If I Were A Boy

Context: The song was originally written and recorded by BC Jean and later popularized by Beyoncé. It explores themes of gender roles and empathy in relationships, highlighting the differences in experiences between men and women.

Musically, 'If I Were A Boy' features a slow tempo and is structured around a simple chord progression that emphasizes the emotional weight of the lyrics. The use of minor chords creates a melancholic atmosphere, while the vocal delivery is characterized by a soft yet powerful tone, conveying vulnerability and strength. The song employs a narrative style, allowing listeners to engage with the protagonist's internal conflict regarding gender expectations. The arrangement gradually builds, incorporating layered harmonies and instrumentation that enhance the emotional climax, reflecting the protagonist's yearning for understanding and connection.

This piece is characterized by its poignant lyrics that reflect on the complexities of love and gender dynamics. The melody is smooth and flowing, supported by gentle piano chords that create an intimate atmosphere. The vocal performance is heartfelt, with moments of both softness and intensity that mirror the emotional journey depicted in the lyrics. The overall sound is polished, blending contemporary pop elements with soulful influences.

The music plays during a quiet evening scene in a cozy apartment, illuminated by soft, warm lighting. A woman sits on a plush sofa, her expression contemplative as she gazes out of a window at the bustling city below. She clutches a cup of tea, lost in thought about her relationship. Outside, the streetlights flicker on as dusk settles in, casting a gentle glow. The sound of distant traffic hums softly in the background. As the music swells, she recalls moments of misunderstanding with her partner, her emotions shifting from sadness to determination as she reflects on what it means to truly empathize with one another.

X:419
T:If I Were A Boy
C:BC Jean, Toby Gad
L:1/8
M:4/4
I:linebreak $
K:Gb
V:1 treble
%%MIDI program 0
V:1
 z2 z G, G,A,B,D- |"Ebm""B" D8- |"Gb" D2 DD"Db" EDB,(B,- |"Ebm" B,/A,/G,-"B" G,6- | %4
"Gb" G,4)"Db" G,G,G,A, |"Ebm" B,2 B,C"B" B, A,2 G,/A,/ |"Gb" B,B,B,C"Db" B,A,G,G,- | %7
"Ebm" G,4"B" z4 |"Gb" z2 G,G,"Db" G,A,B,D- |"Ebm""B" D8- |"Gb" D2 DD"Db" EDB,B,- | %11
"Ebm" B,/A,/G,-"B" G,6- |"Gb" G,4"Db" G,G,G,A, |"^Ebmin" B,2 B,C"B" B, A,2 G,/A,/- | %14
"Gb" A,B,B,C"Db" B,A,G,G,- |"Ebm""B" G,8- |"Gb" G,2 z G"Db" GABd- |"Ebm""B" d8- | %18
"Gb" d2 dd"Db" edBB- |"Ebm" B/A/G-"B" G6- |"Gb" G4"Db" GGGA |"Ebm" B2 Bc"B" B A2 G/A/ | %22
"Gb" BBBc"Db" BAGG- |"Ebm""B" G8- |"Gb" G2 GG"Db" GGAB- |"Ebm""B" B8 |"Gb" d2 dd"Db" edBB- | %27
"Ebm" B/A/G-"B" G6- |"Gb" G4"Db" GGGA |"Ebm" B2 Bc B"B" A2 G/A/- |"Gb" ABBc"Db" BAGG- | %31
"Ebm""B" G8- |"Gb" G2 z2"Db" z4 |"Abm" z2 GG"B" dcBB- |"Gb/Eb" BAGF- F"C#"GFE- | %35
"Abm" E2 GG"B" dcBB- |"Gb/Eb" BAGF-"Db" FGFE- |"Abm" E2 GG"B" dcBB- |"Gb/Eb" BAGF-"Db" FGFE | %39
"B" d8- | d4 z4 |] %41


If You Are But A Dream

Context: Originally written in the 1940s, 'If You Are But A Dream' has been performed by various artists and remains a classic standard in the American songbook. The song's lush melodies and romantic lyrics have made it a favorite for vocalists and instrumentalists alike.

The piece features a smooth melodic line that is characterized by its use of chromaticism and extended harmonies, creating a dreamy atmosphere. The lyrical content expresses themes of longing and idealized love, often employing a gentle, flowing rhythm that complements the emotional weight of the lyrics. The harmonic structure includes major and minor tonalities, enhancing the contrast between hope and melancholy. The use of legato phrasing is prominent, allowing for expressive interpretations that highlight the song's reflective nature.

This music piece is characterized by its soft, flowing melodies that evoke a sense of nostalgia and yearning. The arrangement typically features lush harmonies supported by gentle instrumentation, creating an intimate atmosphere. The vocal delivery is often smooth and expressive, emphasizing the emotional depth of the lyrics. Overall, the music conveys a romantic yet wistful feeling, inviting listeners to reflect on their own experiences of love and dreams.

In a dimly lit jazz club, a spotlight shines softly on a lone singer standing at the microphone. The audience is captivated as they listen to the tender strains of music flowing through the air. The atmosphere is thick with emotion; couples lean closer together, lost in their own worlds as memories of past romances fill their minds. A small table near the stage holds an untouched glass of red wine, reflecting the warm glow of candlelight. Outside, rain taps gently against the window, adding to the intimate ambiance as the singer pours their heart into each note, evoking dreams of love and longing.

X:420
T:If You Are But A Dream
T:If You Are But A Dream
C:Nat Bonx
L:1/4
M:2/2
I:linebreak $
K:C
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"C" z C B, C |"Gdim" ^C"G9" D D3/2 D/ |"Dm7" F"Dm7b5" F"G6" E"B" ^D | ^D2"C" E2 | z E ^D"C#dim" E | %5
w: If you are|but a dream, I|hope I nev- er|wak- en,|It's more than|
"Dm9" E"Dm" F"Dm" F3/2"Dm7" F/ |"G9" A A"G7" G ^F |"C6" A2"C" G2 | z c"Ebdim" c c | %9
w: I could bear to|find that I'm for-|sak- en,|If you're a|
"Dm7" c3/2 B/"G7" B2 |"C6" z c"Em7" d c |"D#dim" c3/2 B/"B7" B2 |"Dm" z B A ^G |"A" B3/2 A/ A2 | %14
w: fan- tas- y|then I'm con-|tent to be|in love with|love- ly you,|
"Cm" z A G"Cdim" ^F |"G9" A3/2"G7" G/ G G |"C6" e3"G6" B |"G" d"C6" c"Cmaj7" G"C#dim" E | %18
w: And pray my|dream comes true. I|long to|kiss you but I|
"Dm7" E F"Fm" _A2- | _A/ z/"Dm7" G"G6" G"G7" G |"C6" e3"G6" B |"Em7" d"C6" c"Cmaj7" G"C#dim" E | %22
w: would not dare,|* I'm so a-|fraid that|you may van- ish|
"Dm7" E F"Fm" _A2- | ^G/ z/"Dm7" =G"Em/G" G"G7" G |"C" z G c3/2 ^G/ |"F" ^G A _B A | %26
w: in the air.|* So dar- ling|if our ro-|mance would break up,|
"B7" z =B"E7" e3/2 B/ |"Am" B c d c |"Dm7b5" z c f2- |"G7b9" f/ z/"G13" B B B |"C" c4- | c4 |] %32
w: I hope I|nev- er wake up|if you|* are but a|dream.||


If You Could Read My Mind

Context: Released in 1970, 'If You Could Read My Mind' is one of Gordon Lightfoot's most famous songs, characterized by its poignant lyrics and gentle melody. The song reflects themes of love and loss, resonating deeply with listeners. It showcases Lightfoot's signature storytelling style and has been covered by various artists over the years.

The song features a simple yet effective chord progression that complements its reflective lyrics. The use of a soft acoustic guitar creates an intimate atmosphere, while Lightfoot's emotive vocal delivery enhances the sense of vulnerability expressed in the lyrics. The song's structure follows a traditional verse-chorus format, allowing for a gradual build-up of emotional intensity. Lyrically, it employs metaphors related to reading minds to convey feelings of misunderstanding and longing in relationships. The recurring refrain highlights the central theme of unexpressed emotions and the desire for deeper connection.

This piece is characterized by its melodic simplicity and lyrical depth, encapsulating the essence of folk music. The instrumentation typically includes acoustic guitar, soft percussion, and occasionally strings, creating a warm soundscape. The vocal delivery is heartfelt and sincere, drawing listeners into a narrative that explores complex emotional landscapes. The song's pacing is moderate, allowing for reflective listening and engagement with its themes.

Imagine a dimly lit room in a cozy cabin during the early evening hours. A warm glow from a fireplace flickers against the wooden walls, casting soft shadows. Outside, snow gently falls, blanketing the landscape in silence. Inside, a solitary figure sits by the window, gazing out with a wistful expression. They hold a cup of steaming tea, lost in thought as they reflect on past relationships. The music plays softly in the background, enhancing the atmosphere of nostalgia and longing. As the melody swells, it captures the bittersweet essence of memories shared and emotions unspoken.

X:421
T:If You Could Read My Mind
T:If you could read my mind love
T:Gordon Lightfoot
C:Gordon Lightfoot
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 z"C" c B c | d c G c |"Gm7" z _B/B/ B A | A G G2 |"C" z c B c | d c G c |"Gm7" z _B/B/ B A/A/ | %7
w: If you could|read my mind love|what a take my|thoughts could tell|Just like an|old time mov- ie|bought a ghost from a|
w: If I could|read your mind love|what a tale you|thoughts could tell|just like a|paper- back nov- el|the * kind the *|
 B G G2 |"C" z G/G/ G A |"C7" _B3 A/B/ |"F" d c c3/2 d/ |"G" e d c d |"Am" c3 c |"F" B A A G | %14
w: wish- ing well|In a cas- tle|dark or a|for- tress strong with|chains up- on my|feet you|know that ghost is|
w: drug stores sell|then you reached to|part where the|heart- aches come the|he- ro would be|me But|he- roes of- ten|
"C" G3 G |"F" B c c c |"C" B c c3/2 c/ |"Dm7" B c c d |"G7" e3/2 d/ c d |"C" c4- | c3 z :| %21
w: me and|I will nev- er|be set free as|long as I'm a|ghost that you cant|see||
w: fail and|you wont read that|book a- gain be-|cause the end- ings|just too hard to|take.||
"Gm" z g/g/ g/f/f/f/ | f/e/e/e/ e/d/ e |"C" c G G A |"C7" _B3 A/B/ |"F" d c c c/d/ | %26
w: ||* I'd walk a-|way like a|mov- ie star who gets|
w: |||||
"G" e d/d/ c d |"Am" c3 z |"F" B A A G |"C" G3 G |"F" B c c c |"C" B c c c |"Dm" B c c d | %33
w: burned in a three way|script|en- ter num- ber|two A|mov- ie queen to|play the scene of|bring- ing all the|
w: |||||||
"G7" e d c d |"C" c4- | c3 z |] %36
w: good things out of|me||
w: |||


If You Go Away

Context: Originally written by Jacques Brel as 'Ne me quitte pas', the song was later adapted into English by Rod McKuen. It expresses deep emotional longing and sorrow over a potential separation from a loved one.

The song employs a simple yet poignant melodic structure, characterized by its slow tempo and rich harmonic progressions that enhance the melancholic lyrics. The use of repetition in phrases emphasizes the emotional weight of the message, drawing listeners into a reflective state. The instrumentation typically includes piano and strings, which contribute to its lush, emotive sound. Lyrically, it explores themes of love, loss, and the fear of abandonment, resonating with universal feelings of heartache. The contrast between the tender vocal delivery and the somber lyrical content creates a powerful emotional impact, making it a staple in both popular music and cabaret performances.

This piece features a haunting melody that unfolds gradually, allowing for an intimate exploration of vulnerability and emotional depth. The arrangement often includes soft piano chords accompanied by strings, creating an atmosphere that is both reflective and poignant. The vocal delivery is characterized by a heartfelt expression that captures the essence of longing and despair, inviting listeners to connect with their own experiences of love and loss.

The music plays softly in a dimly lit café, where a solitary figure sits at a table by the window, gazing out at the rain-soaked street. The atmosphere is thick with nostalgia as the warm glow of candlelight flickers around them. Outside, passersby hurry by with umbrellas, oblivious to the heartache unfolding within. The figure's expression is one of deep contemplation, reflecting on memories of a lost love. As the music swells, they clutch a photograph tightly in their hands, tears glistening in their eyes. The scene encapsulates a moment frozen in time, where every note resonates with the weight of unspoken words and unresolved feelings.

X:422
T:If You Go Away
T:If You Go Away
T:Jacques Brel
T:Rod McKuen
C:Jacques Brel
L:1/8
M:3/4
I:linebreak $
K:G
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"Am" z2 AB cB |"B7" B2 AA"Am" BA |"B7" A2 aa"Am" ba |"B7" a2 FB cB |:S"Em" B2 BB cB | B2 BB cB | %6
w: |||* If you go a-|1.....way on this sum- mer|day, Then you might as|
w: ||||2.....way As I know you|will You must tell the|
w: ||||3.....way as I know you|~~must There is no- thing|
"Am" A2 AA BA | A2 AA BA |"D7" A2 AA BA | A2 AA BA |"G" G2 GG AG | G2 GG AG |"Am6" F2 FF GF | %13
w: well take the sun a-|way All the birds that|flew in the sum- mer|sky When our love was|new And our hearts were|high And the day was|young And the nights were|
w: world To stop turn- ing|'Till you re- turn a-|gain If you ev- er|do For what good is|love With- out lov- ing|you? Can I tell you|now As you turn to|
w: left In this world to|trust Just an emp- ty|room Full of emp- ty|space Like the emp- ty|look I see on your|face And I'd been the|shad- ow of you shad-|
"B7" F2 FF GF |"Em" E2 EE FE |"Em6" E2 EE FE |"C6" E2 EE FE |"B7" _E2 EE"Em" =E_E | %18
w: long And the moon stood|still For the night bird's|song If you go a-|way If you go a-|way If you go a-|
w: go I'll be dy- ing|slowly 'till the next hel-|lo * * * *|||
w: ow If you might have|kept me * By your|side * * * *|||
 E2 EE"Am" FE!fine! ||"Em" E2 z B ^c^d |"Em" e3 e (3efe |"Em6" g2 gg fe |"B7" f2 ff ^dB | %23
w: way If you go a-|way. But if you|stay I'll make you a|day Like no day has|been Or will be a-|
w: |* But if you|stay I'll make you a|night Like no night has|been Or will be a-|
w: |||||
"Em" e2 z B (3B^c^d | e3 e (3efe |"Em6" g3 g (3gfe |"D7" d3 d (3Adc |"G" B2 z ^d"B7" ef | %28
w: gain * We'll sail the|sun We'll ride on the|rain And talk to the|trees And wor- ship the|wind But if you|
w: gain I'll sail on your|smile I'll ride on your|touch I'll talk to your|eyes That I love so|much But if you|
w: |||||
"Em" g3 g bg |"F" =f2 ff af |"Am6" e2 ee"B7" (3^ddd |"Em" e2 ee fe |"G" d2 dd ed | %33
w: go I'll un der|stand Just leave me en-|ough love To fill up my|hand If you go a-|way If you go a-|
w: go I won't *|cry Though the good is|gone From the word * good-|bye * * * *||
w: |||||
"Am" c2 cc"Am6" dc |"B7" B2 BB"Am6" cB |"B7""Am6" B6 |"B7""Am6" z6 |"B7" z2 BB cB!D.S.! :| %38
w: way If you go a-|way If you go a-|way||If you go a|
w: |||||
w: |||||


If You Knew Susie

Context: Originally published in 1925, 'If You Knew Susie' became a popular standard, often associated with the vaudeville and early jazz scenes. The song has been performed by various artists over the decades, contributing to its enduring legacy in American music.

The song features a simple yet catchy melody that is characteristic of early 20th-century popular music. Its structure typically includes a verse-chorus format, allowing for repetition that enhances memorability. The lyrics employ humor and a conversational tone, reflecting the playful nature of the subject matter. The use of syncopation in the rhythm adds a lively feel, making it suitable for both vocal and instrumental interpretations. Harmonically, the piece often utilizes common progressions found in jazz standards, making it adaptable for various musical styles.

This piece is characterized by its upbeat tempo and playful lyrics that express affection and admiration for a beloved character named Susie. The melody is light and cheerful, often accompanied by lively instrumentation that enhances its joyful theme. The song's structure typically alternates between verses and a memorable chorus, creating an engaging listening experience that invites audience participation.

Imagine a bustling 1920s speakeasy filled with elegantly dressed patrons enjoying an evening of lively entertainment. Soft golden lights illuminate the room as a small jazz band plays on stage. The singer, dressed in a sharp suit, steps forward to deliver the opening lines with a charming smile, instantly capturing the audience's attention. Couples sway gently to the rhythm, their laughter mingling with the music as they reminisce about love and nostalgia. The atmosphere is vibrant and filled with joy, embodying the carefree spirit of the era.

X:423
T:If You Knew Susie
T:If you knew Susie
T:(like I know Susie)
T:B.G.DeSylva, Joseph Meyer
C:B.G.De Sylva, Joseph Meyer
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 G2 |:"C" c2 d2 | d c2 A | B2 c2 | c B3 | A4 |"A7" A4 |"G7" A G B A- | A3 G | B2 c2 | c B2 G | %11
w: If|you knew|Sus- sie like|I know|Sus- ie|Oh|Oh|oh what a girl|* theres|none so|clas- sy as|
w: ||||||||* She|wears long|tress- es and|
 A2 B2 | B A3 | G4 | G4 |"C" E F ^F G |"G7" ^G A ^A B |"C7" c2 d2 | d c3 |"F" d c d c- | c4 | %21
w: this fair|las- sie|Oh|Oh|ho- ly Mos- es|what a chas- sis|we went|rid- ing|she did- nt balk||
w: nice tight|dress- es|OhOh|what|a fu- ture whe|po- ses es out|in pub-|lic *|how she can yawn||
"D7" d2 e2 | e d3 |"G7" e d e d | e d B G |"C" c2 d2 | d c2 A |"D7" d2 e2 | e d3 |"Dm7" f4 | %30
w: from the|cou- ntry|I'm the one who|had to walk If|you knew|Sus- ie like|I know|Sus- ie|Oh|
w: in a|par- lour|you would think the|war was on *||||||
"G7" e ^d e c- |"C" c4 | z4 :| %33
w: oh what a girl.|||
w: |||


If You Leave Me Now

Context: Released in 1976, 'If You Leave Me Now' became one of Chicago's most successful singles, reaching number one on the Billboard Hot 100. The song showcases the band's signature blend of rock and orchestral elements, driven by Peter Cetera's emotive vocals.

The song features a poignant melody and lush orchestration, characterized by its use of strings and brass that enhance the emotional weight of the lyrics. The harmonic structure employs a mixture of major and minor chords, creating a sense of longing and vulnerability. Lyrically, the song addresses themes of love and loss, with a narrative that expresses deep regret and the fear of abandonment. The use of dynamics throughout the piece builds tension, particularly in the chorus where the instrumentation swells to mirror the emotional intensity of the lyrics.

This piece is marked by its gentle yet powerful vocal delivery, accompanied by a rich arrangement that includes strings and soft percussion. The tempo is moderate, allowing for a reflective mood that resonates with listeners. The lyrics convey a heartfelt plea filled with emotion, emphasizing the fragility of relationships. The overall sound is smooth and polished, typical of 1970s soft rock.

In a dimly lit room, a couple sits across from each other at a small table adorned with flickering candles. The atmosphere is thick with tension as they reflect on their relationship. Outside, rain softly taps against the window, mirroring their somber mood. The man, visibly distressed, reaches out to take the woman's hand, his eyes filled with sorrow and desperation. She looks down, tears welling in her eyes as she contemplates their future together. The music swells in the background, amplifying the emotional gravity of their conversation as they grapple with the possibility of separation.

X:424
T:If You Leave Me Now
C:Chicago
L:1/8
M:4/4
I:linebreak $
K:B
V:1 treble nm=" " snm=" "
%%MIDI program 13
V:1
 FF |: c2"Bmaj7" dd- d2zF |"G#m7" cBcB c2 Bc- |"D#m7" c2 dd- d2 z2 |z4zd ab- | %5
w: If you|leave me now, _ you'll|take a- way the big- gest part|_ of me _|Oh, Oh, Oh,|
w: |leave me now, _ you'll|take a- way the ve- ry heart|_ of me _|Oh, Oh, Oh,|
"G#m7" b2 ag-"C#7" gfga- |1[M:2/4]"F#"a c2d- |[M:4/4]"B" d2 z2"F#" z4 |z4zF FF :| z8 |2 %10
w: _ Oh, No _ ba- by please|_ don't go|_|And if you||
w: _ OH, No _ ba- by please|_ _ _||||
[M:2/4]"F#"a c2d- ||[M:4/4]"B" d2z2zd ab- |"G#m7" b2 ag-"C#7" (3g2 c2 c2 |[M:2/4]"F#" fga(g | %14
w: * don't go|_ Oh, oh, oh,|_ oh, No _ I just|want you to stay|
w: ||||
[M:4/4]"B" f4-)f"F#" z z2"B" z | z8 |:S"E9sus4" z4 z2 e=a- |=a g2f- f2"Am/E" eb- | %18
w: _ _||A love|_ like ours _ is love|
w: ||we've come|_ too far _ to leave|
 b2 =ae- e2 f(g- |"E" g/f/e) z2 z4 |"G#m7" z4 ffgg- |"E" g2 (=a/g/)f-"F#" f2 g(f- |1 %22
w: _ that's hard _ to find|_ _ _|How could we let|_ it _ slip _ a- way|
w: _ it all _ be- hind|_ _ _|How could we end|_ it _ all _ this way|
"B" f/c/d-d) z z4 |"G#m7" z8 :|2 (b/"B"e/f- f)zzd ef- |"D#m7" f f2f- fffg- ||"G#m7" g d2(c B)zzB | %27
w: _ _ _ _||* * * * When to- mor-|_ row comes _ and we'll both|_ re- gret _ The|
w: |||||
"C#m" e2 fe- e d2"D#m"d- || d3"Em"e/d/ cdc"^To Coda"B- | B F2E FG (3F/G/F/ E | %30
w: things we said _ to- day|_ (instr.) * * * * *||
w: |||
"Bmaj7" c d2d- d2>F2 |"G#m7" cBcB c2>B2 |"D#m7" cdfd- d4 |z4z2zd/c/ | %34
w: ||||
w: ||||
"G#m7" (3B2 c2 d2"C#" c2zc/B/ |[M:2/4]"F#" (3A2 B2 c2 |[M:4/4]"B" B4- B2zd/c/ | %37
w: |||
w: |||
"G#m7" (3B2 c2 d2"C#7" (3c2 d2 ^e2 |[M:2/4]"F#" (3f2 g2 a2 |[M:4/4]"B" f4f"F#" C2"B"D- | %40
w: |||
w: |||
"^D.S." D8 ||OB z z2 z2 FF |"Bmaj7" c2 dd- d2zF |"G#m7" cBcB c2 Bc- |"D#m7" cf(fd-) d2 z2 | %45
w: |* If you|leave me now _ you'll|take a- way the big- gest part|_ Of you _ _|
w: |||||
z4zd ab- |:"G#m7" b2 ag-"C#7" gfga- |[M:2/4]"F#"a c2d- |[M:4/4]"B" d4 z2 z dc | %49
w: Oh, oh, oh,|* Oh, No, _ ba- by please|_ don't go|_|
w: ||||
"G#m7" (3B2 c2 d2"C#7" c3 c/B/ |[M:2/4]"F#" (3A2 B2 c2 |[M:4/4]"B" DD"F#"C"B"D-D"F#" C2"B"D- | %52
w: |||
w: |||
D"F#" C2"B"D D4 |"G#m7" (a2 b/a/)g-"C#7"gzz/c/d |[M:2/4]"F#" fd/f/- f/d/f | %55
w: |Oh, _ _ girl, _ I just|got to have _ you by|
w: |Oh, _ _ ma- ma I just|got to have _ your lo-|
[M:4/4]"B" f(g- g/=a/g/f/- f2) z dc |"G#m7" (3B2 c2 d2"C#7" c3 c/B/ |[M:2/4]"F#" (3A2 B2 c2 | %58
w: my side _ _ _ _ _ _ _|_ _ _ _ _ _||
w: _ ving, yeah * * * * * *|||
[M:4/4]"B" DD"F#"C"B"D-D"F#" C2"B"D- |D"F#" C2"B"D Ddab- :| z8 | z8 |] %62
w: |* * * * Oh, Oh, Oh,|||
w: ||||


If You Never Come To Me

Context: Originally composed in 1956, 'If You Never Come To Me' is one of the hallmark pieces of the Bossa Nova genre, showcasing the collaboration between Jobim and lyricist Vinicius de Moraes. The song has been covered by numerous artists, contributing to its enduring popularity.

The piece features a gentle, flowing melody characterized by syncopated rhythms typical of Bossa Nova. The harmony often shifts between major and minor tonalities, evoking a sense of longing and nostalgia. The use of extended chords enhances its emotional depth, while the intricate guitar patterns provide a rich textural backdrop. The lyrical content reflects themes of love and yearning, with a conversational tone that invites introspection. The interplay between the vocal line and instrumental accompaniment creates a delicate balance, emphasizing the song's wistful nature.

This composition is marked by its smooth melodic lines and intricate harmonic progressions. The instrumentation typically includes soft guitar strumming, gentle percussion, and occasionally strings, creating a lush soundscape. The vocal delivery is often soft and intimate, conveying deep emotions of love and longing. The overall atmosphere is reflective, inviting listeners to immerse themselves in the feelings expressed through both lyrics and melody.

The music plays in a dimly lit café by the beach at sunset. The warm glow of the setting sun casts golden hues over the ocean waves as couples sit at small tables, whispering sweet nothings to each other. A lone musician strums a guitar softly in the corner, his eyes closed as he loses himself in the melody. A woman gazes out at the horizon, her expression a mix of hope and sadness as she remembers a love that feels distant yet ever-present. The air is filled with the scent of saltwater and blooming flowers, enhancing the romantic ambiance as laughter mingles with the gentle sound of waves lapping at the shore.

X:425
T:If You Never Come To Me
T:If You Never Come To Me
T:Inutil Paisagem
T:Antonio Carlos Jobim
C:Antonio Carlos Jobim
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
V:1
|:"Cmaj7" g8 |"Bmaj7" ^g8 |"Bbmaj7b5" a8- |"A7" a4- (3agf (3efg |"Dm7" g8- | g4 (3z fe de | %6
"Fm" f g2 f-"Fm6" f4- |"Fm" f6"Fm6" (3z cd |"E7" (3e2 e2 e2"E+7" (3e2 e2 e2 | %9
"A9" e3 ^d/e/"A7b9" (3g2 f2 e2 |"D7" f d3- d4- |"G7" d4 (3f2 e2 d2 |"C7" e c3- c3 d | %13
"F7" _e c3- c3 c |"Cmaj7" B G3- G4- |"Db7b5" G6 z2 :| %16


If you were a sailboat

Context: Released in 2006, 'If You Were a Sailboat' is a track from Katie Melua's album 'Piece by Piece'. The song showcases Melua's smooth vocal style and lyrical storytelling, often reflecting themes of longing and emotional depth. It has been well-received in the UK and has contributed to her status as a prominent artist in contemporary music.

The song employs a gentle, flowing melody that mirrors the imagery of sailing, creating an atmosphere of calm and introspection. The use of metaphor throughout the lyrics evokes feelings of yearning and the desire for freedom. The harmonic structure is primarily based on simple chord progressions, allowing Melua's voice to take center stage. The arrangement features soft instrumentation, including piano and strings, which enhances the emotional weight of the lyrics. The lyrical content suggests a longing for connection and escape, with the sailboat serving as a symbol for both adventure and vulnerability.

This piece features a soft, soothing melody characterized by gentle piano chords and subtle string arrangements. The vocals are delivered in a smooth, emotive style that captures a sense of longing and introspection. The lyrics utilize nautical imagery to convey themes of love and freedom, creating a serene yet poignant atmosphere. The overall sound is warm and inviting, making it suitable for reflective moments.

The music plays during a serene sunset on a tranquil lake, where a lone figure stands at the edge of a wooden dock. The sky is painted in hues of orange and pink as the sun dips below the horizon. Soft ripples disturb the surface of the water, reflecting the fading light. The character gazes out at the distant sailboats gliding peacefully across the lake, their sails billowing gently in the evening breeze. A sense of nostalgia fills the air as they contemplate their own journey, emotions swirling like the gentle waves lapping against the dock.

X:426
T:If you were a sailboat
C:Katie Melua
L:1/16
M:4/4
I:linebreak $
K:E
V:1 treble nm=" " snm=" "
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"^Intro""C#m" z16 | z16 |"^Bass enters" z16 | z16 ||"^Verse""C#m" z2 z C EEEF- FE2D- DC2D- | %5
w: ||||If you were a cow- _ boy I _ would trail|
w: |||||
"A" D2<C2 z4 z8 |"C#m" z2 z C EEEF- FE2D- D2<C2 |"A" D4 C4 B,4 A,4 |"E" B,8 z8 | %9
w: _ you,|if you were a piece _ of wood _ I'd|nail you to the|floor,|
w: ||||
"F#m" z3 C AAAB- BA2G- G2<F2 |"B" E4 D4 C4 D4 |"E" E8 z8 | z16 |:"C#m" z2 z C EEEF- FE2D- DC2D- | %14
w: if you were a sail- _ boat I _ would|sail you to the|shore,||if you were a ri- _ ver I _ would swim|
w: ||||If I was in jail _ I know _ you'd spring|
"A" D2<C2 z4 z8 |"C#m" z2 z C EEEF- FE2D- D2<C2 |"A" D4 C4 B,4 A,4 |"E" B,8 z8 | %18
w: _ you,|if you were a house _ I would _ live|in you all my|days,|
w: _ me,|if I were a te- * le- phone _ you'd|ring me all day|long,|
"F#m" z3 C AAAB- BA2G- G2<F2 |"B" E4 D4 C4 D4 |"E" E8 z8 | z16 || %22
w: if you were a prea * cher I'd _ be-|gin to change my|ways,||
w: if I was in pain _ I know _ you'd|sing me sooth- ing|songs.||
"^Chorus""C#m" z4 C2G2 F2EF- F2G2 |"A" C4 C2A2 G2F2 G2AD- |"B" D4 D2E2 F2F2E2D2 |"A" C8 z8 | %26
w: Some- times I be- lieve _ in|fate but the chan- ces we cre- ate,|_ al- ways seem to ring more|true,|
w: ||||
"F#m" z2 C2 CB,2C- C2B,2 CB,2B,- |"B" B,2A2- AAAA- A2G2 AG2E- |1"E" E8"E/D" z8 | %29
w: you took a chance _ on lo- ving me,|_ I _ took a chance _ on lo- ving you|_|
w: |||
"C#m7""Bsus4" z16"B7" |"E""E/D" z16 |"C#m7""Bsus4" z16"B7" :|2"E" E8 z8 |"E/D" z16 ||"C#m7" z16 | %35
w: ||||||
w: ||||||
"Bsus4""B7" z16 |"E" z16 | z16 ||"^Verse""C#m" z2 z C E2E2 F2E2D2C2 |"A" D4 C4 z8 | %40
w: |||if I was hun- gry you would|feed me,|
w: |||||
"C#m" z2 z C EEEF- FE2D- D2<C2 |"A" D4 C4 B,4 A,4 |"E" B,8 z8 |"F#m" z3 C AAAB- BA2G- G2<F2 | %44
w: if I was in dark- * ness you _ would|lead me to the|light,|if I was a book _ I know _ you'd|
w: ||||
"B" E4 D4 C6 D2 |"E" E8 z8 | z16 ||"C#m" z2 z C EEEF- FE2D- DC2D- |"A" D2<C2 z4 z8 | %49
w: read me ev'- ry|night.||If you were a cow- _ boy I _ would trail|_ you,|
w: |||||
"C#m" z2 z C EEEF- FE2D- D2<C2 |"A" D4 C4 B,4 A,4 |"E" B,8 z8 |"F#m" z3 C AAAB- BA2G- G2<F2 | %53
w: if you were a piece _ of wood _ I'd|nail you to the|floor,|if you were a sail- _ boat I _ would|
w: ||||
"B" E4 D4 C4 D4 |"E" E8 z8 | z16 |"F#m" z3 C AAAB- BA2G- G2<F2 |"B" E4 D4 C4 D4 |"E" E8 z8 | z16 |] %60
w: sail you to the|shore,||if you were a sail- _ boat I _ would|sail you to the|shore.||
w: |||||||


In A Mellow Tone

Context: Composed by Duke Ellington, 'In A Mellow Tone' is a jazz standard that showcases Ellington's signature style, blending intricate harmonies with a smooth, laid-back rhythm. The piece has been recorded by various artists and remains a favorite in jazz repertoire.

The composition features a rich harmonic structure typical of Ellington's work, utilizing extended chords and chromaticism. The piece is characterized by its relaxed tempo and lyrical melodies, often performed with a focus on improvisation. The use of call-and-response patterns between the instruments highlights the interplay typical in jazz ensembles. The arrangement allows for both soloists and the ensemble to shine, creating a conversational atmosphere that invites listener engagement.

The music is characterized by a smooth, flowing melody that evokes a sense of calm and introspection. It features lush harmonies and subtle syncopations, creating an inviting atmosphere. The instrumentation typically includes piano, brass, and woodwinds, each contributing to the overall texture without overwhelming the primary melodic line. The rhythm section maintains a steady but relaxed groove, allowing for expressive phrasing and dynamic contrasts throughout the piece.

Set in an intimate jazz club during the late evening, the dimly lit room is filled with soft golden light reflecting off polished wooden tables. Patrons sit closely together, some swaying gently to the music while others engage in hushed conversations. On stage, a trio consisting of a pianist, a bassist, and a saxophonist performs 'In A Mellow Tone.' The pianist's fingers glide effortlessly over the keys, producing smooth melodies that float through the air. The saxophonist takes turns improvising soulful phrases that resonate with the audience, who listen with rapt attention. The ambiance is warm and inviting, evoking feelings of nostalgia and relaxation as patrons sip their drinks and enjoy the soothing sounds.

X:427
T:In A Mellow Tone
T:In A Mellow Tone
T:Duke Ellington
T:(c) Dan Parshall
C:Duke Ellington
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="MusicXML Part"
%%MIDI program 52
V:1
 AF G A2 B- |"C7" B8 |"F7" z2 AF G A2 B- |"Bb" B8 |"Bb" z2 AF G A2 B- |"Fm" B8 | %6
w: In a mel- low tone|_|Feel- in' fan- cy free,|_|and I'm not a- lone|_|
"Bb7" z2 cG B c2 d- |"Eb" d8 |"Eb" z2 cG B c2 G- |"Eb" G8 |"Ebm" z2 Bc- c2"Ab7" Bd- |"Bb" d8 | %12
w: I've got com- pan- y.|_|Ev- ry thing's O. K.|_|The live _ long day|_|
"G7" z2 AF G A2 B- |"C7" B8 |"C7" z2 Bd- d2 BF- |"Cm" F8 |"F7" z2 AF G A2 B- |"C7" B8 | %18
w: With this mel- low- song,|_|I can't _ go wrong.|_|In a mel- low tone,|_|
"F7" z2 AF G A2 B- |"Bb" B8 |"Bb" z2 AF G A2 B- |"Fm" B8 |"Bb7" z2 cG B c2 d- |"Eb" d8 | %24
w: that's the way to live.|_|If you mope and groan,|_|some- thing's got to give.|_|
"Eb" z2 ^cg- g2 cG- |"Eb" G8 |"Edim" z2 ^cg- g2 cG- |"Bb" G8 |"G7" z2 ^cg- g2 cG- |"C7" G8 | %30
w: So go _ your way,|_|and laugh _ and play;|_|there's joy _ un- known,|_|
"F7" z2 AF G A2 B- |"Bb" B8 |] %32
w: in a mel- low tone.|_|


In a Sentimental Mood

Context: Originally composed by Duke Ellington in 1935, 'In a Sentimental Mood' has become a jazz standard. The piece features lush harmonies and a lyrical melody, often associated with romantic themes. John Coltrane's collaboration with Ellington in the 1960s brought renewed attention to the song, showcasing its versatility and emotional depth.

'In a Sentimental Mood' is characterized by its smooth, flowing melodic lines and rich harmonic structure. The piece is typically performed in a slow tempo, allowing for expressive phrasing and dynamic contrasts. The use of extended chords and chromaticism creates a lush soundscape that evokes feelings of nostalgia and longing. The interplay between the piano and saxophone (or other lead instruments) highlights the conversational nature of jazz, where improvisation plays a key role in expressing the emotional content of the music. The piece often features a blend of written passages and improvised solos, demonstrating the musicians' virtuosity and interpretative skills.

The music unfolds with a gentle, flowing melody that is both soothing and reflective. It features a rich interplay between the piano and saxophone, creating an intimate dialogue that evokes deep emotions. The harmonic progression is lush, characterized by extended chords that enhance the overall sentimentality of the piece. The rhythm is relaxed, allowing for expressive phrasing and subtle dynamic shifts that draw listeners into its nostalgic atmosphere.

Set in a dimly lit jazz club during the late evening hours, the scene captures an intimate gathering of couples swaying gently to the music. The warm glow of soft lights reflects off polished wooden tables as patrons sip on cocktails, lost in their own worlds. A couple sits close together at a corner table; their expressions reveal a mixture of joy and melancholy as they reminisce about their shared memories. The saxophonist stands at the forefront of the stage, passionately playing, while the pianist complements him with delicate chords. The air is thick with emotion as the music weaves through the room, enveloping everyone in its sentimental embrace.

X:428
T:In a Sentimental Mood
C:Duke Ellington
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Alto Saxophone" snm="Alto Sax."
V:1
 z2 FG Acdf |:"Dm" g4-"_Dm^" g4- |"Dm7" g2 fg"Dm6" fedc |"Gm" A2 d"_Gm^"A- A4- | %4
w: In a sen- ti- men- tal|mood _|_ I can see the stars come|thru my room _|
w: |kiss _|_ drifts a mel- o- dy so|strange and sweet. _|
"Gm" A2 Ac"Gm6" d_AGF |"Dm" D4- DFAc |"D7" e6 d2 |"Gm" B4"C7" E4 |1 G2"F" FG A"A7"cdf :|2 %9
w: _ while your lov- ing at- ti-|tude _ is, like a|flame that|lights the|gloom. On the wings of ev- 'ry|
w: _ In this sen- ti- men- tal|bliss _ you make my|par- a-|dise com-|_ _ _ _ _ _ _|
"F" F4-"Ebm" F2"Ab7" z2 ||"Db" c2 Bc"Bbm" _e_dcB |"Ebm" F2 _EF"Ab7" _G_AFE |"Db" _D4"Bb7" z4 | %13
w: |Rose pet- als seem to fall. It's|all like a dream to call you|mine.|
w: plete. *||||
"Eb7" z4"Ab7" z4 |"Db" c2 Bc"Bbm" _e_dcB |"Ebm" F2 _EF"Ab7" _G_AFE |"Gm" C8 |"C7" z2 FG Acdf || %18
w: |My heart's a light- er thing since|you made this night a thing di-|vine|In a sen- ti- men- tal|
w: |||||
"Dm" g4-"_Dm^" g4- |"Dm7" g2 fg"Dm6" fedc |"Gm" A2 d"_Gm^"A- A4- |"Gm" A2 Ac"Gm6" d_AGF | %22
w: mood _|_ I'm with- in a world so|heav- en- ly _|_ for I nev- er dreamt that|
w: ||||
"Dm" D4- DFAc |"D7" e6 d2 |"Gm" B4"C7" E4 |"F6" F2 z2 z4 |] %26
w: you'd _ be lov- ing|sen- ti-|men- tal|me.|
w: ||||


In A Shanty In Old Shanty Town

Context: This song was composed in the early 20th century and reflects the themes of urban life and nostalgia for simpler times. It became popular during the 1920s and has been covered by various artists, contributing to its lasting legacy in American music.

The piece features a simple yet memorable melody that captures the essence of early 20th-century American pop music. Its structure typically consists of a verse-chorus format, which is common in traditional pop songs. The harmonic progression is straightforward, often utilizing major chords that evoke a sense of warmth and familiarity. Lyrically, the song paints a vivid picture of life in a shanty town, employing imagery that resonates with themes of community and resilience. The use of syncopation in the rhythm adds a lively feel, making it suitable for both casual listening and performance settings. The instrumentation often includes piano and brass, enhancing the jazz influence evident in its swing feel.

The music is characterized by its upbeat tempo and catchy melody, which evoke feelings of nostalgia and warmth. The arrangement typically includes a blend of brass instruments and piano, creating a rich sound texture. The lyrics tell a story about life in an urban setting, filled with charm and simplicity, while the overall mood remains light-hearted and cheerful.

The music plays during a bustling street scene at dusk in a quaint town. The sun sets, casting a warm golden hue over the buildings as people gather on the sidewalks. Families stroll by, children laugh and play with makeshift toys, while vendors call out to passersby. A group of friends sits on a porch, tapping their feet to the rhythm as they enjoy each other's company. The atmosphere is filled with laughter and chatter, embodying a sense of community spirit as the music fills the air, enhancing the joyful ambiance.

X:429
T:In A Shanty In Old Shanty Town
T:In a shanty in old shanty town
T:Little Jack Little and John Siras
T:Joe Young
C:Ira Schuster, Jack Little
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z z z G, |"C" G G2 G |"E7" ^G G2 G |"A7" A2 G E | ^C3 A, |"D7" D D2 D |"C#9" ^D D2 D | %7
w: It's|on- ly a|shan- ty in|old shan- ty|town; the|roof is so|slan- ty it|
"D9" E2 D C |"D7" A,3 A,/^A,/ |"G" B, G2 ^F |"G7" F3 A,/B,/ |"C" C A2 _A |"A7" G3 E/_E/ | %13
w: touch- es the|ground. But my|tum- bled down|shack by an|old rail- road|track, like a|
"D7" D2 E F |"Am6" ^F B2 F |"Dm7" A2 F D |"G7" B,3 G, |"C" G G2 G |"E7" ^G G2 G |"A7" A2 G E | %20
w: mil- lion- aire's|man- sion, is|call- ing me|back. I'd|give up a|pal- ace if|I were a|
 ^C3 A, |"D7" D D2 D |"C#9" ^D D2 D |"D9" E2 D C |"D7" A,3 A,/B,/ |"F" C2 B, C |"Fm6" D3 C/D/ | %27
w: king; it's|more than a|pal- ace it's|my ev- 'ry-|thing. There's a|queen wai- ting|there with a|
"C" E2 G B |"A7" A3 G,/A,/ |"Dm7" F F2 F |"G7" G2 G E |"C" C4- | C2 z2 | z4 |] %34
w: sil- ver- y|crown, in a|shan- ty in|old shan- ty|town.|||


In Apple Blossom Time

Context: Originally published in 1920, 'In Apple Blossom Time' became a popular standard, often associated with the themes of love and renewal. The song has been covered by various artists over the decades, contributing to its lasting legacy in American music.

The piece features a simple yet poignant melody that evokes feelings of nostalgia and romance. Its harmonic structure is built on traditional pop chord progressions, creating a sense of familiarity and warmth. The lyrics celebrate the beauty of spring and the emotions tied to blossoming love, using imagery that connects nature with personal sentiment. The use of syncopation in the rhythm adds a playful quality, while the lyrical phrasing enhances its lyrical expressiveness, making it a staple in romantic repertoires.

This music piece is characterized by a gentle, flowing melody that reflects themes of love and nature. The instrumentation typically includes soft strings and woodwinds, creating an airy atmosphere. The lyrics convey a sense of longing and joy, painting vivid images of blooming apple trees as metaphors for romantic feelings. The overall arrangement balances simplicity with emotional depth, making it accessible yet profound.

Set in a picturesque orchard during the peak of spring, the scene unfolds at golden hour, where sunlight filters through the branches laden with blossoms. A couple stands beneath an apple tree, their expressions filled with joy and tenderness as they share whispers and laughter. Around them, petals dance in the breeze, creating a magical ambiance. The air is fragrant with floral scents, enhancing the romantic atmosphere as they reminisce about their shared memories amidst the beauty of nature.

X:430
T:In Apple Blossom Time
T:In Apple Blossom Time
C:Albert Von Tilzer
L:1/4
M:3/4
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
 z2 G |"C" e d c | d c"G+" B |"C" A A2- | A"G+7" B3/2 G/ |"C" A A2- | A B3/2 G/ |"G7" A A2- | %8
w: I'm|writ- ing you|dear just to|tell you,|_ In Sep-|tem- ber,|_ You re-|mem- ber,|
 A2 G/A/ |"G7" B d"Cdim" B |"G7" A2 G | B d"Cdim" B |"G7" A2 G/A/ | B d B |"Dm7" A"G7" e"G+7" B | %15
w: _ 'Neath the|old ap- ple|tree you|whis- per'd to|me, When it|blos- som'd a-|gain, you'd be|
"C" G3- | G2"Edim" G |"Bb7" _A"Gm" G"Bb7" F | _A"Gm" G"Bb7" F |"Eb" _B B2- | B2 _B |"Fm" c c c | %22
w: mine.|_ I've|wait- ed un-|til I could|claim you,|_ I|hope I've not|
"Bb7" d d"Bb+7" d |"Eb" _B3- | B2 _B |"G" =B2 B |"D7" A"Em" B"D7" c |"G" d3 |"E7" B2 B | %29
w: wait- ed in|vain,|_ For|when it's|spring in the|val-|ley, I'm|
"Am7" d"D7" B A |"Am7" d"D7" B A |"G7""Dm7" d3- |"G7" d3 |:"C" c2 d | e d c |"Em" B3/2 A/ G/A/ | %36
w: com- ing, my|sweet- heart a-|gain.|_|I'll be|with you in|ap ple blos som|
"F" B3 | A2 B | c B A |"C" G3/2 F/ E/F/ |"C#dim" G3 |"G7" G d"Gdim" ^c |"G7" d3 |"C" G e"Ebm" ^d | %44
w: time|I'll be|with you to|change your name to|mine,|One day in|May,|I'll come to|
"A7""Em" e3 |"D7" d3/2 ^c/ d | A3/2 B/ c |"G7" B"Cdim" c"C#dim" ^c |"G7" d3 |"C" c2 d | e d c | %51
w: say,|"Hap- py the|bride the sun|shines on to-|day."|What a|won- der- ful|
"Em" B3/2 A/ G/A/ | B3 |"F" A2 B | c B A |"E" B3/2 A/ ^G/A/ |"E7" B3 |"A7" A e"Adim" ^d |"A7" e3 | %59
w: wed- ding there will|be,|What a|won- der- ful|day for you and|me,|Church bells will|chime,|
"D7" A d"C#7" ^c |"D7" d2 A |"Fm6" c2"G7" B |"D7" A2"G7" B |1"C" c"F7" z"F#7" z || %64
w: You will be|mine, In|ap- ple|blos- som|time.|
"G7" z"Ab7" z"G7" z :|2"C""Fm" c3- ||"C" c2 z |] %67
w: |time.|_|


In My Life

Context: Released in 1965 on the album 'Rubber Soul', 'In My Life' is one of The Beatles' most beloved songs. It showcases a blend of folk and baroque pop influences, featuring a poignant melody and introspective lyrics. The song is notable for its innovative use of a sped-up piano solo, which was achieved by recording the piano at a slower speed and playing it back at normal speed.

'In My Life' is characterized by its reflective lyrics that explore themes of love, loss, and memory. The song's structure is notable for its verse-chorus form, complemented by a bridge that introduces a contrasting emotional tone. The harmonic progression is simple yet effective, primarily using major chords that evoke a sense of warmth and nostalgia. The arrangement features a unique piano solo that serves as an emotional pivot, enhancing the lyrical content. The use of imagery in the lyrics paints vivid pictures of past experiences, making it relatable to listeners. Overall, the song's combination of lyrical depth, melodic simplicity, and innovative production techniques contributes to its enduring legacy.

The music piece features a gentle yet poignant melody characterized by flowing harmonies and a reflective tone. Its instrumentation includes soft piano chords, accompanied by light percussion and subtle strings that enhance the emotional depth. The vocal delivery is heartfelt and sincere, conveying a sense of longing and nostalgia. The overall atmosphere is warm and intimate, inviting listeners to reflect on their own memories and experiences.

The music plays in a sunlit room filled with photographs and mementos from years gone by. A middle-aged individual sits on a vintage armchair, flipping through an old photo album. The golden light filters through sheer curtains, casting soft shadows on the walls adorned with framed memories. As they pause on each page, their expression shifts from joy to melancholy, recalling moments of love lost and friendships cherished. Outside, the gentle rustle of leaves accompanies the music, creating an atmosphere of serene reflection as time seems to stand still.

X:431
T:In My Life
T:In My Life
C:John Lennon, Paul McCartney
L:1/8
M:4/4
I:linebreak $
K:A
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
"A" C2 A2 CDEG- |"E" G8 |"A" C2 A2 CDEG- |"E7" G6 EF |:"A" B2 A2"E" B2 c2 |"F#m" ed z2"A/G" z2 Bc | %6
w: |||* There are|plac- es I re-|mem- ber all my|
w: ||||all these friends and|lov- ers there is|
"D" (B3 c/B/"Dm" A3) =F |"A" E2 cc- c2 EF | B2 A2"E" B2 c2 |"F#m" ed z2"A/G" z2 Bc | %10
w: life, _ _ _ though|some have changed _ Some for-|ev- er, not for|bet- ter; some have|
w: no _ _ one com-|pares with you. _ And these|mem- 'ries lose their|mean- ing when I|
"D" (B3 c/B/"Dm" A3) =F |"A" E2 cc- c2 AB |"F#m" (cB)(BA) (AF)(FA) |"D" cB z2 z2 z c | %14
w: gone _ _ _ and|some re- main. _ All these|plac- * ces _ have _ their _|mo- ments with|
w: think * of love as|some- thing new. _ Though I|know _ I'll _ nev- er lose af-|fec- tion for|
"G" dcBA- A3 =F |"A" Eccc- c2 AB |"F#m" cBBA AFFA |"B7" cB z2 z2 z E |"Dm" (=c B2 A/B/) A3 =F |1 %19
w: lov- ers and friends _ I|still can re- call. _ Some are|dead _ and _ some _ are _|liv- ing, in|my _ _ _ life I've|
w: peo- ple and things _ that|went _ be- fore; _ _ I|know I'll of- ten stop and think a-|bout them, in|my _ _ _ life I|
"A" E2 ^cc- c2 z2 || C2 A2 CDEG- |"E" G6 EF :|2"A" E2 ^cc- c2 z2 || %23
w: loved them all. *||* But of|love you more. *|
w: ||||
"A" A,"^Piano Solo"E/A/cA"E" E (3B,/E/G/ BE |"F#m" FF,/C/F=G-"A/G" GA=gD | %25
w: ||
w: ||
"D" D (3A,/D/A/ dd"Dm" D (3A,/D/A/ =ff |"A" A, (3A,/D/A/ ea- acAA | A,E/A/cA"E" E, (3B,/E/G/ BE | %28
w: |||
w: |||
"F#power" FF,/C/F"A7"=G- GA=gD |"D" D (3D/A/d/ fa"Dm" DD/A/=fA |"A" A,A,/E/cA A,A,FA | %31
w: ||* * * * * * * Though I|
w: |||
"F#power" (cB)(BA) (AF)(FA) |"Dpower" cc z2 z2 z c |"Gpower" dcBA-"G" A3 =F | %34
w: know _ I'll _ nev- er lose af-|fec- tion for|peo- ple and things _ that|
w: |||
"Apower" E2 cc- c2"A" z B |"F#power" cBBA AFFA |"B" cB z2 z2 z E |"Dm" (=c B2 A/B/) A3 =F | %38
w: went be- fore _ I|know I'll of- ten stop and think a-|bout them, in|my * * * life I|
w: ||||
"A" E2 ^cc- c2 z2 | C2 A2 CDE"E"G | G3 z z2 z e |"Dm/F" (=c' b2 a/b/) !fermata!a2 z =F | %42
w: love you more *||* In|my _ _ _ life I|
w: ||||
[M:2/4]"^N.C." E2 c2 |[M:4/4]"A" c2 z2 CDEG |"E" G2"E7" GF G4 |"A" A8 |] %46
w: love you|more. * * * *|||
w: ||||


In The Blue Of Evening

Context: This piece was popularized in the mid-20th century and is often associated with the jazz and pop standards of that era. It reflects themes of longing and introspection, typical of many ballads from this period.

Musically, 'In The Blue Of Evening' features a lush harmonic structure that employs extended chords, creating a rich tonal palette. The song is characterized by its smooth melodic lines that often utilize chromaticism, enhancing its emotional depth. The arrangement typically includes a blend of piano, strings, and subtle brass, which together evoke a sense of yearning. The lyrics convey a narrative of nostalgia and reflection, often interpreted as a contemplation of lost love or missed opportunities. The use of dynamics throughout the piece allows for expressive contrasts, where softer passages invite introspection while crescendos build emotional intensity.

The music unfolds with a gentle piano introduction, setting a reflective mood. The melody is smooth and flowing, often rising and falling in a manner that mimics the ebb and flow of emotions. Instrumentation typically includes lush strings that complement the piano, creating an enveloping soundscape. The harmonic progressions are sophisticated yet accessible, allowing listeners to connect deeply with the piece's emotional core.

Imagine a dimly lit jazz club in the late evening, where soft golden light spills from vintage lamps onto polished wooden tables. A couple sits at a corner table, their faces illuminated by the glow as they share quiet conversation. The singer stands at the microphone, bathed in soft light, delivering heartfelt lyrics that resonate with the audience's own experiences of love and loss. Outside, rain gently taps against the windows, mirroring the melancholic yet romantic atmosphere inside. The air is thick with anticipation and nostalgia as patrons sip their drinks, lost in the music that evokes memories of past romances.

X:432
T:In The Blue Of Evening
T:In The Blue Of Evening
C:Alfonso D'Artega
L:1/8
M:2/2
I:linebreak $
K:F
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"Fdim""_Moderately Slow" =B,2"F" C2 c3 A |"Bbm7" _A2 A6 |"F" (3G2 F2 E2"Abdim" G4 | %3
w: In the blue of|eve- ning,|When you ap- pear|
"Gm7" (3F2 E2 D2"Gm7b5" _D2 B2- | B8 |"F" (3A2 G2 F2"Abdim" E3 F |"Gm7" D6 D2 | %7
w: close to me, dear one,||There in the dusk we'll|share a|
"C13" A4-"C13b9" (3A2 ^F2 G2 |"F""Dm7" c8 |"Gm7""C7" z8 |"Fdim" =B,2"F" C2 c3 A |"Bbm7" _A2 A6 | %12
w: dream * rev- er-|ie.||In the blue of|eve- ning,|
"F" (3G2 F2 E2"Abdim" G4 |"Gm7" (3F2 E2 D2"Gm7b5" _D2 B2- | B8 |"F" (3A2 G2 F2"Abdim" E3 F | %16
w: While crick- ets call|and stars are fall- ing,||There 'neath the star- lit|
"Gm7" d6 D2 |"C13" A6"C7b9" E2 |"Edim" (G2"F" F6) |"Ebm7""Ab7" z8 |"Db" F>C_D>F B3 _A | %21
w: sky you'll|come to|me. *||In the shad- ows of the|
"Ebm7b5" _G3 F"Ab7" E3 _A |"Ebm7b5" _G3 F"Ab7" E3 _D |"Db" _A8 |"F" =A>EF>A"F6" d3 c | %25
w: night we'll stand, I'll|touch your hand and|then|Soft- ly as your love- ly|
"Gm7b5" B3 A"C7" G3 c |"Gm7b5" B3 A"Bbm6" G3 F |"C7" c8 |"Fdim" =B,2"F" C2 c3 A |"Bbm7" _A2 A6 | %30
w: eyes en- treat, Our|lips will meet a-|gain.|In the blue of|eve- ning,|
"F" (3G2 F2 E2"Abdim" G4 |"Gm7" (3F2 E2 D2"Bbm6" _D2 B2- | B8 |"F" (3A2 G2 F2"Abdim" E3 F | %34
w: Night winds a- bove|whisp- 'ring "I love you,"||There we will find ro-|
"Gm7" d6 ^CD |"C13" A6"C7b9" E2 |"Edim" G2"F" F6- | F8 |] %38
w: mance, In the|blue of|eve- ning-||


In the Chapel In The Moonlight

Context: Originally written in 1936, 'In the Chapel In The Moonlight' has been covered by various artists over the decades, becoming a popular standard in American music. The song evokes themes of love and longing, often associated with romantic settings.

The piece is characterized by its lush melodic lines and simple yet effective harmonic progressions. The use of major keys creates an uplifting atmosphere, while the lyrical content reflects a yearning for connection and intimacy. The song's structure typically follows a verse-chorus format, allowing for emotional crescendos that enhance its romantic themes. Instrumentation often includes piano and strings, which complement the vocal lines and add to the overall warmth of the arrangement. The use of dynamics plays a crucial role in conveying the song's emotional depth, with softer passages creating moments of introspection.

This music piece features a gentle melody that flows smoothly, characterized by its heartfelt lyrics and a nostalgic feel. The instrumentation is rich yet understated, allowing the vocals to take center stage. The harmony is predominantly diatonic, with occasional chromaticism that adds tension and release. Rhythmic patterns are steady, contributing to an overall sense of calm and serenity.

The music plays softly in a dimly lit chapel adorned with flickering candles. Shadows dance on the stone walls as a couple stands at the altar, their faces illuminated by the soft glow of candlelight. The woman, dressed in a flowing white gown, gazes lovingly at her partner, who wears a classic suit. Outside, the moonlight spills through stained glass windows, casting colorful reflections on the floor. Their hands intertwine as they share whispered promises of love, each note of the music echoing their emotions and enhancing the intimate atmosphere.

X:433
T:In the Chapel In The Moonlight
T:In the Chapel in the moonlight
T:Billy Hill
C:Billy Hill
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 G2 A2 |"Am" cAcA- A3 E |"C7" GEGE- E3 E |"F" GFGF-"Fm" F2 CD |"C" E4- E2 AA | %5
w: There's a|lit- tle old church * thats|cov- ered with moss * where|I held your hand * ten- der-|ly * * I|
w: In a|lit- tle old book * a|love- ly old hymn * still|ech- oes in my mem- o- ry|* * should I|
"Am" cAcA-"Am7" A3 A |"C" cAcA- A2 c2 |"D7" dddd- d B2 A |"G7" G6 z2 |"^Chorus:" z2 CD FEDC |: %10
w: of- ten go there * to|gaze at the cross * and|dream that you'll come * back to|me|How I'd love to hear the|
w: turn to the page * my|eyes would grow dim * with|thoughts of what once * used to|be||
"C" E4"Am" E4- |"C" E2 GA BcGA |"Em" B4 B4- | B2"A7" AB"Am" cdAB |"D7" c8- | c2 e2"G7" dB A2 | %16
w: or- gan|* in the chap- el in the|moon- light|* while we're strol- ling down the|aisle|* where ro- ses en-|
w: ||||||
"C" G8- |"G7" G2 CD FEDC |"C" E4"Am" E4- |"C" E2 GA BcGA |"Em" B4 B4- |"A7" B2 AB"Am" cdAB | %22
w: twine|* How I'd love to hear you|whis- per|* in the chap- el in the|moon- light|* that the love- light in your|
w: ||||||
"D7" c8- | c2"Dm7" e2 dc d2 |"C" c8- | c6 cd |"C" e2 e2"Em" e3 e |"C7" e2 e4 dc |"F" A2 A2 ^G3 G | %29
w: eyes|* for- ev- er will|shine|* till the|ro- ses turn to|ash- es till the|or- gan turns to|
w: |||||||
"C" G6 EF | G2 G2"Em" G3 G |"Am" A2 c2 c2"Am7" cd |"D7" e2 e2 d3 c |"G7" d2 CD FEDC | %34
w: rust If you|nev- er come I'll|still be there till the|moon- light turns to|dust how I'd love to hear the|
w: |||||
"C" E4"Am" E4- |"C" E2 GA BcGB |"Em" B4 B4- |"A7" B2 AB cdAB |"D7" c8- | c2"Dm7" e2"G7" dc d2 |1 %40
w: cho- ir|* in the chap- el in the|cha- pel|* as they sing "Oh Pro- mise|Me"|* for- ev- er be|
w: ||||||
"C" c8 |"G7" z2 CD FEDC :|2"C" c8- | c8 |] %44
w: mine|How I'd love the hear the|mine||
w: ||||


In The Shade Of The Old Apple Tree

Context: This song, composed in the early 20th century, reflects themes of love and nostalgia, often associated with simpler times. It has been covered by various artists and remains a staple in American music history.

Musically, 'In The Shade Of The Old Apple Tree' features a simple yet effective melody that evokes a sense of longing and warmth. The use of major chords creates a bright, uplifting atmosphere, while the lyrical content emphasizes themes of love and reminiscence. The song employs a straightforward verse-chorus structure, allowing the emotional weight of the lyrics to resonate deeply with the listener. Harmonically, it utilizes common chord progressions found in traditional pop music, enhancing its accessibility and singability. The instrumentation typically includes piano and strings, which contribute to its nostalgic feel. The vocal delivery is often characterized by expressive phrasing, further emphasizing the sentimental nature of the lyrics.

The piece is characterized by its gentle melody and heartfelt lyrics that convey a sense of nostalgia and longing for simpler times. It features a moderate tempo and is often performed in a soft, romantic style. The harmonic structure is straightforward, relying heavily on major chords that evoke warmth and familiarity. Instrumentation typically includes piano and strings, enhancing its emotional depth. The song's themes revolve around love, memory, and the passage of time.

In a sun-drenched garden during late afternoon, an elderly couple sits on a weathered wooden bench beneath an old apple tree in full bloom. Sunlight filters through the leaves, casting dappled shadows on their hands intertwined. They share soft laughter as they reminisce about their youth, the air filled with the sweet scent of blooming flowers. Nearby, children play joyfully, their laughter mingling with the gentle rustle of leaves in the breeze. The couple's faces are lined with age but illuminated by love as they gaze at each other with deep affection, embodying the essence of a life well-lived together.

X:434
T:In The Shade Of The Old Apple Tree
T:In the shade of the old apple tree
T:Harry W.Williams, Egbert Van Alstyne
C:Egbert Van Alstyne
L:1/4
M:3/4
I:linebreak $
K:G
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z2 B/c/ |:"G" d ^c d |"C" e"G" d G | B3- | B2 G/A/ | B ^A"G" B |"D" c"D7" B D |"G" G3- | %8
w: In the|shade of the|old ap- ple|tree|* where the|love in your|eyes I could|see|
"C" G2"G" G/G/ |"D7" F"Am7" G"Fm" ^G |"D7" A2 F/D/ |"G" G"C" A"G" ^A | B2 B/c/ |"A7" ^c B A | %14
w: * when the|voice that I|heard, like the|song of the|bird seemed to|whis- per sweet|
"E7" e B"A7" ^c |"D" d3- |"D7" d2 B/c/ |"G" d ^c d |"C" e"G" d G | B3- | B2 G/A/ | B ^A B | %22
w: mu- sic to|me|* I could|hear the dull|buzz of the|bee|* In the|blos- soms as|
"D" c"D7" B D |"G" G3- |"C" G2"G" G/G/ |"D7" F"Am7" G"Fm" ^G |"D7" A2 B/c/ |"G" d ^c d | %28
w: you said to|me|* with a|heart that is|true I'll be|wait- ing for|
"C" e2 G/"Cm"A/ |"G" B"E7" d B |"A" A2"Am7" G/A/ |"G" G3- |"C" G2"G" z |] %33
w: you in the|shade of the|old ap- ple|tree||


In The Wee Small Hours Of The Morning

Context: Originally recorded by Frank Sinatra in 1955, this song has become a standard in the jazz repertoire and has been covered by numerous artists. It captures the feeling of solitude and reflection during the quiet hours of the night.

The piece is characterized by its slow tempo and lush harmonic structure, which evoke a sense of longing and introspection. The use of minor chords enhances the melancholic mood, while the lyrical content reflects themes of loneliness and yearning for companionship. The arrangement typically features a soft piano accompaniment, which supports the vocal line, allowing for expressive phrasing. The song's structure follows a traditional AABA form, where the B section provides a contrasting emotional depth before returning to the reflective A section.

This music piece is marked by its gentle melody and soothing harmonies, creating an atmosphere of quiet contemplation. The instrumentation often includes soft piano chords accompanied by subtle strings or woodwinds, enhancing the intimate feel of the performance. The vocal delivery is typically soft and emotive, conveying deep feelings of nostalgia and longing without overt dramatization.

The music plays softly in a dimly lit room, where a solitary figure sits by a window, gazing out at the rain-soaked streets below. It's late at night, and the faint glow of streetlights casts a warm hue against the glass. The figure appears lost in thought, their expression a mix of sadness and reflection as memories flood their mind. Outside, raindrops create a rhythmic pattern against the window, harmonizing with the gentle chords of the music. This moment encapsulates a deep sense of yearning for lost love or missed opportunities, as the world outside continues to move on.

X:435
T:In The Wee Small Hours Of The Morning
C:David Mann
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 0
V:1
 CD |:"Cmaj7" E2 E2"C+" (CD)EF |"C6" EC- C2-"C+" C2 CD |"C" E2 E2"C+" CDEF |"Dm7" D6 z D | %5
w: In The|Wee Small Hours _ Of The|Morn- ing, _ _ While the|whole wide world is fast a-|sleep, You|
 A2 A2"G9" A3 A |"Em7b5" GFEF"A7" G3 G |"F#m7b5" ^FE^DE"B7" FB,BA |"Em""G7" G6 CD | %9
w: lie a- wake and|think a- bout the girl And|nev- er ev- er think of count- ing|sheep. When you|
"Cmaj7" E2 E2"C+" CDEF |"C6" EC- C2-"C+" C2 EF |"Cmaj7" G3 G"Em7b5" dGGG |"A+7""A7" A6 AB | %13
w: lone- ly heart has learned its|les- son _ _ You'd be|hers if on- ly she would|call. In the|
"Dm7" c2 c2"D#dim7" (AB)cd |"C" cG-"Gm6""A7" G4 FE |1"Dm7" FcAF D2"G7b9" E2 |"C" C6 CD :|2 %17
w: Wee Small Hours _ Of The|Morn- ing, _ That's the|time you miss her most of|all. In The|
"Dm7" F2 c2 A2 F2 ||"D7" D4"G7b9" E4 |"C" C8- | C6 z2 |] %21
w: time you miss her|most of|all.|_|


In Walked Bud

Context: In Walked Bud is a composition by Thelonious Monk, first recorded in 1947. The piece is a tribute to Bud Powell, another influential jazz pianist and a key figure in the bebop movement. Monk's unique style blends complex harmonies and rhythmic intricacies, making this piece a staple in jazz repertoire.

Thelonious Monk's 'In Walked Bud' exemplifies the bebop style through its intricate melodic lines and syncopated rhythms. The piece is structured around a 32-bar AABA form, where the A sections present a catchy, angular melody characterized by dissonant intervals and unexpected phrasing. Monk employs his signature use of space and silence, allowing for a conversational interplay between the piano and accompanying instruments. The harmonic progression features typical jazz chords with alterations that create tension and resolution, particularly through the use of diminished chords. The improvisational sections highlight the musicians' virtuosity, with each performer adding their unique voice while remaining anchored to Monk's original thematic material.

This music piece features a lively piano melody that intertwines with intricate rhythms and syncopation. The overall sound is characterized by its playful yet sophisticated nature, showcasing a blend of sharp melodic lines and rich harmonic textures. The interplay between instruments creates a dynamic conversation, where pauses and accents add to the piece's expressive quality. The tonal palette is warm and inviting, reflecting both joy and complexity.

The music plays in an intimate jazz club during the late evening hours. The dimly lit room is filled with smoke, and small tables are scattered around the stage where musicians perform. Patrons are engaged in quiet conversation, their faces illuminated by soft candlelight. On stage, a trio consisting of a pianist, bassist, and drummer captivates the audience with their energetic performance. The pianist, embodying Monk's unique style, plays with both precision and spontaneity, drawing smiles from listeners who tap their feet to the infectious rhythm. As the music swells, the atmosphere becomes electric; some audience members sway gently while others nod along to the beat, fully immersed in the vibrant world of jazz.


In Your Own Sweet Way

Context: Released in 1956 on the album 'Time Out', this piece showcases the signature blend of classical influences and innovative jazz harmonies characteristic of Brubeck's work. The song features a memorable melody played by the alto saxophone, with intricate piano accompaniment that highlights Brubeck's virtuosic style.

The composition is notable for its use of unconventional time signatures, which was a hallmark of Brubeck's music. The piece is structured around a lyrical theme that is introduced by the saxophone and then developed through various improvisational sections. The harmonic progression features modal interchange, creating a rich tapestry of sound that invites both emotional depth and intellectual engagement. The interplay between the piano and saxophone reflects a conversational quality, with each instrument responding to the other in a dynamic exchange. This piece exemplifies the cool jazz movement, characterized by its relaxed tempos and lighter tone compared to the more frenetic bebop style.

This piece begins with a gentle, flowing melody that establishes a serene atmosphere. The interplay between the piano and saxophone creates a lush soundscape, with the saxophone delivering a warm, expressive line while the piano provides rhythmic support and harmonic depth. The overall mood is reflective and introspective, inviting listeners to immerse themselves in its melodic beauty. The use of syncopation adds an element of surprise, while the smooth transitions between sections maintain a cohesive flow throughout.

Imagine a dimly lit jazz club in the heart of New York City during the late 1950s. The room is filled with soft chatter and clinking glasses as patrons settle into their seats. On stage, a small ensemble begins to play 'In Your Own Sweet Way'. The spotlight shines on the saxophonist, whose fingers glide effortlessly over the keys, producing a rich, velvety sound that fills the air. The pianist complements this with delicate chords that echo through the intimate space. As the music swells, couples sway gently to the rhythm, lost in their own worlds, while waiters weave through tables, balancing trays laden with drinks. Outside, a light rain begins to fall against the windows, adding to the cozy ambiance as the audience is enveloped in the soothing melodies.


Into my Arms

Context: Released in 1997 as part of the album 'The Boatman's Call', 'Into My Arms' is one of Nick Cave's most beloved songs. It features poignant lyrics that express deep emotional vulnerability and longing, often interpreted as a reflection on love and faith. The song has been praised for its haunting melody and minimalist instrumentation, primarily driven by piano and strings.

Musically, 'Into My Arms' is characterized by its slow tempo and simple yet effective chord progression, creating an intimate atmosphere. The use of minor keys contributes to the song's melancholic tone. Lyrically, it explores themes of love and existential yearning, with Cave's baritone voice delivering the heartfelt message with sincerity. The interplay between the piano and strings enhances the emotional depth, while the sparse arrangement allows the lyrics to take center stage, inviting listeners into a personal reflection on love and loss.

The piece features a slow, contemplative melody that unfolds gently, characterized by a soft piano accompaniment. The harmonic structure is primarily based on minor chords, creating a sense of introspection and yearning. The vocal delivery is expressive and emotive, conveying a profound sense of longing and vulnerability. The arrangement is minimalist, allowing the lyrics to resonate deeply with the listener, evoking feelings of nostalgia and tenderness.

The music plays during a quiet evening in a dimly lit room, where soft shadows dance on the walls from flickering candlelight. A solitary figure sits at an old wooden piano, their fingers gliding over the keys with grace. Outside, rain softly patters against the window, adding to the intimate atmosphere. The character appears lost in thought, reflecting on past relationships while gazing out into the darkened street. The air is thick with emotion as memories flood back, each note echoing their heart's desire for connection amidst solitude.

X:438
T:Into my Arms
C:Nick Cave
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice" snm="Voice"
%%MIDI program 54
V:1
 z4"G/B" D2"C" G2 |"F" F2>F2- F4 | z4 E F2C- |"C" C4 z4 | z4"G/B" D2"C" E2 |"F" F8 | z4 E F2C- | %7
w: |||||||
"C" C4 z E3- | E4"G/B" D2"C" E2 |"F" F2- z2 CCA,C- | C2 CA, CA,/C/- C/A,/C- |"C" C2 A,G,- G,2 z2 | %12
w: ||* I don't be- lieve|_ in an in- ter- ven- * tion- ist|_ God _ _|
 z4"G/B" z2"C" z2 |"F"z2zA, C C2C | C2 z2 C C2A, |"C" G,4 z4 | z4"G/B" z2"C" z2 |"F"z2zA, C C2C- | %18
w: |But I know dar-|ling that you do|_||But if I did|
 C2 CA, C C2C |"C" A,G, G,2 z4 | z4 z2 z2 |"F2" z2 CA, C C2C- | C2 CA, C2 C2 |"C" A, G,3 z4 | %24
w: _ I would kneel down and|ask _ him||Not to in- ter- vene|_ when it came to|you _|
zC CA, CA,/C/- C/A,/C |"F" C z z2 CC/C/- C/C/D- |"Dm/F" D2z/D/D DD/D/- D/C/D | %27
w: Well, not to touch a hair * on your|head Leave you _ as you are|* if he felt he * had to di-|
"G" DDz/D/D"Em/G" EE E/E/E |"G" D4 z4 | z4 GFEF |"Dm" D4 z2 CD- | D2 z2 FEDE |"C" C4 z2 B,C- | %33
w: rect you and di- rect you in- to my|arms|In- to my _|arms O Lord|_ in- to my _|arms O Lord|
 C2 z2 GFEF |"Dm" D4 z2 CD- | D2 z2 FEDE |"C" C4 z2 B,2 | D2 C2 E2 D2 |"F" F2-zA, CCA,C- | %39
w: _ In- to my _|arms O Lord|_ in- to my _|arms *||* And I don't be- lieve|
 CA,CA, C C2C |"C" A, G,3 z4 | z4"G/B" z2"C" z2 |"F"z2zA, C/C/ C2C- | CA,CC C C3 |"C"z/A,/ G,3 z4 | %45
w: _ in the ex- ist- ence of|an- gels||But look- ing at you|* I won- der if that's|true _|
 z8 |"F2"z2zA, C C2C- | C2 CA, C/C/C C/A,/G,- |"C" G,2 z2 z4 | z8"G/B""C" |"F"z2zA, C C2A, | %51
w: |But if I did|_ I would sum- mon them to- get- her|_||And ask them to|
 C4 F E2C- |"C" C2 z2 z4 |zC C<C CC/C/- CC |"F" CCz/C/C CCCD |"Dm/F" D2 z2 z2 DD |"G" DDDD DDDD | %57
w: watch ov- er you|_|Whoa to each burn a can- _ dle|for yeah To make bright and clear your|path And to|walk like Christ, in grace and love and|
[M:2/4]"Em/G" EE/E/- E/E/E |[M:4/4]"G" D4 z4 | z4 GFEF |"Dm" D4 z2 CD- | D2 z2 FEDE | %62
w: guide you in- _ to my|arms|In- to my _|arms oh Lord|_ in- to my _|
"C" C4 z2 B,C- | C2 z2 GFEF |"Dm" D4 z2 CD- | D2 z2 FEDE |"C" C4 z2 B,2 | D2 C2 E2 DE | %68
w: arms oh Lord|_ In- to my _|arms oh Lord|_ in- to my _|arms *||
"F" F2>A2- A4 |zC CA, C2 C2 |"C" A, G,3 z4 | z8"G/B""C" |"F"z2zA, C C2A, | C4 C4 |"C" C4 z4 | z8 | %76
w: |But I be- lieve in|love _||and I know that|you do|to||
"F2"z2zA, CCA,C- | C2 C2 (3C2 C2 C2 |"C" A, G,3 z4 | z8"G/B""C" |"F"z2zA, C C2C- | C>C C2 F E2C- | %82
w: 'n I be- _ lieve|_ in some kind of|path _||The week- end walk|_ 'a down, me and you|
"C" C4 z4 | z C2A, CA,CC |"F" C C2C/C/ CCCD |"Dm/F" D2 z2 DDDD |"G" D D2D"Em/G" EE E/E/E | %87
w: _|so keep your can- dles burn-|ing and make a jour- ney bright and|pure That she'll keep re-|turn- ing al- ways and e- ver more|
"G" D2 z2 z4 | z4 GFEF |"Dm" D4 z2 CD- | D2 z2 FEDE |"C" C4 z2 B,C- | C2 z2 GFEF |"Dm" D4 z2 CD- | %94
w: _|In- to my _|arms oh Lord|_ in- to my _|arms oh Lord|_ In- to my _|arms oh Lord|
 D2 z2 FEDE |"C" C4 z4 | z8 |] %97
w: _ in- to my _|arms||


IS THIS THE WAY TO AMARILLO

Context: Originally written by Neil Sedaka and Howard Greenfield, this song gained popularity in the UK during the 1970s and is often associated with themes of longing and nostalgia. It has been covered by various artists, most notably by Tony Christie, which helped revive its popularity in the early 2000s.

The song features a simple yet catchy melody that employs a repetitive structure, enhancing its sing-along quality. The lyrics express a yearning for a loved one and a desire to return home, encapsulating feelings of homesickness and nostalgia. The use of a major key contributes to its uplifting feel, contrasting with the underlying themes of loss and longing. Harmonically, the song utilizes common pop chord progressions that facilitate its accessibility and emotional resonance.

This piece is characterized by its upbeat tempo and catchy chorus, combining elements of pop and country music. The instrumentation typically includes piano, guitar, and light percussion, creating a bright and inviting sound. Lyrically, it reflects themes of longing for home and loved ones, conveyed through straightforward yet emotive language.

The music plays during a sunset scene in a small town, where the warm glow of the setting sun casts long shadows on the pavement. A character stands at a bus stop, gazing down the road with a hopeful expression, clutching a faded photograph of a loved one. Around them, the sounds of distant laughter from children playing in the park mix with the gentle rustling of leaves in the evening breeze. As the music swells, the character's emotions shift from melancholy to optimism, symbolizing their anticipation of reunion.

X:439
T:IS THIS THE WAY TO AMARILLO
T:IS THIS THE WAY TO AMARILLO
T:H. Greenfield
T:Beat
T: Laukens Music Productions
T:2
T:IS THIS THE WAY TO AMARILLO blad 2 van
C:H. Greenfield
L:1/8
Q:1/4=165
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="MusicXML Part"
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
"Bb" z2 dd d2 dd- |"Eb" de e2 e2 z2 |"Bb" z2 dd d2 dd- |"F7" dc c2 c2 |"Eb" z2 BB B2 BB- | %5
"Bb" BF G2 F2 z2 |"F7" z2 [A,EF][A,EF] [A,EF]2 [A,EF][A,EF] | z [CEA] [CEA]2 [CEA]2 z2 | %8
 z2 [CEA][CEA] [CEA]2 [EAc][EAc] | z [Ace] [Ace]2 [Acef]2 [Acef]2 | %10
"Bb" z [B,DF][B,DF][B,DF] z [B,DF][B,DF][B,DF] | z [B,DF][B,DF][B,DF] z [B,DF][B,DF][B,DF] |: %12
"Bb" z2 FF B2 FG- |"Eb" G E3 z4 |"Bb" z2 FF B2 de- |"F7" ec AG F- F3 |"Bb" z2 FF B2 FG- | %17
"Eb" G E3 z4 |"Bb" z2 FF B2 de- |"F7" ee cG F- F3 |"Gb" z2 BB _d2 Bd- |"Db" d _A3 z4 | %22
"Gb" z2 BB _dedf- |"Db" f2 z2 z4 |"Gb" z2 BB _d2 dd- |"Db" d_A- A2 z2 z f |"Cm7" f2 e2 d e2 c- | %27
"F7" c3 f- f4 ||"Bb" z fff f2 ff- |"Eb" f2 gB- B c3 |"Bb" z2 ff ff fg- |"F7" gg e2 c2 A2 | %32
"Bb" z2 ff f2 ff- |"F7" f2 gB- B c3 |"Bb" z ddd"F7" e2 Ac- |"Bb" cB B2 z4 | z fff f2 ff- | %37
"Eb" f2 gB- B c3 |"Bb" z2 ff f f2 f- |"F7" f e2 c- c A3 |"Bb" z2 ff f2 ff- |"Eb" f2 gB- B c3 | %42
"Bb" z ddd"F7" e2 Ac- |"Bb" cB B2 z4 ||"Bb" z2 dd d2 dd- |"Eb" de e2 e2 z2 |"Bb" z2 dd d2 dd- | %47
"F7" dc c2 c2 z2 |"Eb" z2 BB B2 BB- |"Bb" BF G2 F2 z2 |"F7" z2 ee d2 Ac- |1"Bb" cB B2 z4 :|2 %52
"Bb" (c)B B2 z4 |] %53


Isn't It A Pity

Context: Released in 1970 on George Harrison's triple album 'All Things Must Pass', 'Isn't It A Pity' reflects on the themes of loss and the complexities of human relationships. The song was notable for its lush production and emotional depth, showcasing Harrison's songwriting prowess post-Beatles.

'Isn't It A Pity' features a slow tempo and is characterized by its poignant lyrics that express sorrow over the inability of people to communicate effectively and the resultant heartbreak. The use of a 6/8 time signature gives it a waltz-like feel, enhancing its reflective quality. The instrumentation includes a rich arrangement of strings and slide guitar, which adds to the emotional weight of the piece. Harmonically, the song moves through several key changes that evoke a sense of longing and introspection, typical of Harrison's lyrical style which often blends personal reflection with universal themes.

The music is marked by a soft, flowing melody that carries a sense of melancholy. The vocal delivery is heartfelt, complemented by harmonies that enhance the emotional resonance. Instrumentally, the song features gentle guitar work alongside orchestral strings, creating a lush soundscape that supports the reflective nature of the lyrics. The overall atmosphere is one of introspection and wistfulness, inviting listeners to ponder the complexities of human connection.

In a dimly lit room during twilight, a solitary figure sits by a window, gazing out at the fading light. The air is thick with nostalgia as they reflect on past relationships, surrounded by remnants of memories—old photographs scattered on a table and a half-empty glass of wine. Outside, leaves rustle gently in the breeze, mirroring the bittersweet emotions within. As the music plays softly in the background, it underscores their longing for connection amidst feelings of isolation, capturing the essence of introspection and heartache.

X:440
T:Isn't It A Pity
T:Isn't It A Pity
C:George Gershwin
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
"Am6" c2 B>c B A3 |"Dm7b5" c>c_B>c B _A3 |"C" G2 A2 c2 e2 |"Dm9""G7" F8 |"C" E2 G2 A>A c2 | %5
w: He.~~Why did I wan- der,|here and there and yon- der,|Wast- ing prec- ious|time,|For no rea- son or|
w: She.~~While you were flirt- ing|I was bus- y knit- ting,|hop- ing I'd sur-|vive,|Hop- ing you'd * ar-|
"F""G7" D8 |"C/E" E>FG>E"B7" A A2- A |"Bb7" E>FG>E"A7" A4 |"D9" c2 B>c B A3 | %9
w: rhyme?|Is- n't it a pit- y? *|Is- n't it a crime?|My journ- ey's end- ed;|
w: rive.|All my Dres- den boy- friends were|on- ly half a- live.|Sleep- y was Her- mann,|
"Dm7b5" c>c_B>c B _A3 |"C" G2 A2 c2 e2 |"F#m7b5""B7" ^F8 |"Em" G2 A>G A"Am" B3 | %13
w: Ev- 'ry- thing is splen- did:|Meet- ing you to-|day|Has giv- en me a|
w: Fritz was like a ser- mon,|Hans was such a|bore!|How well you planned it!|
"Em7" G>GA>G (A"A7" B3) |"D7sus4" d4"D7" d4 |"G7" d6"G+7" z2 |:"C" E>FG>A"Em7" B4 | %17
w: Won- der ful i- dea, _|Here I|stay!|It's a fun- ny thing|
w: I just could- sn't stand it|An- y|more!||
"F" z A (3cBA-"B+7" A4 |"Em" z G (3BAG-"A7" G4 |"Dm" z F (3AGF-"G7" F4 |"C" E>FG>B"C9/E" d d3 | %21
w: I look at you _|I get a thrill _|I nev- er knew, _|Is- n't it a pit- y|
w: ||||
"F" z c (3edc-"Dm7" c2"G7" c2 |"C/E" G6"Adim7" z2 |"C" E>FG>A"Em7" B4 |"F" z A (3cBA-"B+7" A4 | %25
w: we nev- er met _ be-|fore?|Here we are at last!|It's like a dream! _|
w: ||||
"Em" z G (3BAG-"A7" G4 |"Dm7" z F (3AGF-"G7" F4 |"C" E>FG>B"C9/E" d d3 | %28
w: the two of us. _|A per- fect team! _|Is- n't it a pit- y|
w: |||
"F" z c"C/E" (3edc-"Dm7" c2"G7" c2 |"C" c6"Dm7""G7" z2 |"C" z3/2 c<"Dm9"dc/ d2"Am6" c2 | %31
w: we nev- er met _ be-|fore?|Im- ag- ine all the|
w: |||
"Em/B" B2 E2"Em" ^F2 G2 |"F#7" B2"B7" B6 |"Em" B2 A>B A G3 |"A7" B>BA>B A G3 | %35
w: lone- ly years we've|wast- ed:|You, with the neigh- bors,|I, at sil- ly lab- ors;|
w: ||Fish- ing for sal- mon,|Los- ing at back- gam- mon.|
"G6/D" z2 D2 E2"G" G2 |"Am6" d2"D7" d6 |"G7" e2 d>e d c3 |"F9" B>BA>B"F7" A G3 | %39
w: What joys un-|tast- ed!|You, read- ing Hei- ne,|I, some- where in Chi- na.|
w: What joys un-|tast- ed!|My nights were sour _|Spemt with Scho- pen- hau- er.|
"C" E>FG>A"Em7" B4 |"F" z A (3cBA-"B+7" A4 |"Em" z G (3BAG-"A7" G4 |"Dm" z F (3AGF-"G7" F4 | %43
w: Hap- pi- est of men|I'm sure to be, _|If on- ly you _|will say to me, _|
w: Let's for- get the past|Let's both a- gree _|That I'm for you _|and you're for me, _|
"C" E>FG>B d"C+9" d2 c |"Fmaj7" e>e"Em7"d>d"Dm7" c2"G9" B2 |1"C" c8 |"Dm7""G7""G+7" z8 :|2 %47
w: "It's an aw- ful pit- y, We|nev- er, nev- er met be-|fore."||
w: And it's such a pit- y, We|nev- er, nev- er met be|||
"C""C+7""G7" c8- |"C" c2 z2 z4 |] %49
w: fore."|_|
w: ||


Isn't She Lovely

Context: Released in 1976 on the album 'Songs in the Key of Life', 'Isn't She Lovely' celebrates the birth of Stevie Wonder's daughter, Aisha. The song showcases Wonder's signature harmonica playing and features a joyful arrangement that blends funk and soul elements. It has become an anthem for celebrating new life and love.

'Isn't She Lovely' is characterized by its upbeat tempo and rich harmonic structure. The song employs a major key, which contributes to its joyful atmosphere. The use of call-and-response vocals highlights the celebratory nature of the lyrics, inviting listeners to participate in the joy of new life. The instrumentation includes a prominent use of horns and a rhythmic piano line, creating a lively backdrop that complements Wonder's expressive vocal delivery. The song's arrangement reflects a blend of traditional R&B with pop sensibilities, making it accessible while retaining depth in its musical composition.

The music piece features an uplifting melody driven by a vibrant piano riff and punctuated by brass instruments. The rhythm is lively, encouraging movement and evoking feelings of happiness and warmth. Vocals are delivered with passion, expressing deep affection and pride. The overall sound is rich and full, characterized by intricate harmonies and rhythmic complexity that enhance its emotional impact.

In a sunlit hospital room filled with soft pastel colors, a new mother cradles her newborn daughter, gazing down with tears of joy streaming down her cheeks. The room is adorned with balloons and flowers, creating a festive atmosphere. Family members gather around, their faces beaming with pride and love as they share this intimate moment. Outside the window, birds chirp happily, harmonizing with the gentle strains of 'Isn't She Lovely' playing softly in the background, encapsulating the overwhelming joy of new beginnings.

X:441
T:Isn't She Lovely
T:ISN'T SHE LOVELY
T:WORDS AND MUSIC BY STEVIE WONDER
C:Stevie Wonder
L:1/4
M:4/4
I:linebreak $
K:F
V:1 treble nm="Piano"
%%MIDI program 0
V:1
 A B A |:"Dm7" G2 F2 |"G7" z A B A |"Gm7/C" G2 F D |"F" C2 B A |"Dm7" G2 F2 |"G7" z A B A | %7
w: Is- n't she|love- ly|is- n't she|won- er- ful?|Is- n't she|pre- cious,|less than one|
w: * * (2)|pret- ty|tru- ly the|an- gels' best?|Boy, I'm so|hap- py|we have been|
"Gm7" G2 F (D |"F" C) z A/B/"F7" c |"Bb" c3/2 A/ B c/B/- | B2 A A |"F/C" A/G/F/G/- G F/ z/ | %12
w: min- ute old|_ I nev- er|thought thru love we'd be|_ mak- ing|one as lov- ly * as|
w: heav- en blest|_ I can't be-|lieve what God has done|_ through us|he's giv- en life * to|
"G7/B" D3/2 C A/B/A/ |"Gm7/C" G2 F2 | D2"C7" C2 |"F" F2 C/D/F/G/ | F A B A :|"Dm7" G2 F2 | %18
w: she But is- n't she|love- ly|made from|love? * * * *|(3) Is- n't she|love- ly|
w: one * * * *||* (2)||* Is- nt- she||
"G7" z A B A |"Gm7/C" G2 F (D |"F" C) A/ z/ B A |"Dm7" G2 F2 |"G7" z A B A |"Gm7/C" G2 F (D | %24
w: life and love|are the same|_ Life is A-|i- sha|the mean- ing|of her name,|
w: ||||||
"F" C2) A/B/"F7"c/c/- |"Bb/D" c A/ B c/ z3/4 B/4- |"Bb" B2 A A |"F/C" A/G/F/G/- G3/2 F/ | %28
w: _ Lon- die, it could|_ have not been done|_ with- out|you who con- ceived _ the|
w: ||||
"G7/B" D3/2 C/ A B/A/ |"Gm7/C" G2 F2 | D2"C7" C2 |"F" F2 C/D/ F | F A B A | z4 |] %34
w: one that's so ver- y|love- ly|mad from|Love. (4) instrumental *|||
w: ||||||


Context: Originally recorded in the 1930s, this song has been covered by various artists over the decades, showcasing its timeless appeal and adaptability across genres. Its lively rhythm and catchy lyrics emphasize the importance of style and attitude over mere actions.

The piece is characterized by its syncopated rhythms and playful lyrics that convey a message about the significance of approach over action. It employs a call-and-response structure typical of jazz and swing music, creating an engaging interaction between the vocalist and instrumentalists. The harmonic progression is rooted in traditional jazz chords, allowing for improvisation that showcases the musicians' virtuosity. The instrumentation typically includes brass, woodwinds, and a rhythm section, enhancing its lively feel. The song's structure often follows a standard AABA form, which is common in jazz standards, allowing for both lyrical storytelling and musical exploration.

The music features a brisk tempo with a lively swing feel, characterized by bright brass instrumentation and rhythmic piano accompaniment. The vocals are delivered with a playful tone, emphasizing the clever lyrics that highlight the nuances of social interaction. Melodic lines are catchy and repetitive, making it easy for audiences to sing along. The overall atmosphere is joyful and energetic, inviting listeners to dance.

Picture a bustling 1940s dance hall filled with elegantly dressed couples twirling across the polished wooden floor under soft golden lights. A live band plays energetically on stage, with brass instruments gleaming in the warm glow. The air is filled with laughter and chatter as people enjoy their evening. A young couple takes center stage; he spins her around effortlessly, her dress swirling as she laughs joyfully. The music's upbeat tempo drives their movements, creating an infectious energy that captivates everyone in the room.

X:442
T:It Ain't What You Do (It's The Way That You Do It)
T:Tain't What You Do
C:James Young
L:1/8
M:2/2
I:linebreak $
K:Ab
V:1 treble nm="Voice"
%%MIDI program 52
V:1
 z4 z2"Eb7" e2 |"Ab" AAA"Ab/Gb"c- cc c2 |"Db/F" d d2 =d-"E7" d3 d |"Ab6" ee e2"Adim" e2 e2 | %4
w: When|I was a kid * a- bout|half past three, * my|dad- dy said son come|
w: ||||
"Bbm7" d2"E7" =B_B-"Eb7" B3 A |"Ab" e2 A2"Ab7/C" e3 A |"Db" e e2 d-"Bbm7b5" d3 B | %7
w: here to me * said|swing may come and|swing may go, * but|
w: |||
"Ab6" cc"Eb9/Bb" d2"Bdim" =d2"Ab6/C" e2 |"Bbm7" d2"Eb+7" =B"Ab"A- A2 A2 |: %9
w: this is one thing you|ought to know * Oh|
w: ||
"Ab" A A2 A"Ab/Gb" A A2 A |"Db6/F" A A2 A"Eb7" F F3 |"Db" A A2 A"Ab/C" A A2 A | %12
w: Tain't what you do, it's the|way that cha do it,|tain't what you do it's the|
w: Tain't what you do, it's the|way that cha do it,|tain't what you say it's the|
"Bbm7" A A2 A"Eb7" _c B3 |"Ab" A A2 A"Ab/Gb" A A2 A |"Db6/F" A A2 A"Eb7" ce- e2 | %15
w: way that cha do it,|tain't what you do it's the|way that cha do it, *|
w: way that cha say it.,|tain't what you say it's the|way that cha say it. *|
"Ab" e2"Adim" e2"Bbm7" (ed)"Eb7"=B"Ab"A- | A2"Adim" z2"Bbm7""Eb7" z4 |"Ab" A A2 A"Ab/Gb" A A2 A | %18
w: That's what gets * re- sults.||Tain't what you do it's the|
w: That's what gets * re- sults.||Tain't what you croon it's the|
"Db6/F" A A2 A"Eb7" F F3 |"Db" A A2 A"Ab/C" A A2 A |"Bbm7" A A2 A"Eb7" _c B3 | %21
w: time that cha do it,|tain't what you do it's the|time that cha do it,|
w: way theat cha croon it,|tain't what you croon it's the|way that cha do it,|
"Ab" A A2 A"Ab/Gb" A A2 A |"Db6/F" A A2 A"Eb7" ce- e2 |"Ab" e2"Adim" e2"Bbm7" (ed)"Eb7"=B"Ab"A- | %24
w: tain't what you do it's the|time that cha time it. *|That's what gets * re- sults.|
w: tain't what you croon it's the|way that cha croon it. *|That's what gets * re- sults.|
 A2 z2"Ab7" A2 B2 |"Db6" d3 d-"Ebm7" d4 |"Bbm7/F" z e3"Eb11" d"Eb+7" =B2"Ab6" A- | A2 z2 z4 | %28
w: * You can|try hard *|don't mean a thing||
w: * If you're|lone- some *|and on the shelf,||
 z4"Ab7" A2 B2 |"Db6" d3"Ebm7" d- d4 |"Edim""Db6/F" z8 |"Ab" z e2 c"Adim" e2 ce- | %32
w: Take it|ea- sy *||then your jive will swing.|
w: It's your|own fault, *||so just blame your- self.|
"Eb7""E9""Eb9" e8 |"Ab" A A2 A"Ab/Gb" A A2 A |"Db6/F" A A2 A"Eb7" F F3 |"Db" A A2 A"Ab/C" A A2 A | %36
w: |Tain't what you do it's the|place that cha do it.|Tain't what you do it's the|
w: |Tain't what you say it's the|place that cha say it.|Tain't what you croon it's the|
"Bbm7" A A2 A"Eb7" _c B3 |"Ab" A A2 A"Ab/Gb" A A2 A |"Db/F" A A2 A"Eb7" ce- e2 | %39
w: time that cha do it.|Tain't what you do it's the|way that cha do it. *|
w: time that cha croon it,|Taint what you do it's the|way that cha do it. *|
"Ab" e2"Adim" e2"Bbm7" (ed)"Eb7"=B"Ab6"A- |1 A z"Adim" z2"Bbm7""Eb7" z4 :|2 A"Eb7" z z2"Ab" z4 |] %42
w: That's what gets * re sults.|||
w: That's what gets * re- sults.-|||


It Doesn't Matter Anymore

Context: Released in 1959, 'It Doesn't Matter Anymore' is one of Paul Anka's most poignant ballads, reflecting themes of heartbreak and resignation. The song became a hit, showcasing Anka's smooth vocal style and emotional depth.

The song features a simple yet effective chord progression that enhances its melancholic tone. The use of minor chords evokes a sense of sadness, while the lyrical content expresses feelings of loss and acceptance. The melody is memorable and flows smoothly, allowing the listener to connect emotionally with the narrative of moving on from a past relationship. Anka's delivery is characterized by a heartfelt sincerity that resonates with the themes of regret and nostalgia, making it a timeless classic.

This piece is characterized by its slow tempo and reflective lyrics that convey deep emotional turmoil. The instrumentation typically includes piano and strings, which create a lush backdrop for the vocal line. The melody is smooth and lyrical, with a focus on expressing vulnerability and sorrow. The overall atmosphere is one of introspection, inviting listeners to reflect on their own experiences of love and loss.

In a dimly lit room, a solitary figure sits at a grand piano, the soft glow of a single lamp illuminating their face. Outside, raindrops gently tap against the window, mirroring the somber mood inside. The air is thick with nostalgia as the character reminisces about lost love, their fingers gliding over the keys in a slow, deliberate manner. Memories flicker like shadows on the wall—images of laughter shared and moments now past. As the music swells, an overwhelming sense of longing fills the space, capturing the essence of heartache and acceptance.

X:443
T:It Doesn't Matter Anymore
T:It doesn't matter anymore
T:Paul Anka
C:Paul Anka
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble
%%MIDI program 4
V:1
|:"^Rock Beat" z"F" A2 G FCDF | z A2 G F2 GA |"C7" z B2 A GGGG | z B2 A G2 G2 |"F" z A2 G FCDF | %5
w: There you go and ba- by|here am I well you|left me here so I could|sit and cry well|gol- ly gee what have you|
 z A2 G F2 FF |"C7" GGGG GEEE |"F" F8 |"F" z AAG FCDF | z A2 G FFGA |"C7" z B2 A G2 GA | %11
w: done to me Well I|guess it does- nt mat- ter an- y|more|Do you re- mem- ber ba- by|last Sep- tem- ber how you|held me tight each and|
 z B2 A G2 G2 |"F" z A2 G FCDF | z A2 G FFEF |"C7" GGGG GEEE |"F" F8 |"D" z D2 D DEFG | %17
w: ev- ry night well|whoops- a- dai- sy how you|drove me cra- zy but I|guess it does- nt mat- ter an y|more|Theres no use in me a-|
 z A2 G AG F2 |"F" z AAA AGFG | z A2 G AG F2 |"G7" GGGA G3 G | GGGA G2 AG |"C7" c4"Gm7" B4 | %23
w: cry- * * * in'|Done ev- ry thing and now I'm|sick of try- * in|Roll a- way my nights and|wast- ed all my days o- ver|you _|
"C7" A4 G4 |"F" z A2 G (FC)DF | z A2 G F2 F2 |"C7" z BBA GGGG | z B2 A G2 GG |"F" z AAG FCDF | %29
w: _ _|you go your _ way and|I'll go mine well|now and for- ev- er till the|end of time I'll find|some- bod- y new and ba- by|
 z AAG F2 F2 |"C7" G2 G2 GEEE |1"F" F8 :|2"F" F6 z2 |] %33
w: you say we're through and|you wont mat- ter an- y-|more.|more.|


It Don't Mean a Thing

Duke Ellington
Irving Mills
Johnny Hodges

Context: Originally composed in 1931, 'It Don't Mean a Thing' is one of the most iconic pieces associated with Duke Ellington. The song was co-written by Ellington and lyricist Irving Mills, and it became a defining anthem of the swing era. It emphasizes the importance of rhythm over melody and has been covered by numerous artists over the decades.

'It Don't Mean a Thing' exemplifies the characteristics of jazz and swing music through its upbeat tempo and syncopated rhythms. The piece is structured around a simple AABA form, where the A sections present a catchy melody that is repeated, while the B section provides contrast. The use of call-and-response techniques between the brass and woodwind sections showcases Ellington's innovative orchestration. The song's lyrics convey a message about the significance of rhythm in music, encapsulated in the famous line, 'It don't mean a thing if it ain't got that swing.' This phrase highlights the cultural shift towards rhythm-centric music during the 1930s, reflecting broader changes in American society and music at the time.

This piece features a lively, swinging rhythm that drives its infectious energy. The instrumentation includes a full big band setup with prominent brass and woodwind sections, creating a rich tapestry of sound. The melody is catchy and repetitive, designed to engage listeners and encourage dancing. The overall mood is celebratory, capturing the essence of jazz as an expression of joy and freedom.

The music plays in a bustling jazz club during the late evening hours, where patrons are dressed in elegant 1930s attire. The dimly lit room is filled with swirling cigarette smoke and laughter, as couples dance energetically on the polished wooden floor. A spotlight shines on the bandstand where Duke Ellington himself leads his orchestra with charisma. The vibrant sound of brass instruments fills the air, compelling everyone to sway to the rhythm. The atmosphere is electric, with an air of excitement as dancers lose themselves in the music, embodying the spirit of joy that defines this era.

X:444
T:It Don't Mean a Thing
T:It Don't Mean a Thing
T:Duke Ellington
C:Duke Ellington
L:1/4
Q:1/4=120
M:4/4
I:linebreak $
K:Gmin
V:1 treble nm="Voice"
%%MIDI program 54
V:1
 d |:"Gm" G2 G B | d2 G B |"Eb7" _d2"D+7" c/ B G/- |"Gm7" G4 |"C7" z B/B/- B/B/ B | %6
"F9sus4" B/ B B/ B B/B/- |"Bb6" B/B/ B B/ B B/- |1"D+7" B z z B :|2 B3 c ||"Fm7" c c c/ B c/- | %11
"Bb7" c B c/ B3/2 |"Ebmaj7" G4- | G3 c |"C7" c c c/ c3/2 | c B c/ B3/2 |"F7" F4 |"F9" G3"D+7" d || %18
"Gm" G2 G B | d2 G B |"Eb7" _d2"D+7" c/ B G/- |"Gm7" G4 |"C7" z B/B/- B/B/ B | %23
"F9sus4" B/ B B/ B B/B/- |"Bb6" B/B/ B B/ B B/ | B4 |] %26


It Ends Tonight

Context: Released in 2006, 'It Ends Tonight' is one of the All-American Rejects' most popular songs, showcasing their signature sound that blends rock with pop elements. The song gained significant radio play and was featured in various media, enhancing its popularity.

The song features a slow, melancholic melody that builds into an emotionally charged chorus. The use of dynamics is notable, with verses that are softer and more introspective, contrasting with the powerful and anthemic chorus. Lyrically, it explores themes of love, loss, and the emotional turmoil associated with a relationship's end. The instrumentation includes prominent guitar riffs and a steady drumbeat that supports the vocal delivery, creating a sense of urgency and longing. The harmonic structure is relatively simple yet effective, allowing the emotional weight of the lyrics to resonate with listeners.

This piece is characterized by its poignant lyrics that reflect deep emotional struggles related to love and separation. The vocal delivery is heartfelt and raw, conveying a sense of vulnerability. Instrumentally, it features a blend of electric guitars, bass, and drums that create a rich soundscape. The arrangement builds tension through crescendos leading into the chorus, which serves as a cathartic release for the listener. Overall, it embodies the essence of a rock ballad with its focus on lyrical storytelling and emotional expression.

In a dimly lit room during twilight, a young couple sits on opposite ends of a worn-out couch, their faces illuminated by the soft glow of a nearby lamp. The atmosphere is heavy with unspoken words as they exchange glances filled with sadness and regret. Outside, raindrops gently tap against the windowpane, mirroring the turmoil within. As the music plays softly in the background, it underscores their shared memories—moments of laughter now overshadowed by the weight of impending separation. The scene captures the essence of heartbreak as they confront their feelings, each aware that this may be their last moment together.

X:445
T:It Ends Tonight
C:All-American Rejects
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Voice"
V:1
"_Anote""^Am7" A,2 c2 c2 E2 |"^Am7/G" G,2"_Gnote" c2 c2 E2 |"_Fnote""^Fmaj7" F,2 c2 c2 E2 | %3
w: |||
"^Am7/G" G,2"_Gnote" c2 c2 E2 |"^Am" E2-zG, GG{D} E2- |"^F" E2zG, GG{D} E2- |"^Dm" EC C2 D2 C2 | %7
w: |* Your sub- tle- *|* they stran- gle *|* * I can't ex-|
"^Em"{E} F2 E2 DCB,C- |"^Am" C2zG, GG"^/G"{D} E2- |"^F" E2zG, GG"^F/E"{D} E2- |"^Dm" EC C2 D2 C2 | %11
w: * my- self at all _|_ And all the *|* and all the *|* * All I don't|
"^Em" F2 E2 DCB,C- |"^Fsus2" C2zG, E>C- CB,- | B, C2G, E>C- CB,- |"^Csus2" B, C2zzC CG | %15
w: want to need _ at all|_ The walls start * breath-|* * my minds un- _ weaving|_ _ may- be it's|
 G>F- FE- EGCC- |"^Fsus2" C2zG, E>C- CB,- |"^C/E" B, C2 z E>C- CB,- |"^Dm7" B, C2 z G2 FF | %19
w: best you _ leave * me a- lone|_ a weight is * lifting|* * on this _ e-|_ vening I give the|
 E>G- GC z2 C2 |"^Csus2" G2{E} F2 E2 FE- |"^Fsus2" E2E z D2 CG,- |"^Am7" G,2E z D2 CG,- | %23
w: final _ _ blow When|dark- * turns to light|_ it ends to- night|_ It ends to- night|
"^Gsus4" G,2 z2 z2 z2 |"^Am"z2>G,2 GG{D} E2- |"^F" ECCA, CD E2- |"^Dm" EC C2 D2 G2 | %27
w: _|A fall- ing *|* * at least I fall a-|_ lone I can't ex-|
"^Em" E2 CC D>G- GE- |"^Am" E2zG, GG{D} E2- |"^F" ECCA, CD{D} E2- |"^Dm" E z C2 D2 G2 | %31
w: plain what you can't ex- _ plain|_ Your find- ings *|* that you did- n't know _|_ I look at|
"^Em"{F} GE E2 E>E- EC- |"^Fsus2" C2zG, E>C- CB,- | B, C2G, E>G- GG- |"^Csus2" GE D2zC CG | %35
w: * * with such dis- * tain|_ The walls start _ breath-|_ ing, my minds un- _ weav-|_ ing _ May- be it's|
 G>F- FE- EGCC- |"^Fsus2" C2zG, E>C- CB,- |"^C/E" B, C2 z E>G- GG- |"^Dm7" GE D2 G2 FF | %39
w: best you * leave * me a- lone|_ A weight is _ lift-|_ ing on this * e-|_ ven- ing I give the|
 E>G- GC z2 C2 |"^Csus2" G2{E} F2 E2 FE- |"^Fsus2" E2E z D2 CG,- |"^Am7" G,2E z D2 CG,- | %43
w: fin- al * blow When|dark- * turns to light|_ It ends to- night,|_ It ends to- night|
"^Gsus4" G,2 CC DC C2 |"^Csus2" G2zF E>G- GC- |"^Fsus2" C2 E2 D2 CG,- |"^Am7" G,2 E2 D2 CG,- | %47
w: _ Just a lit- tle in-|sight won't make this * right|_ it's- late to fight|_ It ends to- night|
"^Gsus4" G,zzE D>C- CC- |"^Am7" C2 z2 C2 C2 |"^Gsus4" C2 C2 G2 ED- |"^D/F#" DzzD EEDC | %51
w: _ It ends to- _ night|_ Now I'm|on my own side *|* It's bet- ter than *|
"^Fsus2" CC C2"_your" D2 CB, |"^Am7" A,2 z2 E2 E2 |"^Gsus4" c2 BG G2 c2 |"^D/F#" A2>E2 EEDC | %55
w: be- ing on * side _|_ It's my|fault when * you're blind|* It's bet- ter than *|
"^F5" CC C2{C} D2 CB, |"^Am/E" A,2 z2 E2 E2 |"^Fsus2" B2 G2 G2 B2 |"^Dsus7" c4 G2FF | %59
w: see- ing though * eyes _|_ All these|thoughts locked in- side|_ Now you're the|
 E>"^Gsus"G- GC- C2 C2 |"^Cnote" G2{E} F2 E2 F{E}E- |"^Fnote" E2E z D2 CG,- | %62
w: first _ to know _ When|dark- * turns to *|* it ends to- night|
"^Anote" G,2E z D2 CG,- |"^Gnote" G,2 CC DC C2 |"^Csus2" G2zF E>G- GC- |"^Fsus2" C2 E2 D2 CG,- | %66
w: _ it ends to- night|_ Just a lit- tle in-|sight won't make this _ right|_ it's- late to fight|
"^Am7" G,2>E2 D>C- CF |"^Gsus4" E z E2 FE C2 |"^Csus2" G2 F2 E2 FE- |"^Fsus2" E2 E2 D2 CG,- | %70
w: _ It ends to- _ night|_ It ends _ when|dark- ness turns to light|_ it ends to- night|
"^Am7" G,2 E2 D2 CG,- |"^Gsus4" G,2 CC DC C2 |"^Csus2" G2zF E>G- GC- |"^Fsus2" C2 E2 D2 CG,- | %74
w: _ it ends to- night|_ Just a lit- tle in-|sight won't make this _ right|_ it's- late to fight|
"^Am7" G,2 E2 D2 CG,- |"^Gsus4" G,2zE D2 CG- |"^Csus2" G2>E2- E4- |"^Fsus2" E4- E z AG | %78
w: _ it ends to- night|_ It ends to- night|_ _ _|* * to- _|
"^Am7" G2>E2- E2 FE | D7"^Gsus4"D |"^Csus2" FE- E6 |"^Fsus2"z2z2z2zC |"^Am7" G2 E2 E2 FE- | %83
w: night _ _ _ _|_ in-|side _ _|when|dark- ness turns to light|
"^Gsus4" E2 E2 D2 CC- |"^C" C8- | C6 z2 | z8 |] %87
w: _ it ends to- night|_|||