-|
w: togeth- er, noth- ing gets|bet- ter. Cause theres a||||
 FEDF EDDD |"Bb" D3 E D2 DE |"Csus2" FEDF"C" E E3- | E2 z"CN.C." F F2 G2 || %24
w: nev- er true, nev- er true. And the|games you'd play you would|al- ways win, al- ways win.|_ But I set|
w: ||* * * \-ways- * *||
"Dm" (A2 G2 F) z z A/G/ | (A3 G) z c F"C"G- | G2 FF z c cG- | (GA) z2 z A D"Gm"F- | FDDF FDDF- | %29
w: fire _ _ to the|rain. _ Watched it pour|_ as I * your face.|* * When it burned,|* well I cried _ cause I heard|
w: |||||
 F D2 F FDDF |"Dm" D4 z2 F"C"(D/C/ | D<F FG) z2 z (C :|"C" D<(F G)) z A2 A2 | %33
w: * it scream- * ing out your|name, Your name, *|* * * * When|* * * I set|
w: ||||
"Dm" (A2 G2 F) z z A/G/ | (A3 G) z G Gc |"C" (GF/ E2) cccG3/2- | G A2 z z A DF |"Gm" FDDF- FDDF- | %38
w: fire _ _ to the|rain. * And I threw|us * * in- to the flames.|* * When we fell,|* some- thing died _ cause I knew|
w: |||||
 F D2 F- FDD(F |"Bb" D4) z C F(D/C/ |"C" D<F FG) z A GG- ||"Bb" G2 F2 FFG(G |"F/A" GA) z2 z E EE | %43
w: * that that * was the last|time, the last time. _|_ _ _ _ _ _ I|* wake up by the door|_ _ that heart you|
w: |||||
"Am" E2 EE E2 EE- |"C" E (F2 G) z A GG | G2 FD FFGG- |"Fm" (G A3) z E EE- |"Am" EEEE E2 EE- | %48
w: caught must be wait- ting for|_ ya, * E\-ven- * now|* when we're al- rea- dy o-|* ver. I can't help|_ my- self from look- ing for|
w: |||||
"C" E (F2 G) z A A2 |:"Dm" (A2 GF- FD) z A/G/ | (A3 G) z c FG- |"C" G2 FF z c cG- | %52
w: * you. * I set|fire * * * * to the|rain. _ Watched it pour|_ as I * your face.|
w: |fire * * * * to the|rain _ and I threw|_ us _ to the flames.|
 (GA) z2 z A DF- |"Gm" FDDF- FDDF | F D2 F- FDDF |1"Dm" D4 z2 F(D/C/ | D<F G) z A2 A2 :|2 %57
w: * * When it burned,|* well, I cried _ Cause I heard|* it scream- _ ing out your|name Your name _|_ _ _ I set|
w: * * When we fell|_ some- thing died _ Cause I knew|* that that * was the last|||
"Bb" D4 z C F(D/C/ |"C" [Dd]2 F2) z4 :|3"Bb""C" z8 | z8 | !fermata!z8 |] %62
w: time, the last time _|_ _||||
w: |||||


Seven Spanish Angels

Context: Originally recorded by Willie Nelson and Ray Charles, 'Seven Spanish Angels' is a poignant country ballad that tells the story of love and sacrifice. The song has been covered by various artists and remains a classic in the country music genre.

'Seven Spanish Angels' employs a narrative style that intertwines themes of love, loss, and redemption. The song features a traditional verse-chorus structure with a strong emotional arc, characterized by its use of vivid imagery and storytelling techniques. The harmonic progression is rooted in classic country music, utilizing simple chord changes that enhance the lyrical content. The instrumentation typically includes acoustic guitar, piano, and strings, creating a warm, inviting soundscape that complements the heartfelt lyrics. The interplay between male and female vocalists adds depth to the emotional delivery, emphasizing the themes of longing and sacrifice inherent in the narrative.

This piece is marked by its slow tempo and emotive melodies. The instrumentation is rich yet understated, featuring acoustic guitars and soft string arrangements that support the vocal lines. The lyrics unfold a compelling story that captures the listener's attention through its poignant imagery and relatable themes of love and loss. The vocal delivery is heartfelt, often employing harmonies that enhance the emotional weight of the narrative.

The music plays during a twilight scene in a dusty, old town where two lovers are saying their final goodbyes under a sprawling oak tree. The sun sets in the background, casting golden hues across the sky as shadows lengthen. The woman, dressed in a flowing white dress, clutches a letter to her chest, tears glistening in her eyes as she gazes at her partner—a rugged man in worn jeans and a cowboy hat—who stands resolute yet heartbroken. Around them, the sounds of crickets begin to fill the air as the last light fades, creating an atmosphere heavy with emotion and unspoken words.

X:720
T:Seven Spanish Angels
T:Seven Spanish angels.
T:Eddie F Setser, Troy Harold Seals
C:Eddie F. Setser, Troy Harold Seals
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z4 z2 EF |"C" G2 G2 A3 G | G2 E4 EF | G3 E F3 E |"G7" D6 GG | G2 G2 B3 A | A2 G4 GG | G3 A G3 C | %8
w: He looked|down in- to- her|brown eyes and said|say a prayer for|me then she|threw her arms a-|round him whis- pered-|God will keep us|
"C" E6 EF | G2 G2 A3 G | G2 E4 EF | G2 G2 A3 G |"F" F8 | A3 A B2"G7" AA |"C" G2 E2 E2 D2 | %15
w: free they could|hear the rid- ers|com- ing he said|this is my last|fight|if they take me back|to Tex- as they|
 D2 E2 F3 D |"C" C4- C4 | G2 G2 A3 G | G2 E4 EF | G3 E F3 E |"G7" D6 GG | G2 G2 B3 A | A2 G4 GG | %23
w: wont take me back|alive *|se ven Span- ish-|an- gels at the|al- ter of the|sun they were|pray- ing for the|lov- ers in the|
 G2 A2 G3 C |"C" E6 EF | G3 G A2 GG | G2 E4 EF | G2 G2 A3 G |"F" F8 | A2 A2"G7" B3 A | %30
w: vall- ey of the|gun when the|bat- tle stopped and the|smoke cleared there was|thun- der from the|throne|se- ven Span ish|
"C" G2 E4 EE |"G7" D2 E2 F3 B, |"C" C8- | C6 z2 |] %34
w: an- gels took an-|o- ther an- gel|home.||


Shadows In The Moonlight

Context: This song was released in the late 1970s and has been associated with themes of love and longing. It reflects the storytelling tradition of country music, often drawing from personal experiences and emotional narratives.

Musically, 'Shadows In The Moonlight' employs a gentle melodic structure characterized by its use of acoustic instrumentation, which creates an intimate atmosphere. The song features a simple yet effective chord progression that enhances its lyrical content. The vocal delivery is emotive, with a focus on phrasing that conveys the underlying themes of nostalgia and yearning. The arrangement typically includes harmonies that enrich the sound, common in country music, allowing for a blend of vocal textures that engage the listener. Lyrically, the song explores the complexities of love through vivid imagery and metaphor, inviting listeners to connect with their own experiences of romance and loss.

The piece features a soft, melodic line driven by acoustic guitar, complemented by gentle percussion. The vocals are warm and inviting, conveying deep emotional resonance. The lyrics paint a picture of longing and reflection, using nature as a backdrop to express feelings of love and nostalgia. The overall mood is serene yet poignant, evoking a sense of wistfulness.

The music plays during a serene evening in a quiet countryside setting. The sun sets slowly on the horizon, casting golden hues across the fields. A couple sits together on a porch swing, wrapped in each other's arms, gazing at the stars beginning to twinkle in the twilight sky. Their expressions are soft and contemplative, reflecting on shared memories as fireflies dance around them. The air is filled with the sweet scent of blooming jasmine, enhancing the romantic atmosphere as they listen to the gentle strumming of an acoustic guitar in the background.

X:721
T:Shadows In The Moonlight
T:Shadows in the moonlight
T:Charlie Black and Rory Bourke
C:Charlie Black, Rory Bourke
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 z4 z2 GA |:"C" dccA c2 d2 |"Dm7" z4 Ac c2 |"G7" agge g2 ed |"Am7" c8 |"Dm7" efed c4 | efeG cc d2 | %7
w: We'll be|shad- ows in the moon- light|dar- ling I'll|meet you at * mid- night *||hand in hand we'll go|danc- in throught the milk- y way|
"C" c8 |"G7" z4 z2 GA |"C" dccB cc d2- |"Dm7" d4 Ac c2 |"G7" agge gg e2 |"Am7" c4 z2 Ac | %13
w: |and we'll|find a lit- tle hide- a way|* where we can|love the whole * night a- way|* we'll be|
"Dm7" efed c2 A2 | efeG cc d2 |"C" c8 | z8 |"Gm7" f6 e2 | f2 e2 d2 c2 |"F" e2 f2 g2 f2 |"Dm" e8 | %21
w: shad- ows in the moon- light|right up 'til the light of day|||Ooo the|night is young and|ba- by so are|we|
"Am7" e4 A2 AA |"D7" e2 d2 A2 e2 |"G7" d8 |"C7" z8 |"Gm7" f6 e2 | feed c2 c2 |"F" ef e2 e2 ae | %28
w: glad I'm gon- na|make you glad you|came||Ooo you|wont need a thing * just|bring your * love for *|
"A" g4 a4 |"Dm7" z2 c2 a2 g2 |"F" a2 g2 c2 c2 |"D7" e4 d4 |"G7" z4 z2 GA ||"C" dccA c2 d2 | %34
w: me *|and dar- lin|I need do the|same *|We'll be|shad- ows in the moon- light|
"Dm7" z4 Ac c2 |"G7" agge g2 ed |"Am7" c8 |"Dm7" efed c4 | efeG ccdc |"C" z8 |"Gm7" z8 | f6 e2 | %42
w: dar- lin I'll|meet you at * mid- night *||hand in hand we'll go|danc- in through the milk- y way *|||Ooo you|
 feed c2 c2 |"F" ef e2 e2 ae |"A" g4 a4 |"Dm" a2 g2 c2 a2 | g2 a2 c2 d2 |"G7" e4 de g2 | a6 GA :| %49
w: wont need a thing * just|bring your * love for *|me *|you'll be glad you|came just wait and|see * wait and|see we'll be|


She thinks I still care

Context: Released in 1962, 'She Thinks I Still Care' became one of Dicky Lee's signature songs, showcasing the emotional depth of country music during that era. The song has been covered by various artists, including George Jones, and continues to resonate with audiences due to its relatable themes of lost love and regret.

The song employs a simple yet effective structure typical of country ballads, featuring a verse-chorus format that emphasizes the emotional narrative. The instrumentation is characterized by traditional country elements, including acoustic guitar and steel guitar, which enhance the melancholic mood. Lyrically, the song captures the protagonist's inner turmoil and longing, using first-person narration to convey a sense of vulnerability. The repeated phrases in the chorus serve to reinforce the theme of unreciprocated feelings, creating a poignant contrast between the singer's reality and the perception of the woman he loves.

This piece features a slow tempo with a gentle melody that evokes feelings of sadness and nostalgia. The vocals are delivered with a heartfelt sincerity, reflecting the pain of unrequited love. The arrangement is minimalistic, allowing the lyrics to take center stage, with subtle harmonies that complement the lead vocals. The emotional weight of the song is enhanced by its lyrical content, which explores themes of longing and regret.

The music plays softly in a dimly lit room where an individual sits alone at a table, surrounded by remnants of a past relationship. Photographs are scattered across the table, each depicting moments filled with joy and laughter. Outside, rain gently taps against the window, mirroring the protagonist's somber mood. As they reminisce about lost love, their expression shifts from nostalgia to sorrow, highlighting the emotional struggle conveyed through the music.

X:722
T:She thinks I still care
T:She thinks I still care.
T:Dicky Lee
C:Dicky Lee
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2"C" GG E4 |"F" z CAA c4 |"C" z C (3AGE G4- | G6 z2 |"C" e2 ee- e3 e |"G7" f2 d2 (3edB- Bc | %6
w: Just be- cause|I ask a friend|a- bout * * her||Just be- cause * I|spoke her name * * * some-|
"C" c4 z4 | z4 z2 Gc |"C" e e3 d e3 | z f2 e d3 d |"F" c3 F A4 |"C" e3 d c2 z2 |"G7" G6 z d | %13
w: where|just be-|cause I saw her|then went all to|piec * es|she * thinks|I still|
"C" c8 |"^alCoda" z4 z2 z"^Chorus" c |"F" c c3- c2- (3cAc | d c3- c2- (3cAc |"C" A G3- G4 | %18
w: care,|but|if she's * * hap- py|think- in * * I still|miss her *|
 z4 z2 z c | c e3- e2- (3ede | f e3- e2 dc |"G" d8 |"F" z c3- c2 Ac | dc A2- A3 c |"C" A G3- G4 | %25
w: then|let that * * sil- ly|no- tion * bring her|cheer|ow * could she|ev- er be * so|fool- ish *|
 z4 z2 z c |"D7" c6- (3cAB | c4 z2 (3edc |"G7" d4 d4 |"C" G3 G E3 C |"F" AA c2- c3 F | %31
w: Oh|where * would she|get such an i-|de- a?|Just be- cause I|haunt the same * old|
"C" (3AGE G6- | G2 z2 z2 cd | e e3- e2 de |"G7" f d3- d2 cB |"C" c8- |"^D.S.alCoda" c4 z2 Gc || %37
w: pla * * ces|* where the|mem- ry * of her|lin- gers * ev- ry|where|* just be|
"C" z4"^Coda" z2 Gc | e e3 d e3 | z f2 e d3 d |"F" c3 F A4- | A8 |"C" e4 c4 |"G7" G4 d4 |"C" c8- | %45
w: just be-|cause I saw her|then went all to|piec * es||she thinks|I still|care.|
"F" c6"C" z2 |] %46
w: |


She Wears Red Feathers

Context: Originally recorded by Bing Crosby in 1951, 'She Wears Red Feathers' became a popular standard, showcasing a blend of traditional pop and contemporary styles of the time. The song's lyrics reflect themes of love and longing, encapsulating the emotional essence of mid-20th century romantic ballads.

Musically, 'She Wears Red Feathers' features a simple yet effective chord progression that supports its lyrical narrative. The song is characterized by its use of major keys, creating an uplifting yet wistful atmosphere. The melody is memorable and singable, which contributes to its enduring popularity. The arrangement typically includes lush orchestration with strings and woodwinds that enhance the romantic feel. Lyrically, the song employs vivid imagery to evoke feelings of nostalgia and yearning, as the protagonist reflects on a lost love associated with the titular red feathers.

The music piece is marked by a smooth melodic line that flows effortlessly over a gentle accompaniment. It employs a moderate tempo, allowing for expressive vocal delivery. The instrumentation includes soft strings and light percussion, creating a warm and inviting soundscape. Harmonies are rich but not overly complex, emphasizing the lyrical content and emotional delivery. Overall, the music evokes a sense of longing and reminiscence, resonating deeply with listeners.

The scene unfolds in a dimly lit café during the late evening hours. Soft golden lights hang overhead, casting a warm glow on the wooden tables where couples sit closely together, whispering sweet nothings. A young man sits at the bar, nursing a drink as he gazes longingly at a woman across the room wearing a vibrant red dress adorned with feathers. She laughs softly with friends, her joy contrasting with his quiet melancholy. As the music begins to play softly in the background, the camera pans to capture his wistful expression, reflecting on memories of their past together. The ambiance is filled with the clinking of glasses and muffled conversations, creating an intimate yet bittersweet atmosphere.

X:723
T:She Wears Red Feathers
T:She wears red feathers
T:9and a huly huly skirt)
T:Bob Merill
C:Bob Merrill
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"^Chorus:" z2 z B, ||"Eb" G2 G2 | G F E F | G c"Gm" B G |"Fm" F3 E |"Fm7" F2 F2 | F E C E | %7
w: She|wear red|feath- ers and a|hu- ly hu- ly|skirt she|wears red|feath- ers and a|
w: |||||||
w: |||||||
w: |||||||
"Gm" G B B"Bb7" G |"Eb" E2 z B |"Ab" c c2 e | c"Gm" B"Eb" G"G7" F |"Cm" G B2 c |"Gm" B3 B | %13
w: hu- ly hu- ly|skirt she|lives on just|coc- co nuts and|fish from the|sea a|
w: ||||||
w: ||||||
w: ||||||
"Cm" c B/B/"Gm" G B |"Ab" c B/B/"Gm" G B |"Fm7" c B/B/"Bb7" G F |"Eb" E3 z || z2 z B, | %18
w: rose in her hair, a|gleam in her eyes and|love in her heart for|me|(1)I|
w: ||||(2)Good-|
w: ||||(3)I|
w: ||||(4)I'm|
"Eb" E E/E/ E G | E3 B, | E3/2 G/ B c |"Fm7" B"Bb7" F2 B | B F F A |"Eb" G E E G | %24
w: worked in a Lon- don|bank re-|spect- a- ble po-|si- tion from|nine to three they|serve you tea, but|
w: bye to the Lon- don|bank I|start- ed in a|sail- ing the|four- teenth day from|Man- da- lay I|
w: went to her ma and|pa and|said I loved her|on- ly and|they both said we|could be wed Oh|
w: back here in Lon- don|town and|tho it may sound|sil- ly she's|here with me and|you should see us|
"F7" F3/2 G/ F E |"Bb" D F B3/2 B/ |"Ab" c A/A/ A A | A3 z |"Gm" B3/2 c/ B G |"Cm" E3 E | %30
w: ruin your dis- po-|si- i- tion each|night in the mus- ic|hall|trav- el- ogs I'd|see and|
w: spied her from the|ra- ai- lin she|knew I was on my|way|wait- ed and was|true, she|
w: what a cer- e-|mon- o ny an|el- e- phant brought her|in|placed her by my|side while|
w: walk down Pic- ca-|dil- il- ly the|boys at the Lon- don|band|kind o hold their|* reath|
"Eb" G B B"Cm" E/E/ |"Gm" G B B"Cm" E |"Fm7" F A"Bb7" G F |"Eb" E2 z"^ToChorus:" B, |] %34
w: once the pearl of a|na- tive girls kept|smil- ing right at|me she|
w: said you son of an|Eng- lish- mon I've|dreamed each night of|you she|
w: six ba- boons got *|out bas- soons and|played here comes the|bride. she|
w: she sits with me and|sips her tea which|tick- les them to|death. she|


She'll be coming round the mountain

Context: This traditional folk song is often associated with American culture and has been passed down through generations. It is commonly sung in schools and at camps, making it a staple in children's music.

Musically, 'She'll be coming round the mountain' features a simple, repetitive structure that is characteristic of folk music, making it easy for audiences to sing along. The song is typically performed in a major key, contributing to its upbeat and cheerful tone. The melody is straightforward, allowing for variations and embellishments during performances. Lyrically, the song tells a narrative about anticipation and reunion, which resonates with themes of community and togetherness. The use of call-and-response techniques in performances encourages participation, enhancing the communal experience.

The piece features a lively melody that is easy to remember and sing along to. It typically employs a simple chord progression, often using I-IV-V chords that are common in folk music. The rhythm is steady and upbeat, promoting a sense of joy and excitement. The lyrics describe a journey and the arrival of someone significant, creating an atmosphere of anticipation and warmth.

Imagine a sunny afternoon in a rural setting where children gather around a campfire. The sky is clear with the sun shining brightly, casting warm light on the faces of the enthusiastic campers. They sit on logs or blankets spread across the grass, eagerly awaiting the arrival of their favorite counselor who has promised to bring treats. As they spot the counselor approaching from a distance, excitement builds among them. The group bursts into song, harmonizing joyfully as they clap their hands and tap their feet to the rhythm, embodying the spirit of camaraderie and youthful exuberance.

X:724
T:She'll be coming round the mountain
T:She'll be coming round the mountain
T:traditional
C:traditional
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 G A |"C" c c c c | A G G A | c4- | c2 c d | e e e e | g e d c |"G7" d4- | d2 g f |"C" e e e e | %10
w: She'll be|com- ing round the|moun- tain when she|comes|* she'll be|com- ing round the|moun- tain when she|comes|* she'll be|com- ing round the|
 d c c c |"F" A A A A |"D7" d c B A |"C" G G c d |"D7" e d"G7" A B |"C" c4- | c2 z2 | z2 G A | %18
w: moun- tain, she'll be|com- ing round the|moun- tain she'll be|com- ing round the|moun- tain when she|comes||Sing- ing|
"C" c c A G | E G c2 | z2 c d | e e g e | d c"G7" d2 | z2 g f |"C" e e d c |"F" A A d c | z2 B A | %27
w: aye- yi- yip- pee|yip- pee- aye|sing- ing|aye- yi- yip- pee|yip- pee aye|sing- ing|aye- yi- yip- pee|aye- yi- yip- pee|sing- ing|
"C" G c"D7" e d |"G7" A B"C" c2- | c2 z2 |] %30
w: aye- yi- yip- pee|yip- pee aye.||


She's A Fool

Context: Released in 1964, 'She's A Fool' was a significant hit for the artist, showcasing the emotional turmoil of young love. The song reflects the era's pop sensibilities and was part of the broader trend of narrative-driven songs during the 1960s.

Musically, 'She's A Fool' employs a simple yet effective chord progression that enhances its lyrical themes of heartbreak and regret. The use of melodic hooks and a catchy chorus exemplifies the pop style of the era, while the instrumentation typically features traditional rock elements such as electric guitar, bass, and drums. Lyrically, the song addresses themes of unrequited love and emotional vulnerability, with a narrative that resonates with listeners through its relatable content. The vocal delivery is earnest and emotive, capturing the essence of youthful despair.

The music features a melodic structure characterized by a blend of major and minor chords that evoke feelings of longing and sadness. The instrumentation is rich yet straightforward, allowing the vocals to take center stage. The lyrics tell a poignant story about a girl who is oblivious to her lover's pain, highlighting themes of innocence and emotional disconnect. The overall atmosphere is one of wistfulness, enhanced by harmonies that create a sense of depth and resonance.

In a dimly lit diner during the late evening, a young man sits alone at a booth, staring out the window as rain trickles down the glass. The neon lights from outside cast colorful reflections on his face, revealing his troubled expression. He clutches a half-empty cup of coffee, lost in thought about a girl who seems to be moving on without him. Around him, other patrons laugh and converse, but he feels isolated in his heartache. As the music plays softly from an old jukebox in the corner, it underscores his feelings of longing and regret, creating an intimate atmosphere filled with nostalgia.

X:725
T:She's A Fool
C:Mark Barkan
L:1/4
Q:1/4=120
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
"C" E E/>E/ E E/>E/ | E E/E/"Bb" D F |"C" E z/ D/ E z/ D/ | E/D/ E z2 |:"C" z E/E/ E/E/ E/>E/ | %5
w: ||||She don't know that she's a|
w: ||||He don't know it but she|
"F" F F"G" G- F |"C" z E/>E/ E/E/E/E/ |"F" F F"G" G- F |"Em" z B/B/ B B |"F" A A/>A/- A2- | %10
w: luck y girl _|Got the best thing in the|whole wide world _|Got a love that's|hard to find _|
w: cheats with him _|With a boy like that its|such a sin _|I would nev er|be un true _|
"F7" A A/A/ A c |"C6" A G G A |"Bb" z _B2 A |"C" G G,/>F,/ G, G, |"Bb" z _B2 A | %15
w: _ Got the boy I|wish were mine but|SHE'S A|FOOL (shack a doo la)|SHE'S A|
w: _ I would nev er|make him blew but||||
"C" G G,/>F,/ G, G, |"Bb" z _B A G | _B A G F |"C" G G,/F,/ G, G, | z G,/>F,/ G, G, :| %20
w: FOOL (shack a doo la)|She has his|love but treats him|rude (shack a doo la|shack a doo la)|
w: |||||
[K:D]"D" z F/F/ F/F/ F/>F/ |"G" G G"A" A- G |"D" z F/>F/ F/F/F/F/ |"G" G G"A" A- G | %24
w: I know there is gon na|come a day _|He will tell her: "Girl be|on your way" _|
w: ||||
"F#m" z c/c/ c c |"G" B B/>B/- B2- |"G7" B B/B/ B d |"D6" B A A B |"C" z =c2 B | %29
w: May be then he'll|turn to me _|_ Oh so Happ py|I will be that~|SHE'S A|
w: |||||
"D" A A,/>G,/ A, A, |"C" z =c2 B |"D" A A,/>G,/ A, A, |"C" z =c B A | =c B A G | %34
w: FOOL (shack a doo la)|SHE'S A|FOOL (shack a doo la)|She has his|love but treats him|
w: |||||
"D" A A,/G,/ A, A, |"D7" z A,/>G,/ A, A, |:"C" z =c2 B |"D" A2 F/->A/- A/d/- |"C" =c2 c B |"D" A4 | %40
w: rude (shack a doo la|shack a doo la)|SHE'S A|FOOL OHHHH _ _ _|_ SHE'S A|FOOL|
w: ||||||
"C" z =c B A | =c B A G |"D" A4- |"D7" A4 :| %44
w: She has his|love but treats him|rude|_|
w: ||||


She's Always a Woman

Context: Released in 1977 as part of the album 'The Stranger', this song showcases Billy Joel's signature storytelling through music. It has been praised for its lyrical depth and emotional resonance.

The piece is characterized by its smooth piano melody and subtle orchestration, creating a reflective atmosphere. The harmonic structure employs major and minor tonalities to convey a sense of longing and nostalgia. The use of soft dynamics allows the vocal delivery to shine, emphasizing the poignant lyrics that explore themes of love and complexity in relationships. The song's form follows a traditional verse-chorus structure, but it incorporates unexpected chord changes that enhance its emotional impact.

This music piece features a gentle piano accompaniment that serves as the foundation for expressive vocal lines. The melody is lyrical and flowing, with a rich harmonic backdrop that shifts between major and minor keys. The instrumentation is minimalistic yet effective, allowing the focus to remain on the vocals and lyrics, which convey deep emotional nuances.

Imagine a dimly lit café in the early evening, where soft golden light filters through large windows. A solitary figure sits at a corner table, gazing thoughtfully out at the rain-soaked streets. The air is filled with a warm ambiance as patrons engage in quiet conversation. As the music begins to play softly in the background, it complements the scene perfectly; the singer's voice resonates with a sense of yearning and reflection, echoing the emotions of love lost and cherished memories. Outside, raindrops create a rhythmic pattern against the glass, mirroring the gentle pulse of the music.

X:726
T:She's Always a Woman
T:She's Always a Woman
T:Billy Joel
T:Billy Joel
C:Billy Joel
L:1/8
M:12/8
I:linebreak $
K:Eb
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"Eb""Ebsus4""Eb""Bb" z12 |"Eb""Ab/Eb" z6"Eb" z z F/F/"Bb" FGB ||[M:6/8]"Eb" G2 F/E/"Bb" FGB | %3
w: |She can kill with a|smile she can wound with her|
w: |||
[M:9/8]"Eb" G>FE- E z B/B/ Bce |[M:6/8]"Ab" cBA"Abmaj7" Bce | %5
w: eyes _ _ _ she can ru- in- your|faith with her cas- u- al|
w: ||
[M:9/8]"Ab" c3"Abmaj7" z z F/F/"Bb7" FGB |[M:12/8]"Eb" G2 F/F/"Bb" FGB"G" G3 z z G | %7
w: lies And she on- ly re-|veals what she wants you to see She|
w: ||
"Cm" FEG"Cm/Bb" FEG"Ab" FE>G"Bb7" FE>D |"Eb""Ebsus4" E6"Eb" z z F/F/"Bb" FGB | %9
w: hides like a child but she's al- ways a wom- an to|me She can lead you to|
w: ||
[M:6/8]"Eb" G2 F/E/"Bb" FGB |[M:9/8]"Eb" G E2 z z B/B/ Bce |[M:6/8]"Ab" cBA"Abmaj7" Bce | %12
w: love she can take you or|leave you She can ask for the|truth but she'll nev- er be-|
w: |||
[M:9/8]"Ab6" c B2"Ab" z z F/F/"Bb7" FGB |[M:12/8]"Eb" GFE"Bb7" FGB"G" G3 z z F/F/ | %14
w: lieve you And she'll take what you|give her as long as it's free Yeah she|
w: ||
"Cm" FEG"Cm/Bb" FEG"Ab6" FE>G"Bb7" FE>D |"Eb""Ebsus4" E6"Eb""Eb/D" z6 || %16
w: steals like a thief but she's al- ways a wom- an to|me|
w: ||
S"Cm""Cm/Bb" e6-"F7/A" ecd"F7" ffc |"Bb""Bb/A" d6-"Gm" dBc"Eb" deB | %18
w: Oh _ she takes care of her-|self _ she can wait if she|
w: ||
"Ab""Ab/G" c6"Fm" z AB"Bb7" cBA |"Eb" B6 z2 z4 |"Ebm""Ebm/Db" _g6-"Cm" gef"Ab" gae | %21
w: wants she's a- head of her|time|Oh _ and she nev- er gives|
w: |||
"Db""Db/C" f6"Bbm" f_de"Gb6" f_gd |"Cb""Cb/Bb" e6"Adim7" z cd"F7" edc | %23
w: out _ and she nev- er gives|in she just chan- ges her|
w: ||
"Bb""Bb6" B6"Bb7" z z F/F/ FGB |[M:6/8]"Eb" G2 F/E/"Bb" FGB |[M:9/8]"Eb" G>FE z z B/B/"Eb7" Bce | %26
w: mind And she'll pro- mise you|more than the gar- den of|E- * den Then she'll care- less- ly|
w: * She is fre- quent- ly|kind and she's sud- den- ly|cru- * el She can do as she|
[M:6/8]"Ab" cBA"Abmaj7" Bce |[M:9/8]"Ab6" c A2- A z F/F/"Bb7" FGB | %28
w: cut you and laugh while you're|bleed- in' _ But she brings out the|
w: pleas- es she's no- bo- dy's|fool _ _ But she can't be con-|
[M:12/8]"Eb" GFE"Bb7" FGB"G" G3 z z G/G/!dacoda! |"Cm" FEG"Cm/Bb" FEG"Ab6" FE>G"Bb7" FE>D | %30
w: best and the worst you can be Blame it|all on your- self cause she's al- ways a wom- an to|
w: vict- ed, she's earned her de- gree And the||
"Eb""Ebsus4" E6"Eb" z z F"Bb" FGB |"Eb" G2 F"Bb" FGB"G" G3- G2 G | %32
w: me Mm _ _ _|_ _ _ _ _ _ _ _|
w: ||
"Cm" cBG"Cm/Bb" cBG"Ab6" FEG"Bb7" FE>D |"Eb""Ebsus4" E6"Eb" z2"Eb/D" z4!D.S.! |O cBB BBe cBG FEG | %35
w: ||most she will do is throw sha- dows at you but she's|
w: |||
[M:6/8] FE>G FE>D |[M:12/8]"Eb""Ebsus4" E6"Eb" z z F"Bb" FGB |"Eb" G2 F"Bb" FGB"G" G3- G2 G | %38
w: al- ways a wom- an to|me Mm _ _ _|_ _ _ _ _ _ _ _|
w: |||
"Cm" cBG"Cm/Bb" cBG"Ab6" FEG"Bb7" FED |"Eb""Ebsus4" E6-"Eb" E6 |] %40
w: ||
w: ||


She's Not You

Context: Originally recorded by Elvis Presley in 1962, 'She's Not You' became a significant hit, reflecting the emotional turmoil of love and loss. The song showcases the songwriting prowess of Pomus and Leiber, who were known for their ability to capture complex emotions in simple melodies.

Musically, 'She's Not You' is structured in a traditional verse-chorus format, featuring a catchy melody that complements its heartfelt lyrics. The use of contrasting dynamics between the verses and the chorus enhances the emotional impact. The harmonic progression employs common pop conventions, yet the lyrical content delves into themes of longing and regret, making it relatable. The instrumentation includes a prominent use of strings and backing vocals that create a lush soundscape, typical of early 1960s pop music. This combination of lyrical depth and melodic simplicity contributes to its enduring appeal.

The piece features a smooth vocal delivery with a melancholic tone, characterized by heartfelt lyrics that express feelings of longing for a lost love. The instrumentation includes lush strings and rhythmic guitar, providing a rich backdrop that enhances the emotional weight of the narrative. The song's structure allows for moments of tension and release, effectively mirroring the internal conflict expressed in the lyrics.

In a dimly lit diner late at night, a solitary figure sits at a booth, nursing a cup of coffee. Outside, rain patters against the window, casting soft reflections on the glass. The character gazes out into the night, lost in thought as memories flood back—flashes of laughter shared with a past love. As the music swells, they recall moments of joy intertwined with heartache, their expression shifting from wistfulness to sorrow. The warmth of the diner contrasts with the chill of loneliness outside, encapsulating the bittersweet essence of nostalgia.

X:727
T:She's Not You
T:She's not you
T:Jerry Lieber, Mike Stoller, Doc Pomus
C:Doc Pomus, Jerry Leiber, Mike Stoller
L:1/4
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 4
V:1
 z"^Chorus:" A, B, =B, |:"F" C2 =B, C | D C F A |"C7" B4- | B ^F"C7" G A |"Bb" B3/2 B/ c B | %6
w: Her hair is|soft and her|eyes are, oh, so|blue|* she's all the|things a girl should|
"C7" A E A G |"F" C4- |"C7" C A, B, =B, |"F" C C =B, C | D C F A |"C7" B4- | B"C" ^F"C7" G A | %13
w: be but she's not|you|* she knows just|how to make me|laugh when I feel|blue|* she's ev- ry-|
"Bb" B3/2 B/ c B |"C7" A E A A |"F" F4- |"Bb" F"F" z z2 |"A7" z A ^G A | e2 ^c2 |"F7" z A G A | %20
w: thin a man could|wait but she's not|you||and when were|danc- ing|it al- most|
 d c A G |"Bb" z F E F | B F G ^G |"A7" z A A _A |"C7" G A, B, =B, |"F" C2 =B, C | D C F A | %27
w: feels the same *|I've got to|stop my- self from|whisp' ring your|name she e- ven|kiss- es me|like you used to|
"C7" B4- | B"C" ^F"C7" G A |"Bb" B2 c B |"C7" A E A A |1"F" F4 |"Db7" z"C7" A, B, =B, :|2"F" F4 | %34
w: do|* and it's just|break- ing my|heart cause shes not|you|her hair is|you|
"Bb" F3"F" z |] %35
w: |


Shine On You Crazy Diamond (Part IX)

Context: This piece is part of a nine-part composition by Pink Floyd, dedicated to founding member Syd Barrett, who struggled with mental health issues. It was first performed in 1974 and appears on the album *Wish You Were Here* released in 1975. The album reflects themes of absence and alienation, influenced by the band's experiences with the music industry and their personal struggles.

Part IX is characterized by a slow 4/4 tempo, described as a 'funeral march' that serves as a poignant farewell to Syd Barrett. The instrumentation is dominated by Richard Wright's keyboards, with minimal guitar input from David Gilmour. The emotional tone is somber, reflecting themes of loss and nostalgia. The structure includes a gradual fade-out that incorporates a melodic reference to Barrett's earlier work, 'See Emily Play'. The use of dynamics and harmonic shifts contributes to the piece's reflective quality.

This music features a hauntingly beautiful melody underscored by rich keyboard textures and subtle drumming. The soundscape evokes feelings of melancholy and introspection, marked by its slow progression and emotive chord changes. The overall atmosphere is contemplative, inviting listeners to reflect on themes of memory and loss.

The scene unfolds in a dimly lit room filled with soft shadows cast by flickering candlelight. A solitary figure sits at a grand piano, their fingers gliding over the keys with a gentle touch, evoking a sense of longing. Outside the window, the night sky is starry and vast, mirroring the introspective mood within. As the music swells, images of past memories flash through the figure's mind—laughter shared with friends, moments of joy now tinged with sadness. The air is thick with emotion as the music crescendos, capturing the essence of farewell and reflection.


Show Me The Way To Go Home

Context: Originally written in the early 20th century, 'Show Me The Way To Go Home' has become a popular drinking song in pubs and social gatherings, often sung in a light-hearted manner. Its simple melody and relatable lyrics have contributed to its enduring popularity.

The song features a straightforward melodic structure, primarily based on major chords that create a sense of warmth and familiarity. The lyrical content expresses themes of longing for home and comfort, resonating with listeners' emotions. The repetitive nature of the chorus enhances its sing-along quality, making it a staple in communal settings. The use of simple, conversational language invites participation, while the rhythmic cadence reflects the casual atmosphere of social gatherings.

This piece is characterized by its catchy melody and singable lyrics, which evoke feelings of nostalgia and camaraderie. The instrumentation typically includes piano or guitar accompaniment, supporting the vocal line with harmonic simplicity. The overall mood is light-hearted and reflective, creating an inviting atmosphere for group participation.

Imagine a dimly lit pub on a chilly evening, where patrons gather around wooden tables, laughter and chatter filling the air. The warm glow of candlelight flickers as a group of friends raises their glasses, ready to sing together. As the first notes of the song begin, their voices harmonize joyfully, blending with the clinking of glasses. Outside, the night is dark, but inside, the atmosphere is alive with camaraderie and shared memories, each verse pulling them deeper into a collective sense of belonging.

X:729
T:Show Me The Way To Go Home
T:Show Me The Way To go Home
T:Irving King & Hal Swain
C:Irving King & Hal Swain
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"C6" E E/>^D/ E/>D/ E |"C7" C3 E |"F6" F F/>E/ F/>E/F/>F/ |"C6" E3 C | %4
w: Show me the way to go|home. I.m|tired and I want to go to|bed. I|
"Cmaj7" E/>^D/E/>D/ E/>D/E/>D/ |"Am7" E E C E/>C/ |"D7" E D D E |"G7" D3 G |"Cmaj7" E E E E | %9
w: had a lit- tle drink a- bout an|hour a- go, and it's|gone right to my|head. Where-|ev- er I may|
"C7" C3 E |"F6" F F F F |"E7" E3 C/>D/ |"C6" E E E E |"Am7" E/>^D/ E C2 | %14
w: roam, on|land or sea or|foam, You can|al- ways hear me|sing- ing this song.|
"D7" D D/>C/"G7" E/>C/ D |1"C6" C G ^F =F :|2"C6" C2 c z || %17
w: Show me the way to go|home. * * *|home. *|


Silver Bells

Context: Originally written in 1947 for the film 'The Lemon Drop Kid', 'Silver Bells' has become a classic Christmas song, often performed by various artists. It evokes the festive spirit of the holiday season and has been covered extensively, contributing to its enduring popularity.

'Silver Bells' features a simple yet poignant melody that captures the essence of Christmas in urban settings. The song is characterized by its use of major chords, creating a warm and inviting atmosphere. Lyrically, it contrasts the hustle and bustle of city life with the serene beauty of Christmas, encapsulating themes of nostalgia and joy. The repetitive structure of the chorus enhances its memorability, making it a staple in holiday music playlists. The arrangement often includes lush harmonies and orchestral elements that elevate its emotional impact.

The music is characterized by a gentle, flowing melody that evokes feelings of warmth and nostalgia. It features smooth vocal lines that are often harmonized, creating a rich texture. The instrumentation typically includes piano, strings, and soft percussion, enhancing the serene atmosphere. The lyrics convey imagery of city streets adorned with holiday lights and the sounds of bells ringing, painting a vivid picture of a festive winter evening.

The scene unfolds on a bustling city street during the early evening hours of December. Snowflakes gently fall from the sky, blanketing the ground in white. Street lamps glow softly, illuminating the cheerful faces of passersby bundled in warm coats and scarves. Children laugh as they play nearby, their excitement palpable. The air is filled with the scent of roasted chestnuts from a nearby vendor, mingling with the crisp winter air. In this picturesque setting, couples stroll hand-in-hand, sharing moments of joy as they admire the twinkling decorations adorning shop windows. The sound of bells ringing echoes through the streets, perfectly complementing the enchanting atmosphere.

X:730
T:Silver Bells
T:Silver Bells (From the Lemon Drop Kid)
T:Jay Livingstone and Ray
C:Jay Livingston, Ray Evans (c)1950
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble nm="Piano"
%%MIDI program 0
V:1
"^N.C." _B/G/ |:"Bb" F D _B/G/ |"Dm" F D d/c/ |"Eb" _B G G |"Cm" G2 c/_B/ |"F" A F E |"Cm" _E F E | %7
w: Cit- y|side- walks, bus- y|side- walks dressed in|hol- i- day|style, In the|air there's a|feel- ing of|
"Bb" _E D2- |"F" D/ z/ z _B/G/ |"Bb" F D _B/G/ |"Dm" F D d/c/ |"Eb" _B G G |"Cm" G2 c/_B/ | %13
w: Christ- mas|* Chil- dren|laugh- ing, peo- ple|pass- ing meet- ing|smile af- ter|smile, And on|
"F" A F E |"Cm" _E F c |"Bb" _B3- |"Cm" _B3 |"Bb" D/_E/ F2- | F3 |"Eb" G/A/ _B2- | _B z z | %21
w: ev- 'ry street|cor- ner you|hear;||Sil- ver bells||sil- ver bells||
"F" A A _B |"F7" c2 _B/A/ |"Bb" _B F2- |"Cm" F2 z |"Bb" D/_E/ F2- | F2 z |"Eb" G/A/ _B2- | _B z z | %29
w: It's Christ- mas|time in the|cit- y||Ring a ling,||hear them ring,||
"F" A A _B |"F7" c _B A |"Bb" _B3- |"Cm" _B2 z |"Dm" z3 |1"Cm" z z _B/G/ :|2"Bb" z _B2- | %36
w: Soon it will|be Christ- mas|Day.|||Strings of||
"Cm" B z z |] %37
w: |


Silver Threads And Golden Needles

Context: Originally recorded in the early 1960s, this song has been covered by various artists, including The Everly Brothers and Linda Ronstadt. It reflects themes of longing and emotional connection, resonating with audiences through its heartfelt lyrics and melodic simplicity.

The song features a classic country arrangement characterized by its use of acoustic instruments, including guitar and fiddle. The melody is simple yet effective, allowing the emotional weight of the lyrics to shine through. The harmonic structure typically follows a traditional I-IV-V progression, which is common in country music, providing a familiar backdrop that enhances the storytelling aspect of the lyrics. The vocal delivery is often characterized by a soft, yearning quality that complements the themes of nostalgia and lost love. Lyrically, the song explores the idea of searching for something precious that has been lost or is unattainable, using metaphors related to sewing and craftsmanship to symbolize care and emotional investment.

This piece is characterized by its gentle melody and poignant lyrics that evoke feelings of longing and reminiscence. The instrumentation typically includes acoustic guitar and subtle harmonies that create an intimate atmosphere. The song's structure follows a verse-chorus format, allowing for a gradual build-up of emotional intensity. The lyrical content focuses on themes of love, loss, and the desire for connection, making it relatable to listeners across generations.

The music plays in a dimly lit room filled with vintage decor, where an elderly woman sits by a window, gazing out at a fading sunset. She wears a soft cardigan and holds a faded photograph in her hands, her expression a mix of nostalgia and melancholy. Outside, leaves rustle gently in the breeze as memories flood her mind—moments spent with loved ones now gone. The warm glow from a nearby lamp casts soft shadows around her, creating an atmosphere of reflection and quiet longing as the music underscores her silent reminiscence.

X:731
T:Silver Threads And Golden Needles
T:Silver Threads And Golden Needles
T:Dick Reynolds & Jack Rhodes
C:Dick Reynolds & Jack Rhodes
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
 z4 z2"C7" c2 |"F" c3 c dc A2 |"C" G E3 E2 G2 |"G7" A2 G2 F D2 C- |"C" C G,3"G7" G2 G2 || %5
w: ||||* * I don't|
w: |||||
w: |||||
"C" E3 E E2"G7" D2 |"C" E G3 A2 Bc- |"F" c2 A2 F2 GA- | A2 z2 c2 c2 | c3 c dc A2 |"C" GE- E4 E2 | %11
w: want your lone- ly|man- sion, With a tear|* in ev- 'ry room|* All I|want's the love * you|prom- ised * be-|
w: ||||||
w: ||||||
 G3 G F2 E2 |"G7" D3 d f>ed>c | B2 z2 G2 G2 |"C" E3 E E2"G7" D2 |"C" E G3 A2 B2 |"F" c A3 F2 G2 | %17
w: neath the ha- lo'd|moon * * * * *|* But you|think I should be|hap- py with your|mon- ey and your|
w: ||||||
w: ||||||
 A6 c2 | c3 c dc A2 |"C" G E3 E2 G2 |"G7" A2 G2 F D2 C- |"C""F" C8- |"C""C" C2 z2"C7" c2 c2 |: %23
w: name And|hide my- self * in|sor- row, while you|play your cheat- in' game||* Sil- ver|
w: ||||||
w: ||||||
"F" A3 ^G A2"C+" =G2 |"F" A c3 c c2 A |"C""C" A2 G2 G E2 G- | G2 z2 C2 D2 | E2 G2 A2 c2 | %28
w: Threads And Gold- en|Nee- dles can- not mend|* this heart of mine|* And I|dare not drown my|
w: |||||
w: |||||
 AG- G4 EG |"C""G9" G2 G4 FE |"Bb" FE D6 |"G7" D3 z G A2 A- |"C" A G3 E2"G7" D2 |"C" E G3 A2 B2 | %34
w: sor- row * in the|warm glow of your|wine * *||||
w: |||* But you think|* I should be|hap- py with your|
w: |||* You can't buy|* my love with|mon- ey, for I|
"F" c A3 F2 G2 | A4 c2 c2 | c3 c dc A2 |"C""C" G E3 E2 G2 |1"G7" A2 G2 F D2 C- || %39
w: |||||
w: mon- ey and your|name * And|hide my- self * in|sor- row, While you|play your cheat- in' game|
w: nev- er was that|kind SIL- VER|THREADS AND GOLD- * EN|NEED- LES, can- not||
"C" CGEG"F" F F2 E- |"C""C" E4"C7" c2 c2 :|2"Eb" _B8- || B2 c2 c _B2 c- |"C" c8- | c6 z2 |] %45
w: ||||||
w: |* Sil- ver|mend-|* this heart of mine.-|||
w: ||||||


Simple Gifts

Context: Originally composed in 1848 by Joseph Brackett, 'Simple Gifts' is a Shaker song that reflects the values of simplicity and humility central to the Shaker community. The song has been popularized in various forms, including adaptations in classical music and modern interpretations.

'Simple Gifts' is characterized by its simple melody and repetitive structure, which embodies the Shaker philosophy of simplicity and devotion. The song typically follows a straightforward AABA form, making it accessible and memorable. The use of a pentatonic scale contributes to its folk-like quality, while the lyrics convey themes of humility, joy, and the beauty of simplicity. The rhythmic structure often lends itself to dance, particularly in traditional Shaker dances, emphasizing community and collective experience.

The music features a clear, melodic line that is easy to sing along with, often accompanied by simple harmonies. The instrumentation can vary but typically includes acoustic instruments such as the piano or guitar, enhancing its folk roots. The tempo is moderate, creating an uplifting atmosphere that invites participation and reflection.

In a sunlit clearing surrounded by trees in early autumn, a group of people dressed in simple, rustic clothing gather for a community celebration. The air is filled with laughter and the scent of fresh apples from nearby orchards. As they form a circle, hands clasped together, the music begins to play softly. The dancers move gracefully in sync with the rhythm, their feet tapping lightly on the ground as they sway to the melody. The scene captures a sense of joy and unity, with smiles exchanged among participants as they celebrate their shared values through this timeless piece.

X:732
T:Simple Gifts
T:Simple Gifts
T:Simple Gifts-Joseph Brackett, 1848
T:Public Domain
T:arranged by: Ossewaarde
C:Joseph Brackett
L:1/8
Q:1/4=240
M:4/4
I:linebreak $
K:F
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
 CC |"F" F2 FG AF AB |"Am" c2 cB A2 GF |"Gm" G2 G2 G2 G2 |"C7" GA GE C2 C2 |"F" F2 FG AF AB | %6
"Am" c2 cB A2 GF |"Gm" G2 G2"C" A2 AG |"F" F2"Bb" F2"F" F4 |"F" c4 A3 G |"C7" AB AG"F" F3 G | %11
"Am" A2 AB c2 BA |"Gm" G2 GA"C7" G3 C |"F" F4 F3 G |"Am" A2 AB c2 cc |"Gm" G2 G2"C7" A2 AG | %16
"F" F2"Bb" F2"F" F2 |] %17


Since I Don't Have You

Context: Originally recorded by The Skyliners in 1958, this song has been covered by various artists, including Guns N' Roses. It reflects themes of lost love and longing.

The song features a poignant melody characterized by its doo-wop influences, with rich harmonies and a simple yet effective chord progression. The emotional weight is conveyed through the lead vocalist's heartfelt delivery, supported by background harmonies that enhance the sense of yearning. The instrumentation typically includes a gentle rhythm section, with prominent use of piano and strings that create a lush soundscape. Lyrically, the song expresses deep sorrow over lost love, using imagery that evokes feelings of emptiness and nostalgia. The structure follows a traditional verse-chorus format, allowing for dynamic contrasts between the reflective verses and the more emotionally charged choruses.

This piece is characterized by its smooth melodic lines and emotional vocal delivery. The arrangement typically features a blend of rhythmic guitar strumming and soft piano chords, creating an intimate atmosphere. The lyrics explore themes of heartache and longing, resonating with anyone who has experienced the pain of separation. The overall sound is warm and nostalgic, making it a timeless classic that appeals to a wide audience.

In a dimly lit diner late at night, the jukebox softly plays this song as a young couple sits in a booth, their faces illuminated by the glow of neon lights outside. The girl, with tears in her eyes, glances out the window at the rain-soaked streets, reflecting on their recent breakup. The boy, looking remorseful, reaches across the table to hold her hand, hoping to bridge the distance that has grown between them. Around them, other patrons are lost in their own worlds—some engaged in quiet conversations while others sit alone, absorbed in their thoughts. The atmosphere is thick with emotion as the music fills the air, amplifying the sense of longing and regret that permeates the scene.

X:733
T:Since I Don't Have You
C:Joseph Rock
L:1/8
M:6/8
I:linebreak $
K:F
V:1 treble nm="Trombone" snm="Trombone"
%%MIDI program 57
V:1
"F " c6 |"Dmin" z2 A G2 F |"Bbmin" GF_D- D3 |"C7" z3 z2 C |"F " c6 |"Dmin" z2 A G2 F | %6
w: I|don't ha- ve|plans and schemes *|and|I|don't ha- ve|
"Bbmin" GF_D- D3 |"C7" z6 |"Fmaj7" f2 e ded |"Dmin" AGF- F2 F |"Bbmin" GF_D- D3 |"C7" z6 | %12
w: hopes and dreams. *||I * * * *|don't * * * have|a\- ny- thing *||
"Gmin" G3- G z A | G3- G z A |"C " cAG- G3 | z6 |"F " c6 |"Dmin" z2 A G2 F |"Bbmin" GF_D- D3 | %19
w: since * I|don't * have|you. * * *||I|don't have *|fond de- sires *|
"C7" z3 z2 C |"F " c6 |"Dmin" z2 A G2 F |"Bbmin" GF_D- D3 |"C7" z6 |"Fmaj7" f2 e ded | %25
w: and|I|don't have *|hap- py hours *||I * * * *|
"Dmin" AGF- F2 F |"Bbmin" GF_D- D3 |"C7" z6 |"Gmin" G3- G z A |"C7" G3- G z A |"F " AGF- F3 | %31
w: don't * * * have|a\- ny thing *||since * I|don't * have|you. * * *|
"Gmin""Amin" z6 |"Bb " z3 d3 | z3 A2 B |"F " cBA- A3 | cBA- A3 |"Gmin7" z2 G G2 G |"C7" f2 e ddd | %38
w: |I|don't have|hap- pi- ness *|and I guess, *|I ne- ver|will * e\- ver a\-|
"F " cBA- A3 |"Gmin" G2 z"Amin" A2 z |"Bb " z3 dde | fed- d3 |"F " z3 cAB | cBA- A3 | %44
w: gain. * * *||When you walked|out on me *|in came old|mi- se- ry *|
 z2"Gmin" G"Dmin" G2 A |"Gmin7" A2 G- G2 A |"C7" BAG- G3 |"C " z3 C3 |"F " c6 |"Dmin" z2 A G2 F | %50
w: and he's been|here * * since|then. * * *|Now|I|don't ha- ve|
"Bbmin" GF_D- D3 |"C7" z3 z2 C |"F " c6 |"Dmin" z2 A G2 F |"Bbmin" GF_D- D3 |"C7" z6 | %56
w: much to share *|and|I|don't * have|one to care. *||
"Fmaj7" f2 e ded |"Dmin" AGF- F2 F |"Bbmin" GF_D- D3 |"C7" z6 |"Gmin" G6 |"Bbmaj7" z3 A3 | %62
w: I * * * *|don't * * * have|a\- ny- thing *||since|I|
"Gmin" A3 G3 |"Edim" z3"C " A3 |"F " z2 c"Fmaj7" d2 e | g2 f e2 f |"F " c'6- | c'6 |] %68
w: don't *|have|you. * *||||