Little Devil

Context: Released in 1961, 'Little Devil' became one of Neil Sedaka's popular hits, showcasing his unique blend of pop and rock music. The song was co-written by Sedaka and Howard Greenfield, contributing to Sedaka's rise as a prominent figure in the music industry during the early 1960s.

Musically, 'Little Devil' features a catchy melody characterized by its upbeat tempo and playful lyrics. The song employs a simple verse-chorus structure, which is typical of pop music from this era. The instrumentation includes piano, guitar, and a prominent drumbeat that drives the rhythm forward. Lyrically, the song explores themes of love and temptation, using the metaphor of a 'little devil' to represent the alluring yet mischievous nature of romantic relationships. The vocal delivery is energetic and engaging, highlighting Sedaka's distinctive voice and emotive style. The harmonies in the chorus add depth to the overall sound, making it memorable and singable.

The piece is characterized by its lively tempo and infectious rhythm, featuring bright melodies that evoke feelings of joy and nostalgia. The instrumentation blends traditional pop elements with rock influences, creating a sound that is both classic and timeless. Lyrically, it captures the essence of youthful romance, employing playful metaphors to convey the excitement and challenges of love.

In a sunlit diner during the early evening hours, a young couple sits in a cozy booth, surrounded by retro decor and soft neon lights. The girl, with her hair styled in loose waves and wearing a polka-dot dress, giggles as she playfully nudges her partner. He leans back with a charming smile, his casual attire reflecting carefree youth. As 'Little Devil' plays on the jukebox, the atmosphere is filled with laughter and light-hearted banter. Outside, the golden hues of sunset filter through the windows, casting warm shadows on their table. The scene captures a moment of innocent joy and budding romance, perfectly complemented by the upbeat melody that fills the air.

X:507
T:Little Devil
T:Little Devil
T:Neil Sedaka & Howard Greenfield
C:Neil Sedaka and Howard Greenfield
L:1/8
M:2/2
I:linebreak $
K:C
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
|:"C" c2 d2 c2 B2 |"Am" B c2 A- A4 |"F""Dm7" A6 AG |"G7" A G3- G2 z2 ::"C" c2 BB AA G2 | %5
w: Woe, woe, woe, woa!|Yeah, yeah, yeah! *|Hey! Lit- tle|Dev- il! *|1...Hey! Lit- tle Dev- il, you're|
w: ||||2....Hey! Lit- tle Dev- il, you|
 A2 EG- GA c2 |"Am" A8- | A4"Dm7" z2"G7" GG |"C" c2 BB AAGG | A2 EG- GA c2 |"Am" A8- | %11
w: al- ways run- * ing a-|round,|* It's *|time that * some- * one *|start- ed tam- * in' you|down;|
w: got me all * in a|whirl,|* You're a|cute Lit- tle Dev- il and I'm|gon- na make * you my|girl;|
 A4"Dm7" z2"G7" G2 |"C" c2 z2 z2 c2 |"E7" B2 cB- B3 E |"F" A2 F2 c2 A2 |"Cdim" c2 A6 | %16
w: * There'll|be some|chang- es made, * your|rov- in' days are|through, *|
w: * You're|out to|break my heart, * but|just be- fore you|do, *|
"C" G2 G^G"A7" A A2 =G |"D7" A^GA^A"G7" BAB=G |1"C" c8- ||"Dm7" c2 z2 z4 :|2"C" c8- || %21
w: Hey! Lit- tle Dev- il, I'm|gon- na make an an- gel out of|you.||you.|
w: Hey! Lit- tle Dev- il I'm|gon- na make an an- gel out of||||
"Am" c2 z2 z2 c2 |"E7" B2 cB- B3 E | B2 cB- B3 B |"Am" B2 A2 A2 BA- | A4 z2 BA |"D7" D2 ^F2 AABA | %27
w: * They|say be- ware * but|I don't care * I|love you just the same,|* You're an|old heart break- er and a|
w: ||||||
 D2 ^F2 A A2 A |"G7" B2 B2"Dm7" A"G7" A2 G- | G2 G2"Dm7" A2"G7" B2 |"C" c2 BB AAGG | A2 EG- GA c2 | %32
w: mis- chief mak- er but|I'm wise to your game.|* Woe, woe, woe!|Hey! Lit- tle Dev- il ev- 'ry-|thing is gon- * na be|
w: |||||
"Am" A8- | A4"Dm7" z2"G7" G2 |"C" c2 B2 A2 G2 | A2 EG- GA c2 |"Am" A8- | A4"Dm7" z2"G7" G2 | %38
w: fine.|* 'Cause|some- day soon I'm|gon- na make * you all|mine;|* There'll|
w: ||||||
"C" c6 c2 |"E7" BB^AB- B3 E |"F" A2 A2 c2 A2 |"Cdim" c A3- A2 z2 |"C" G2 G^G"A7" A A2 =G | %43
w: be no|run- nin' a- round, * you|met your "Wa- ter-|loo," * *|Hey Lit- tle Dev- il I'm|
w: |||||
"D7" A^GA^A"G7" BAB=G |"C""Dm7""Ab7""C" c8- | c z z2 z4!fine! |: %46
w: gon- na make an an- gel out of|you!||
w: |||
"C""^optional repeat and fade" c2 d2 c2 B2 |"Am" B c2 A- A4 |"F""Dm7" A6 AG |"G7" A G3- G2 z2 :| %50
w: Woe, woe, woe, woa!|Yeah, yeah, yeah! *|Hey! Lit- tle|Dev- il! *|
w: ||||


Little Green Apples

Context: Released in 1968, 'Little Green Apples' became a hit for Bobby Russell and has been covered by various artists, including O.C. Smith. The song reflects themes of love, nature, and the simple joys of life, resonating with listeners through its heartfelt lyrics and melodic structure.

'Little Green Apples' features a gentle melody and a reflective lyrical style that evoke feelings of nostalgia and warmth. The song's structure is characterized by a verse-chorus format, with a prominent use of imagery related to nature, which serves as a metaphor for life's simple pleasures. The instrumentation typically includes soft piano and strings, creating an intimate atmosphere. Lyrically, the song expresses the idea that true happiness comes from appreciating the small, everyday moments in life, rather than material wealth or grand achievements. This thematic focus on authenticity and emotional connection is reinforced by the song's melodic simplicity and heartfelt delivery.

The music is characterized by a soothing melody that flows gently through its verses. The instrumentation includes soft piano chords accompanied by strings, creating an intimate and warm atmosphere. Lyrically, the piece reflects on the beauty of everyday experiences and the importance of love and connection, using vivid imagery to evoke emotions associated with nature and personal relationships.

Imagine a serene countryside setting at dawn, where the first rays of sunlight filter through the trees, casting a golden glow on dew-kissed grass. In this peaceful scene, a couple sits on a porch swing, their fingers intertwined as they share quiet laughter. The air is filled with the sweet scent of blooming flowers and fresh earth, while birds chirp melodiously in the background. As they reminisce about their shared memories—moments filled with joy and love—the music plays softly, enhancing the emotional resonance of their conversation. The scene captures the essence of contentment found in simple pleasures, perfectly aligned with the themes of the music.

X:508
T:Little Green Apples
T:Little Green Apples
T:Bobby Russell
C:Bobby Russell
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
 z2"^N.C." z A/B/ |"Am" c c c c | c c A B | c c c d |"D7" B A G A |"G" D/C/ D z2 | z4 | z4 | %8
w: And I|wake up in the|morn- ing with her|hair down in my|eyes and she says|Hi * *|||
 z2 z A/B/ |"Am" c c c c | c c c/A/A/B/ | c c c d |"D7" B A c B |"G" D/C/D/ z/ z2 | z4 | %15
w: and I|stum- ble to the|break- fast ta- ble while the|kids are go- ing|off to school good-|bye * *||
 z2 z B/c/ | d d d B |"Dm" c B A2 |"G7" d d d B | c B A B |"C" A4- | A4- | A4 | z2 z A/B/ | %24
w: and she|reach- es out and|takes my hand|squeez- es it says|how you feel- in|Hon?|||and I|
"Am" c c c d |"D7" B A A A |"Am" c c c d |"D7" B A c B |"G" G4- | G4- | G4 | z D/D/ E D | %32
w: lood a- cross at|smil- ing lips that|warm the heart and|see my morn- ing|sun|||and if thats not|
"Am" A d d2- |"D7" d4 | z4 | z D E D |"Am" A d d2- |"D7" d4 | z4 | z4 |:"G" B B/B/ B2 | %41
w: lov- ing me|||then all I've|go to say||||God did- nt make|
 B B/B/ c B/D/ | B B B B | B B c/B/A/G/ |"Am" A/E/ E3- | E4 | z4 | z2 z A | A A A A | B A A2 | %50
w: lit- tle green ap- ples and|it dont rain in|In- dian- ap- lis in the|sum- mer- time|||theres|no such thing as|Doc- tor Seuss|
 A A A A |"D7" B A A ^F/F/ |"G" G D D2- | D4- |"^Repeat and fade" D4 | z4 :| %56
w: Dis- ney- land and|Moth- er Goose is no|nurs- ery thyme||||


Little Things Mean A Lot

Context: Originally recorded in 1954, 'Little Things Mean A Lot' became a significant hit for various artists, including Kitty Kallen. The song reflects on the importance of small gestures in romantic relationships, emphasizing emotional depth over grand displays of affection.

The song features a simple yet poignant melody that complements its lyrical content, which revolves around the theme of love and the significance of small acts of kindness. Musically, it employs a standard verse-chorus structure, with a gentle swing rhythm that enhances its nostalgic feel. The instrumentation typically includes strings and soft brass, creating a warm atmosphere. The vocal delivery is heartfelt, often characterized by a smooth and expressive style that conveys the emotional weight of the lyrics. Harmonies may be used to enrich the chorus, emphasizing the communal aspect of love and relationships.

This piece is characterized by its soft melodic lines and heartfelt lyrics that convey deep emotional sentiments. The arrangement typically highlights gentle instrumentation, creating an intimate listening experience. The vocal performance often features smooth phrasing and emotional expression, drawing listeners into the reflective nature of the lyrics. The overall mood is one of warmth and nostalgia, making it resonate with themes of love and appreciation.

The music plays softly in a cozy living room adorned with vintage decor, where a couple sits together on a plush sofa. The warm glow of a fireplace casts flickering shadows on the walls as they share a quiet moment. Outside, raindrops gently tap against the windowpane, adding to the intimate atmosphere. The woman glances at her partner with a smile, reminiscing about their shared memories while he reaches for her hand, squeezing it gently to express his affection. The scene captures a timeless moment where the little things—a touch, a glance—speak volumes about their love.

X:509
T:Little Things Mean A Lot
T:Little Things Mean A Lot
C:Carl Stutz, Edith Lindeman
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
"Eb" (3E F G"Cm7" G F/E/ |"Fm7" F/G/ F3 |"Bb7" (3D E F F E/D/ |"Eb""Fm7""Eb" E4 | %4
w: Blow me a kiss from a-|cross the room.|Say I look nice when I'm|not.|
"Ebmaj7" G"Fm7" A"Gm7" B"Cm7" G/E/ |"Fm7" A3/2 B/"Fm7b5" A2 |"F7" G/F/ E"Cm7/F" E"F9" G | %7
w: Touch my hair as you|pass my chair,|lit- tle things mean a-|
"Fm7/Bb""Bb7" F4 |"Eb" (3E F G"Cm7" G F/E/ |"Fm7" F/G/ F3 |"Bb7" (3D E F F E/D/ |"Eb" E3 E | %12
w: lot|Give me your arm as we|cross the street.|Call me at six on the|dot; a|
"Ebmaj7" G"Fm7" A"Gm7" B"Cm7" G/E/ |"Fm7" A3/2 B/"Fm7b5" A2 |"F9" G/F/ E"Bb7sus4" B,"Bb7" F | %15
w: line a day when your|far a- way,|lit- tle things mean a-|
"Eb""Fm7""Eb" E4 ||"Bbm7/Eb" B B/B/"Eb7" B B |"Bbm7/Eb" (3B c A"Eb7" B2 | %18
w: lot.|Don't have to buy me|dia- monds and pearls,|
"Bbm7/Eb" B B"Eb7" (3B A G |"Ab6" F4 |"G7" (3F G A"Abdim" A G/F/ |"Cm7" (3E F G"Am7" G3/2 E/ | %22
w: cham- pagne, sab- les and|such.|I nev- er cared much for|dia- monds and pearls, 'cause|
"Fm" (3F =E F"C7" (3G ^F G |"Fm7" A"Bb9" B"Fm7" c"Abdim" d |:"Eb" (3e e e"Cm7" e d/c/ | %25
w: hon- est- ly hon- ey they|just cost mon- ey.|Give me you hand when I|
"Fm7" e3/2 F/ A2 |"Bb7" (3d d d (3d c B |"Ebdim" =A"Eb" B3 |"C+7" (3c c c c3/2 B/ | %29
w: lost my way|Give me your shoul- der to|cry on:|Wheth- er the day is|
"Fm" A3/2 c/ F2 |"Cm7/F" (3G G G"F9" d =E/F/ |"Fm7/Bb" c"Bb7" B3 |"Eb" (3E F G"Cm7" G F/E/ | %33
w: bright or gray,|give me your heart to re-|ly on.|Send me the warmth of a|
"Fm7" F/ G F2 F/ |"Bb7" (3D E F"Abdim7" F E/D/ |"Eb" G3 G |"Ab" (3A B c"Bb9" B/ A3/2 | %37
w: se- cret smile. to
|show me you have- 'nt for|got; that|al- ways and ev- er|
"Ab" (3G A B"F7" A/ G3/2 |"F7" G/F/ E"Bb7sus4" B,"Bb7" F |1"Eb""Gbdim" E3"Fm7""Bb7" z :|2 %40
w: now and for- ev- er|lit- tle things mean a|lot.|
"Eb" E3"Db6""Eb6" z |] %41
w: lot.|


Livin' La Vida Loca

Context: Released in 1999, 'Livin' La Vida Loca' became a breakout hit for Ricky Martin, marking a significant moment in the Latin pop explosion in the United States. The song's catchy melody and infectious rhythm helped it reach the top of the charts worldwide. It is often credited with bringing Latin music into the mainstream American pop culture.

'Livin' La Vida Loca' features a vibrant blend of Latin rhythms and pop sensibilities, characterized by its use of brass instruments and a driving percussion section that creates an energetic atmosphere. The song's structure follows a typical pop format with verses, a catchy chorus, and a bridge that enhances its dynamic quality. Lyrically, it tells the story of a seductive woman who embodies excitement and danger, which is reflected in the song's fast-paced tempo and lively instrumentation. The use of syncopation and rhythmic accents adds to the overall sense of urgency and thrill, making it a quintessential dance track.

This music piece is characterized by its upbeat tempo and lively instrumentation, combining elements of pop and Latin music. The arrangement includes prominent brass sections, rhythmic percussion, and catchy melodic hooks that invite listeners to dance. The vocal delivery is dynamic and expressive, conveying themes of passion and adventure. Overall, the piece creates an exhilarating atmosphere that captures the essence of living life to the fullest.

The music plays in a vibrant nightclub setting during a lively evening party. Colored lights flash across the room as people dance energetically on the floor, their laughter and cheers blending with the pulsating beat. A charismatic woman in a shimmering dress moves through the crowd, drawing attention with her magnetic presence. The air is filled with excitement as guests sip colorful cocktails, their faces illuminated by neon lights. The atmosphere is electric, embodying freedom and celebration as everyone loses themselves in the rhythm of the music.

X:510
T:Livin' La VIda Loca
C:Ricky Martin
L:1/8
M:4/4
I:linebreak $
K:E
V:1 treble nm="[Alto Saxophone]"
%%MIDI program 65
V:1
"C#m" C2 G2 G2>E2 | F A2A- A G3 | C2 G2 G2zD | D F2F- F E3 | C2 G2 G2zE | F A2A- A G3 | %6
w: ||||||
w: ||||||
w: ||||||
 C2 G2 G2zD | D F2F- F E3 | z2 G2 G2>E2 | F A2A- A G3 | z2 G2 G2 D2 | D F2E- ED z2 | z2 G2 G2>E2 | %13
w: ||She's in to|su- per- sti- * tions|black cats and|voo- doo dolls. _ _|I feel a|
w: |||||||
w: |||||||
 F A2A- A G3 | z2 G2 G2 CC | D F2E- ED z2 | C2 C2 E F2G- | G2 FG- GFGF | C2 C2 E C2G- | G8 |: %20
w: prem- on- i- * tion|that girl's gon- na|make me fall. _ _|_ _ _ _ _||||
w: |||||||
w: |||||||
 z2 G2 G2>E2 | F A2A- A G3 | z2 G2 G2 CC | D F2E- ED z2 | z2 G2 G2zE | F A2A- A G3 | z2 G2 G2 C2 | %27
w: She's in- to|new sen- sa- _ tions|new kicks in the|can- dle light. _ _|She's got a|new ad- dict- _ ion|for every *|
w: Woke up in|New York C- _ ity|in a fun- ky|cheap ho- tel _ _|She took heart|and she took my ey|she must- 've|
w: |||||* * * * mon-||
 D F2E- EDzF |S"F#m" c2 cc- c c2c- | c c2d- d e2e- |"G#m" e2 dd- dc d2- | d4 z2 Ac- | %32
w: day and * night. * She'll|make you take _ your clothes|_ off and _ go dan-|_ cing in _ the rain.|_ She'll make|
w: slipped me sleep ing pill She|ne- ver drinks _ the wa-|_ ter and _ makes you|_ or- der _ _ Cham-|pagne Once you've|
w: * * a * * *|||||
"A" c c2c- c c2c- | c c2c- cdeg- |"B" g2 ff- f e2f- | f4zd eg- |"^G#sus7" g f2f- f e2g | %37
w: _ you live _ her cra-|_ zy life _ but she'll take|_ a- way _ your pain|_ like a bul-|_ let to _ your brain.|
w: * had a _ taste of|_ her you'll _ ne- ver be|_ the same _ _ _|Yeah, she'll _ make|you go _ _ in- sane.|
w: |||||
"_Come on!" f6 z2 |"C#m" e2>e2- e2 e2- | e e3 e2zF |"B" dddd- d f2f- |"C#m" f e3 z2 c2 | %42
w: _|Up- side, _ in-|_ side out she's|liv- in' la vi- _ da lo-|_ ca She'll|
w: |||||
w: |||||
 e2>e2- e2 e2- | e e3 e4 |"B" dddd- d f2f- |"C#m" f e3 z2 c2 | e2>e2- e2 e2- | e e2e- e2 ee | %48
w: push and _ pull|_ you down,|liv- in' la vi- _ da lo-|_ ca Her|lips are _ de-|* vil red * and her|
w: ||||||
w: ||||||
"B" d2 dd- deff- |"C#m" f e3 z4 | e2>e2- e2 e2- | e e3 e4 |"B" dddd- d e2d- | %53
w: skin's the co- _ lor mo- _|cha *|She will _ wear|_ you out|liv- in' la vi- _ da lo-|
w: |||||
w: |||||
"C#m" d c3"_Come on!" z4 |"B" dddd- d f2f- |"C#m" f"_Come on!" e3z2>F2 | %56
w: _ ca|liv- in' la vi- _ da lo-|_ ca Shes|
w: |||
w: |||
 ddd"^2nd"d- d"^time" f2"^to"f-O | f e3 z4 | C2 G2 G2zE | F A2A- A G3 | C2 G2 G2zD | D F2F- F E3 | %62
w: liv- in' la vi- _ da lo-|_ ca|||||
w: ||||||
w: ||||||
 C2 G2 G2zE | F A2A- A G3 |1 C2 G2 G2zD | D F2F- F E3 :|2 D F2F- F E2SF ||O"^coda" f e3 z4 |: %68
w: ||||* * * GO to She'll|* ca|
w: ||||||
w: ||||||
"C#m" e2>e2- e2 e2- | e e3 e2zF |"B" dddd- d f2f- |"C#m" f e3 z2 c2 | e2>e2- e2 e2- | e e3 e4 | %74
w: Up- side, _ in-|_ side out she's|liv- in' la vi- _ da lo-|_ ca She'll|push and _ pull|_ you down,|
w: ||||||
w: ||||||
"B" dddd- d f2f- |"C#m" f e3 z2 c2 | e2>e2- e2 e2- | e e2e- e2 ee |"B" d2 dd- deff- | %79
w: liv- in' la vi- _ da lo-|_ ca Her|lips are _ de-|* vil red * and her|skin's the co- _ lor mo- _|
w: |||||
w: |||||
"C#m" f e3 z4 | e2>e2- e2 e2- | e e3 e4 |"B" dddd- d e2d- |"C#m" d c3"_Come on!" z4 | %84
w: cha *|She will _ wear|_ you out|liv- in' la vi- _ da lo-|_ ca|
w: |||||
w: |||||
"B" dddd- d f2f- |"C#m" f"_Come on!" e3z2>F2 |1"B" dddd- d f2f- |2"C#m" f e3 z4 :|"B" z8 | %89
w: liv- in' la vi- _ da lo-|_ ca Shes|liv- in' la vi- _ da lo-|_ ca||
w: |||||
w: |||||
"C#m" z8 |] %90
w: |
w: |
w: |


Livin' on a Prayer

Context: Released in 1986, 'Livin' on a Prayer' became one of Bon Jovi's most iconic songs. The track tells the story of Tommy and Gina, two working-class individuals facing life's challenges. It reached number one on the Billboard Hot 100 and has since become a staple of rock music, often played at sports events and concerts.

'Livin' on a Prayer' features a distinctive talk box riff that contributes to its anthemic quality. The song is structured with a verse-chorus format, where the verses narrate Tommy and Gina's struggles, while the chorus serves as a powerful, uplifting refrain that emphasizes resilience and hope. The harmonic progression is predominantly based on the I-IV-V chords, creating a familiar and accessible sound. The use of dynamics throughout the track builds anticipation, particularly leading into the chorus, enhancing the emotional impact of the lyrics. The lyrical themes of perseverance resonate universally, making it relatable to listeners from various backgrounds.

The music piece is characterized by its driving beat and soaring vocals that convey a sense of urgency and determination. Instrumentally, it combines electric guitars with synthesizers, creating a rich soundscape that supports the vocal melody. The lyrics tell a compelling story of struggle and hope, drawing listeners into the narrative of two protagonists navigating their hardships together.

Set in an urban landscape at dusk, the scene unfolds in a bustling city where neon lights begin to flicker to life. Tommy stands beside Gina on a rooftop, overlooking the skyline as they share dreams for a better future. The wind tousles their hair as they lean against each other, their expressions a mix of determination and vulnerability. Below them, the sounds of traffic and distant laughter create a backdrop to their intimate moment. As they sing along to their anthem, the city pulses with energy, symbolizing both the challenges they face and their unwavering hope for tomorrow.

X:511
T:Livin' on a Prayer
T:Livin' on a Prayer
T:Bon Jovi
C:Bon Jovi
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble
%%MIDI program 40
V:1
 z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | ggfe ede(e | d) B3 z4 | ggfe e2 z g | %15
w: ||||||||||||Tom- my used to work on the docks,-||un- ion's been on strike. He's|
 (3g2 f2 e2 e2 B2 | (AG) E2 z4 | z4 z B2 (A- | A) B3 z4 | z8 | ggfe ede(e | d) B3 z4 | %22
w: down on his luck it's|tough- * *|so tough.-|||Gi- na works the di- ner all day-||
 ggfe e2 z f | (3g2 f2 e2 e2 B2 | (AG) E2 z4 | z4 z B2 (A- | A) B3 z4 | z2 z B Bddd | e3 d3 z B | %29
w: work- ing for her man, she|brings home her pay, for|love,- * *|for love.-||She says we've got to|hold on to|
 d2 e2 B2 z e | eeed dddB | dd e2 e2 z e | e e2 d2 B z B | d2 e2 B2 (AG) | (A G3) z2 z F | %35
w: what we got. It|does- n't make a dif- f'rence if we|make it or not. We've|got each oth- er and|that's a lot for- *|love.- * We'll|
 (3G2 F2 E2 E2 z2 | (g4 g3) g | g2 f2 (e2 d2) | (b3 c'3) z c'- | c'c'bg (g2 a2) | g(ga) g3 z g | %41
w: give it a shot.|Whoa,- * we're|half- way there.- *|Whoa,- * liv-|* in' on a prayer.- *|Take my- * hand, we'll|
 gg f2 (e2 d2) | (b3 c'3) z c'- | c'c'bg (g2 a2) | z8 | z8 | ggfe edee | d B3 z2 z g | %48
w: make it I swear.- *|Whoa,- * liv-|* in' on a prayer.- *|||Tom- my's got his six- string in hock,-|* * now|
 g2 fe e2 z g/g/ | ggfe e2 B2 | GF E2 z4 | z4 z B2 (A- | A) B3 z4 | z8 | ggfe ede(e | d) B3 z4 | %56
w: he's hold- ing in what he|used to make it talk. So|tough,- * *|it's tough.-|||Gi- na dreams of run- ning a- way;-||
 (3g2 g2 f2 ee B/B/B | B2 z2 ee f2 | b2 (ag) e2 z2 | z4 z e2 B- | B4 z4 | z4 z ddd | e3 d3 z B | %63
w: she cries in the night Tom- my whis-|pers: Ba- by it's|O. K.- * *|some- day.-||We've got to|hold on to|
 d2 e2 B2 z e | eeed dddB | dd e2 e2 z e | e e2 d2 B z B | d2 e2 B2 (AG) | (A G3) z2 z F | %69
w: what we got. It|does- n't make a dif- f'rence if we|make it or not. We've|got each oth- er and|that's a lot for- *|love.- * We'll|
 (3G2 F2 E2 E2 z2 | (g4 g3) g | g2 f2 (e2 d2) | (b3 c'3) z c'- | c'c'bg (g2 a2) | g(ga) g3 z g | %75
w: give it a shot.|Whoa,- * we're|half- way there.- *|Whoa,- * liv-|* in' on a prayer.- *|Take my- * hand, we'll|
 gg f2 (e2 d2) | (b3 c'3) z c'- | c'c'bg (g2 a2) | c'2 c' c'3 c'(b | b>)a g4 z2 | z8 | z8 | z8 | %83
w: make it I swear.- *|Whoa,- * liv-|* in' on a prayer.- *|Liv- in' on a prayer.-|||||
 z8 | z8 | z8 | z8 | z6 z (g | g4-) ggge | (f2 e) e3 z2 | ee(ed) e2 z g | (3g2 g2 e2 (3g2 g2 e2 | %92
w: ||||Oh,-|* * we've got to|hold- * on|read- y or- * not. You|live for the fight when it's|
[M:3/4] (3a2 a2 a2 a2 |:[K:Bb][M:4/4] (b4 b3) b | b2 a2 (g2 f2) | (d'3 e'3) z e'- | %96
w: all that you've got.|Whoa,- * we're|half- way there.- *|Whoa- * liv-|
 e'e'd'b (b2 c'2) | b c'2 b3 bb | bb a2 (g2 f2) | (d'3 e'3) z e'- | %100
w: * in' on a prayer.- *|Take my hand and we'll|make it, I swear.- *|Whoa,- * liv-|
 e'e'd'b (b2"^Repeat and Fade" c'2) :| %101
w: * in' on a prayer.- *|


Living For The City

Context: Released in 1973, 'Living For The City' is a significant track from Stevie Wonder's album 'Innervisions'. The song addresses the struggles of African Americans in urban environments, highlighting issues such as poverty, discrimination, and the quest for a better life. It features a blend of funk and soul, showcasing Wonder's innovative use of synthesizers and socially conscious lyrics.

'Living For The City' employs a narrative structure that unfolds in three distinct sections: the introduction, the main story, and the conclusion. The introduction sets the stage with a spoken-word segment that introduces the protagonist's background. The main body of the song uses vivid imagery to depict the protagonist's journey from rural life to urban struggles, emphasizing themes of hope and despair. Musically, the piece is characterized by its rich harmonic textures and rhythmic complexity, combining elements of funk with orchestral arrangements. The use of synthesizers creates a futuristic sound that complements the song's themes of social change and resilience. The arrangement features call-and-response patterns and dynamic shifts that enhance emotional impact, making it not only a musical piece but also a profound social statement.

This music piece features a compelling blend of rhythmic grooves and melodic lines, characterized by a strong backbeat and syncopated bass lines. The instrumentation includes brass sections, strings, and synthesizers that create a rich sonic landscape. Lyrically, it tells a poignant story of struggle and aspiration, using vivid imagery to convey deep emotional resonance. The vocal delivery is powerful and soulful, reflecting both urgency and hope.

The music plays during a bustling city street scene at dusk. Neon lights flicker on as people rush home from work, their faces illuminated with determination but also weariness. A young man stands at a street corner, dressed in casual urban attire, looking out over the crowd with a mix of hope and apprehension. Around him, street vendors call out to passersby while children play nearby. The atmosphere is charged with energy as cars honk and city sounds blend into a symphony of urban life. As the music swells, it captures the essence of striving for dreams amidst challenges, reflecting both the vibrancy and struggles of city living.

X:512
T:Living For The City
T:Living For The City
C:Stevie wonder
L:1/8
M:4/4
I:linebreak $
K:F#
V:1 treble
%%MIDI program 40
V:1
 z =E F/^EF/ F2 z D | FDFD G2 F2 | z DFD/F/ F2 z F | AcAG F2 G/F z/ | z =E F/EF/ F2 z D | %5
 FDFD G2 E/D/C | z =E F/^EF/ D3/2 z3/2 F/F/ | AG/G/-GF/G/ D>D z/ F3/2 | G2 FF- F2 z A- | %9
 A A2 G/F/- F<D D/CD/- |1 D F3 z4 || z8 :|2 z4 z2 C/D/F :|[M:3/4] A3 G/F/ EF | =A4 z2 | %15
 =A=d =AF =E>F | =E6 | =E2 =F2 =G2 | =E4 z2 |[M:2/4] =G=A B>c |[M:4/4] c8 | z8 | z8 | z8 | z8 |] %25


Living Next Door To Alice

Context: Originally recorded by the British band Smokie in 1976, 'Living Next Door to Alice' became a major hit, reaching high positions on charts worldwide. The song tells the story of a man lamenting the departure of his neighbor, Alice, who he has long admired. Its catchy chorus and relatable themes of unrequited love have made it a staple in pop culture.

The song features a straightforward verse-chorus structure typical of pop music from the 1970s, characterized by its use of a simple harmonic progression and a memorable melody. The lyrics employ narrative storytelling, presenting an emotional perspective on loss and longing. The instrumentation is marked by jangly guitars and a steady backbeat, creating an upbeat yet melancholic atmosphere. The chorus acts as a cathartic release, emphasizing the protagonist's feelings of regret and nostalgia. The song's repetitive nature reinforces its themes, making it both catchy and poignant.

This piece is characterized by its melodic hooks and lyrical storytelling that convey deep emotions associated with love and loss. The instrumentation combines rhythmic guitar strumming with harmonious vocal arrangements, creating an engaging listening experience. The verses build anticipation leading into a powerful chorus that resonates with listeners, evoking feelings of nostalgia and yearning.

The music plays in a small, dimly lit pub during the early evening hours. Patrons are gathered around wooden tables, some laughing and sharing stories while others sit quietly lost in thought. A young man with tousled hair sits at the bar nursing a drink, his gaze fixed on the door where Alice used to enter. As the music swells in the background, he recalls moments shared with her—laughter over drinks, stolen glances across crowded tables. Outside, the sun sets, casting a warm glow through the windows, illuminating his wistful expression as he grapples with the bittersweet memories of what could have been.

X:513
T:Living Next Door To Alice
T:Living next door to Alice
T:Nicky Chinn and Mike Chapman
C:Nicky Chinn, Mike Chapman
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble
%%MIDI program 4
V:1
|:"G" dd c2 z2 z B | BBBA A2 z2 |"C" z2 EG G2 z2 | GGGF E4 |"D" z8 | z4 z D E2 |"G" E D3 z4 | %7
w: Sal- ly called when|she got the word *|she * said|I suppose you've heard *||a- bout|A- lice|
w: grew up together two|kids in the park *|carved our initials|deep in the bark *||he and|A- lice|
"D" z4 z2 dd |"G" d2 dd cccc | B B2 A- A2 z2 |"C" z2 EF G F2 E | F2 FE- E2 EE |"D" D2 DD D2 D2 | %13
w: Well I|rushed to the win- dow well I|looked out- side *|I could hard- ly be-|lieve my eyes * As a|big li- mous- ine rolled|
w: Now she|walks through the door * with her|head held high *|Just for a moment I|caught her eye * * A|big li- mous- ine pulled|
 D2 z2 z2 ED |"G" DGGG- G2"D" z2 |"G" BBBB B B2 B | BBBB A G2 G |"C" cccc cccc | cccc c2 cc | %19
w: up in- to|A- lice's * drive *|Dont know why she's leav- ing or|where- she's gon- na go * I|guess she's got her reas- ons but I|just dont want to go "cos for|
w: slowly out of|A- lice's * drive *|||||
"D" dd d2 d2 dd | dd d2 d3 c |"G" c B3 z4 |"G" BB B2 B2 BB- | BBBB A G2 G |"C" cccc cccc | %25
w: twen- ty- four years I've been|liv- ing next door to|A- lice|Twen- ty- four years just wait-|* ing for the chance * to|tell her how I feel and may- be|
w: ||||||
 cccc c2 cc |"D" dddd- dd d2 |"C" cc c2 B3 B |"G" A G4 z z2!dacoda! |1 z4 z2 z D :|2 %30
w: get a se- cond glance now I've|got to get used * to not|liv- ing next door to|A- lice|We|
w: |||||
"D7" E D3 E D3 ||"G" dd d2 c3 c | B2 BB A2 z2 |"C" z2 z E E G2 G/G/ | FFFE- E2 z2 |"D7" z4 z DEE | %36
w: A- lice A- lice|Sal- ly called back and|asked how I felt|and she said hey I|know how to help *|get ov- er|
w: ||||||
"G" E D4 z z2 | z4 z ddd |"G" dddc- c2 c z | B B2 A- A3 E |"C" G G2 G F E2 G | GGFE- E2 EE | %42
w: A- lice|She said now|A- lice is gone * but|I'm still here * you|know I've been wait- ing for|twen- ty- four years * and the|
w: ||||||
"D7" D2 DD D2 DD | D2 z2 z4 || BBBB B B2 B | BBBB A G2 G!D.S.! ||O z4 z2"G" Bc |"D" dddd- ddd z | %48
w: big li- mous- ine dis- ap-|peared.|Dont know why she's leav- ing or|where she's gon- na go * I|Now I'll|nev- er get used * to not|
w: ||||||
"C" cc c2 B3 A |"G" A G3 z4 |] %50
w: liv- ing next door to|A- lice.-|
w: ||


Longfellow Serenade

Context: Released in 1974, 'Longfellow Serenade' is one of Neil Diamond's well-known ballads that showcases his signature storytelling style. The song reflects on themes of love and longing, drawing inspiration from the works of the American poet Henry Wadsworth Longfellow.

Musically, 'Longfellow Serenade' features a rich orchestration with strings and a prominent piano melody that complements Diamond's emotive vocal delivery. The song is structured in a traditional verse-chorus format, with a bridge that introduces a contrasting emotional tone. Lyrically, the song employs vivid imagery and metaphor, referencing Longfellow's romantic ideals to express deep feelings of affection and yearning. The harmonic progression is characterized by smooth transitions and a blend of major and minor tonalities, enhancing the emotional depth of the narrative.

The piece is characterized by its lush instrumentation, featuring a prominent piano line that serves as the backbone of the arrangement. The vocals are delivered with a heartfelt sincerity, conveying themes of love and nostalgia. The melody is memorable and singable, with a gentle rise and fall that mirrors the emotional content of the lyrics. The overall sound is polished and warm, typical of 1970s soft rock.

The music plays in a softly lit room filled with vintage decor, where a couple sits close together on a plush sofa. Outside, the sun sets, casting a golden hue through the sheer curtains. The man gazes into the woman's eyes, his expression filled with tenderness as he reminisces about their shared moments. On the table beside them, an open book reveals lines from Longfellow's poetry, symbolizing their connection to art and each other. As the melody swells, their hands intertwine, capturing a moment of intimacy and reflection.

X:514
T:Longfellow Serenade
T:Longfellow Serenade
T:Neil Diamond
C:Neil Diamond
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"C" e f/e/ d c | G4 | e/f/ e d e | e3 e | e f/e/ d/e/ e | e f/e/ d e | e f/e/ d c | g e f/e/d/c/ | %8
w: Long- fel- low se- re-|nade|such were the plans I'd|made for|she was a la- dy and|I was a dream- er|with on- ly word to|trade You know that I was|
w: Long- fel- low se- re-|nade|such were the plans I|made but|she was a la- dy as|deep as the ri- ver|and through the night we|stayed and in my way I|
"F" A c/A/ c d | A4 | A c/A/ c d | A2 F F/F/ |"C" G e3 | z2 G G/G/ |"G7" G f3 | z4 |"C" e4 | %17
w: born for a night like|this|warmed by a sto- len|kiss for I was|lon- ely|and she was|lone- ly||Ride|
w: loved her as non be-|fore|loved her with words and|more for she was|lone- ly|and I was|lone- ly|||
 z f/e/ d e | e4 |"C7" z f/e/ d c |"F" f4 |"C" e4 |"G7" d4 | z B B a |"C" g4 | z a/g/ f g | g4 | %27
w: come on ba- by|ride|let me make your|dreams|come|true|I'll sing my|song|let me sing my|song|
w: ||||||||||
"C7" z a/g/ f e |"F" f4 |"C" e4 |"G7" d4 | z2 z g |"C" c' b/a/ g/e/- e | g/ g c/ d e |"F" A4 | %35
w: let me make it|warm|for|you|I'll|weave his web of rhyme *|up- on the sum- mer|night|
w: ||||||||
 z2 z c' |"G7" b g/a/ f/g/-g/ z/ | d f a/g/- g |"C" g4 | z2 z c' | c' g a/e/ g | g/ g c/ d e | %42
w: we'll|leave this world- ly time *|on his wing- ed *|flight|then|come and as we lay|be side this sleep- y-|
w: |||||||
"F" A4 | z d e f |"C" G g g g |"G7" z G g f |"F" f/e/ e3 |1"Bb" _B A"G7" G F |"C" G4- | G3 z :|2 %50
w: glade|There I will|sing to you my|Long- fel- low|se- re- nade||||
w: ||||||||
"G7" z2 z g |] %51
w: |
w: |


Lonnie's Lament

Context: Originally recorded in 1965 for the album 'A Love Supreme', 'Lonnie's Lament' is a tribute to the late jazz musician Lonnie Liston Smith. The piece showcases Coltrane's innovative approach to improvisation and modal harmony.

The composition features a poignant melody characterized by its use of modal scales, which allows for extensive improvisation. Coltrane employs a rich, expressive tone on the saxophone, conveying deep emotion throughout the piece. The harmonic structure supports a reflective atmosphere, with shifts between major and minor tonalities that enhance the sense of longing and introspection. The rhythm section provides a subtle yet supportive backdrop, allowing Coltrane's improvisations to take center stage. The interplay between the musicians exemplifies Coltrane's ability to blend complex musical ideas with accessible emotional expression.

The music is marked by a slow, flowing tempo that invites listeners into a contemplative space. It features a haunting saxophone melody that weaves through lush harmonic textures, creating an atmosphere of both sadness and beauty. The instrumentation includes piano, bass, and drums, each contributing to a cohesive sound that emphasizes the emotional weight of the piece. The dynamics vary throughout, with moments of soft introspection contrasted by more intense passages that showcase Coltrane's virtuosic playing.

In a dimly lit jazz club, the air is thick with anticipation as the audience settles into their seats. A spotlight illuminates the stage where John Coltrane stands, his saxophone glinting under the soft glow. As he begins to play 'Lonnie's Lament', the room falls silent, captivated by the soulful notes that resonate deeply within each listener. The backdrop is adorned with vintage posters of jazz legends, and the faint clinking of glasses adds to the intimate ambiance. Coltrane's expression is one of profound concentration and emotion as he pours his heart into each phrase, evoking memories of love and loss that linger in the air like a bittersweet perfume.

X:515
T:Lonnie's Lament
T:Lonnie's Lament
T:John Coltrane
C:John Coltrane
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI channel 2
%%MIDI program 0
%%MIDI control 7 102
%%MIDI control 10 64
V:1
 GF |:"Cm7" _E3 D/C/"Dm7" D F3 |"Ebmaj7" _EC A,4"Dm7" D_B, |"Cm7""Dm7" G,8- |"Ebmaj7" G,6"Dm7" GF | %5
"Cm7" _E3 D/"Dm7"C/ D F3 |"Ebmaj7" _EC A,4"Dm7" D_B, |"Cm7""Dm7" G,8- |"Ebmaj7" G,6"Dm7" CD || %9
"Cm7" _E3 D/C/"Bb7" c3 _B |"Ebmaj7" F3 G"Abmaj7" _E C2 D |"Ab7" DF"A7" _B6- | %12
"Ab7" B3 c"G75b9#9#11b13" _A3 _G/F/ |"Cm7" G2 _E2"Dm7" F2 D2 |"Ebmaj7/G" _E2 CG,"G7" _B,2 =B,2 | %15
"Cm7""Dm7" C8- |"Ebmaj7" C6"Dm7""_1st time" GF :|"Cm7""^Solo Section" z8 | z8 | z8 | z8 | z8 | z8 | %23
 z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 | z8 |] %33


Lookin' For Love

Context: Originally released in the late 1970s, 'Lookin' For Love' became a significant hit, particularly associated with the country music genre. The song's themes resonate with many listeners, exploring the quest for love and connection.

Musically, 'Lookin' For Love' features a blend of traditional country instrumentation with pop sensibilities, characterized by its catchy melody and relatable lyrics. The song employs a verse-chorus structure that enhances its accessibility, while the use of harmonies adds depth to the vocal delivery. The lyrical content reflects a universal longing for love, articulated through vivid imagery and emotional sincerity. The arrangement typically includes instruments such as guitars, fiddles, and a steady rhythm section that supports the vocal lines effectively, creating an inviting atmosphere for listeners.

The piece is characterized by an upbeat tempo and a melodic structure that captures the essence of yearning for romantic fulfillment. The instrumentation combines classic country elements with a pop flair, featuring prominent guitar riffs and rhythmic percussion that drive the song forward. Vocally, it showcases harmonized melodies that evoke feelings of hope and nostalgia, drawing listeners into a narrative of searching for love amidst life's challenges.

Imagine a sunlit country road during golden hour, where a young couple is driving in an open-top car, wind tousling their hair as they laugh and sing along to the radio. The landscape is dotted with wildflowers and rolling hills, creating a picturesque backdrop. As they drive, their eyes reflect excitement and anticipation for what lies ahead—new adventures and potential love. The atmosphere is filled with warmth and joy, perfectly complemented by the upbeat rhythms of the music playing in the background.

X:516
T:Lookin' For Love
T:Lookin for love
T:Wanda Mallette, Patti Ryan, Bob Morrison
C:Bob Morrison, Patti Ryan, Wanda Mallette
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"G" z A, ^F ^F/^F/ | E D D/E/ ^F |"D" ^F z z2 |"F#m" z4 |"G" z G/G/ G G |"D" A A F/E/ D | %6
w: well I've spent a|life- time look- in for|you||sin- gles- bars and|good- time lov- ers were|
"A" E E E2 | z4 |"G" z2 ^F ^F/^F/ | E D D/E/ ^F |"D" ^F z z2 |"G" z G G A |"D" A2 ^F/E/D/D/ | %13
w: nev- er true||play- in a|fools game hop- in to|win|tell- in those|sweet lies * * and|
"A" ^F A/^F/"G" B A- |"F#m" A2"A" B A |"D" ^F/A/ A A A | B/A/ A A (3^F/E/D/ |"F#m" ^F/A/ A A A | %18
w: los- ing a gain *|* I was|look in for love in|all the wrong plac- es * *|look- in for love in|
 B A/^F/ A ^F |"G" E/D/ D D z | E/D/ D E D/D/ |"Em" E z"F#m" ^F z |"G" G A"A" B A | %23
w: too man- y fac- es|search- ing their eyes|look- in for trac- es of|what I'm|dream- in of *|
"D" ^F/A/ A A A | B/A/ ^F A (3^F/E/D/ |"F#m" z A A A | B A/^F/ A ^F/^F/ |"G" E/D/ D z2 | %28
w: Hop- in to find a|friend and a lov- er * *|I'll bless the|day I dis- cov- er an|oth- er heart|
"Em" z2"A" ^F E/^F/ |"D" ^F/E/ D z2 :| z4 |"G" A G/E/ G G/D/ |"G" G/G/A/G/ z B, | %33
w: look- in for|love * *||you came a- knock- in at|my hearts door * youre|
"Em" E E/^F/"F#m" ^F ^F |"G" G A"A" B ^c/B/ | A2 B A/^F/ ||"A7" z2 B A |:"D" ^F/A/ A A A | %38
w: ev- ry- thing I been|look- in for * *|* no more *|I was|look- in for love in|
 B/A/ A A (3^F/E/D/ |"F#m" ^F/A/ A A A | B A/^F/ A ^F |"G" E/D/ D D z | E/D/ D E D/D/ | %43
w: all the right plac- es * *|look- in- for love in|too man- y fac- es|search- ing their eyes|look- ing for trac- es of|
"Em" E z"F#m" ^F z |"G" G A"A" B A :| %45
w: what I'm|dream- in of *|


Lost in the Stars

Context: Lost in the Stars is a musical composed by Kurt Weill with lyrics by Maxwell Anderson, first performed in 1949. The work is based on Alan Paton's novel 'Cry, the Beloved Country' and addresses themes of social injustice and human suffering. The music combines elements of jazz and classical styles, reflecting Weill's unique compositional voice.

The musical score of Lost in the Stars features a blend of lyrical melodies and complex harmonies typical of Weill's style. The piece utilizes a rich orchestration that includes strings, woodwinds, and brass, creating a poignant atmosphere that underscores the emotional weight of the narrative. The vocal lines are expressive, often employing a mix of speech-like delivery and melodic singing that enhances the dramatic tension. The use of dissonance and chromaticism in the harmonic language reflects the themes of despair and hope intertwined throughout the story.

This music piece is characterized by its haunting melodies and poignant lyrics that explore profound themes of loss, redemption, and social justice. The orchestration is lush yet restrained, allowing for moments of intense emotional expression. The vocal lines are crafted to convey deep feelings, often oscillating between despair and yearning. The rhythmic elements are varied, providing a dynamic backdrop that complements the lyrical content.

In a dimly lit urban landscape at dusk, a solitary figure stands on a rain-soaked street corner, illuminated by flickering neon signs. The air is thick with tension as shadows dance along the walls of nearby buildings. This character, dressed in tattered clothing, gazes upward with a look of longing and despair. Around them, silhouettes of passersby move hurriedly, oblivious to the figure's plight. As the music swells, the scene captures their internal struggle—a yearning for connection amidst isolation—while echoes of distant sirens punctuate the somber atmosphere.

X:517
T:Lost in the Stars
T:Lost In The Stars
C:Kurt Weill
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Voice" snm="Vo."
%%MIDI program 0
V:1
 z4 z2 ^C2 |"Gmaj7" E2 D2"Bbdim7" G2 ^CC |"Am7" E2 DD"D7" A2 z ^C |"Gmaj7" E2 DD"E+7" c2 Bc | %4
w: Be-|Fore Lord God made the|sea and the land, He|held all the stars in the|
"Am7" B2 A^G"D7" A2 Bc |"Gmaj7" d2 BG"Cmaj7" E d2 c |"Gmaj7" c2 B2 B2 z D |"Em7" E2 EE"A7" E2 FG | %8
w: palm of His Hand., and they|ran thru his fin- gers like|grains of sand. and|one lit- tle star fell a-|
"Am7" A6"D7" ^CC ||"Gmaj7" E2 D2"Bbdim7" GG^CC |"Am7" E2 D2"D7" A2 z ^C/C/ | %11
w: lone. Then the|Lord God hunt- ed thru the|wide night air for the|
"Gmaj7" EE D2"E+7" c2 Bc |"Am7" B2 (A^G)"D7" A2 Bc |"Gmaj7" d2 BG"Cmaj7" E d2 c | %14
w: lit- tle dark star on the|wind down _ there, and He|stat- ed and prom- ised He'd|
"Gmaj7" c2 B^A"E7" B2 z D/D/ |"A7" EE E2"D7" A3 G |"G6" G6 GG ||"Cm7" _B2 B2"F7" B2 AG | %18
w: take spec- ial care so it|would- n't get lost a-|gain. Now a|man don't mind if the|
"Dm7" =F3 D"Gm7" _B,2 CD |"Cm7b5" _E2 E2"F7" E2 B,C |"Bbmaj7" D3 D"Gm7" D2 z G | %21
w: stars grow dim and the|clouds blow ov- er and|dark- en him,. so|
"Cm7" _B2 BB"F7" A2 G2 |"Bbmaj7" =FFFD"Gm7" _B,2 CD |"Cm7b5" _E2 EE"F7" D2 ^C2 | %24
w: long as the Lord God's|watch- ing o- ver them, keep- ing|track how it all goes|
"E7" D4"Eb7" z2"D7" z ^C |"Gmaj7" E2 D2"Bbdim7" GG^CC |"Am7" E2 D2"D7" A2 z ^C/C/ | %27
w: on. But,|I've been walk- ing thru the|night and day till my|
"Gmaj7" E2 D2"E+7" ccBc |"Am7" B2 (A^G)"D7" A2 z (B/c/) |"Gmaj7" d2 dd"G7sus4" d2 cB | %30
w: eyes got wear- y and my|head turns _ gray, and _|some- times it seems may- be|
"C6" A2 AA"F7" A3 A |"Gmaj7" d2 ^cd"G7sus4" ed=cB |"C6" A3 A"F7" A4 |"D7" z2 ^CD =c2 c2 | %34
w: God's gone a- way, for-|get- ting the pro- mise that we|heard Him say.|And we're lost out|
"Gmaj7" (3cB^A B6 |"Em7" B/=A/G- G2"Eb7" _B G3 |"Gmaj7" =BBAG"Bbdim7" E4 |"D7" z2 ^CD =c2 c2 | %38
w: here in the stars,|lit- tle stars, _ big stars,|blow- ing thru the night.|And we're lost out|
"Gmaj7" (3cB^A B6 |"Em7" B/=A/G- G2"Eb7" _B G3 |"Gmaj7" =BBcd"Bbdim7" e4 |"D7" z2 ^CD A2 A2 | %42
w: here in the stars,|lit- tle stars, _ big stars,|blow- ing thru the night.|And we're lost out|
"Gmaj7" (3AGF G6 |] %43
w: here in the stars.|


Love Hurts

Context: Originally written by Boudleaux Bryant, 'Love Hurts' has been covered by numerous artists, most notably by The Everly Brothers and Nazareth. The song explores the theme of love's painful nature, resonating with audiences across generations.

'Love Hurts' is characterized by its poignant lyrics and emotive melodies that convey the deep sorrow associated with love and loss. The harmonic structure often employs minor keys, enhancing the melancholic feel of the piece. The use of dynamics plays a crucial role, as the contrast between softer verses and more powerful choruses reflects the emotional turmoil experienced in romantic relationships. The instrumentation typically includes guitars and strings, which further emphasize the song's emotional weight. The lyrical content encapsulates universal feelings of heartache, making it relatable to a wide audience.

This music piece features a slow tempo with a heartfelt vocal delivery that captures the essence of longing and despair. The instrumentation is rich yet subdued, allowing the vocals to take center stage. The harmonies are lush, creating a warm but somber atmosphere that underscores the themes of love and pain. The melody is memorable, often lingering in the listener's mind long after the song has ended.

In a dimly lit room, a solitary figure sits on a worn-out couch, bathed in soft golden light filtering through sheer curtains. The air is thick with nostalgia as they gaze at old photographs scattered on a coffee table. Each image tells a story of love lost—smiling faces now distant memories. As the music swells, emotions flood back; tears glisten in their eyes while they clutch a faded letter, reminiscing about moments filled with joy and heartache. Outside, rain begins to fall softly against the window, mirroring their internal struggle as they confront the bittersweet reality of love's impermanence.

X:518
T:Love Hurts
T:(c) 1960
T:Love Hurts
T:Boudleaux Bryant
T:(transcribed from the Roy Orbison version)
T:filed:
T:
C:Boudleaux Bryant
L:1/8
Q:1/4=108
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
"^Slowly" z8 | z4 z2 c2 |:"Bb" B6 c2 |"Gm" B6 c2 |"Eb" B6 d2 |"F" c4 (dfd)c |"Bb" B6 c2 | %7
w: |Love|Hurts Love's|sore, Love|wounds and|mars a- * * ny|heart not|
w: |(I)|know, I|know, but|ev- en|so, I _ know a|thing or|
"Gm" B6 c2 |"Eb" B6 d2 |{d}"F" c3 F ffee |"Bb" d4"D" ddcc |"Eb" B4"D" ddcc |"Eb" B4 GGGG | %13
w: touched or|strong in|love; You take a lot of|pain, take a lot of|pain; Love is like a|cloud... holds a lot of|
w: two; I've|learned from|you; I real- ly learned a|lot, real- ly learned a|lot; Love is like a|stove... burns you when it's|
"F" F6 G2 |"Bb" F8- | F4-"Db" F2"Eb" G2 |1"Bb" F8- | F4-"Bbmaj7" F2"F" c2 :|2"Bb" F8- || %19
w: rain. Love|Hurts,|_ _ Love|Hurts.|_ _ I|Hurts.|
w: hot. Love|Hurts,|_ _ Love||||
 F4-"Bb7" F4 |"Eb" G2 A2 B3 G |"D" d3 c"Gm" B4 |"D" d3 c"Gm" B3 G |"D" d3 c"Gm" B4 | %24
w: _ _|Some fool's reign of|hap- pi- ness,|bliss- full- ness, to-|geth- er- ness;|
w: |||||
"C7" G2 A2 B3 G | =e3 d c3 c | g2 g2 (f2 =e2) |"F" f3 F ffee |"Bb" d4"D" ddcc |"Eb" B4"D" ddcc | %30
w: Some fools fool them-|selves, I guess, but|they won't fool _|me. You know it is- n't|true, know it is- n't|true, Love is just a|
w: ||||||
{c}"Eb" B4 GGGG |{G}"F" F6 G2 |:"Bb" F8- | F4-"Db" F2"Eb" G2"^Repeat and Fade" :| %34
w: lie made to make you|blue, Love|Hurts|_ _ Love|
w: ||||


Love Is Blue

Context: Originally composed by André Popp in 1967, 'Love Is Blue' gained widespread popularity when it was performed by Paul Mauriat. The instrumental version topped the charts in multiple countries, becoming a significant hit in the late 1960s. The song's lush orchestration and emotive melodies have made it a timeless classic, often associated with romantic themes.

The piece is characterized by its lush orchestration, featuring strings and woodwinds that create a dreamy atmosphere. The harmonic structure employs major and minor tonalities to evoke feelings of nostalgia and longing. The use of dynamics is particularly effective, with crescendos building emotional intensity before resolving into softer passages. The melodic line is simple yet memorable, allowing for a wide range of emotional interpretations. The arrangement showcases the interplay between the main theme and counter-melodies, creating a rich tapestry of sound that enhances the overall emotional impact.

This music piece features a flowing melody that is both soothing and evocative. It is structured around a central theme that is repeated with variations throughout, accompanied by lush harmonies. The instrumentation includes strings, flutes, and gentle percussion, contributing to a serene and romantic ambiance. The tempo is moderate, allowing listeners to fully immerse themselves in the emotive qualities of the music.

Set in a picturesque garden during the golden hour of sunset, the scene unfolds with soft light filtering through blooming flowers. A couple sits on a bench, their expressions reflecting deep affection as they share quiet moments together. The gentle breeze rustles the leaves, harmonizing with the delicate strains of music that fill the air. Nearby, butterflies dance among the blossoms, adding to the idyllic atmosphere. As they hold hands, their eyes meet, conveying unspoken promises and dreams for the future, perfectly complemented by the melodic embrace of 'Love Is Blue.'

X:519
T:Love Is Blue
T:Love Is Blue
C:Andre Popp
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"Em" B4"A7" A3 G |"D" F2 E2"G" D4 |"Em" E2 GF"C" G3 E |"D" DE D2"G" B,4 |"Em" B4"A7" A3 G | %5
w: Blue, blue, my|world is blue,|Blue is the world now|I'm with- out you.|Grey, grey, my|
"D" F2 E2"G" D4 |"Em" E2 GF"C" G3 E |"B7" ^D^C D2"Em" E4- | E6 z2 | B4"A7" A3 G |"D" F2 E2"G" D4 | %11
w: life is grey,|Cold is my heart since|you went a- way.|_|Red, red, my|eyes are red,|
"Em" E2 GF"C" G3 E |"D" DE D2"G" B,4 |"Em" B4"A7" A3 G |"D" F2 E2"G" D4 |"Em" E2 GF"C" G3 E | %16
w: Cry- ing for you a-|lone in my bed.|Green, green, my|jeal- ous heart,|I doubt- ed you and|
"B7" ^D^C D2"Em" E4- | E6 z2 |"E" ^G4"F#m7" A4 |"E" B6 ^GE |"A" E4 ^c4 |"E" B8 | %22
w: dnow we're a- part.|_|When we|met, how the|bright sun|shone.|
"G#m" ^G4"G#m6" B4 |"A6" F6 ^GA |"B7sus4""B7" A6 F^D |"E" E6 z2 ||"Em" B4"A7" A3 G | %27
w: Then love|died, now the|rain- bow is|gone.|Black, black, the|
"D" F2 E2"G" D4 |"Em" E2 GF"C" G3 E |"D" DE D2"G" B,4 |"Em" B4"A7" A3 G |"D" F2 E2"G" D4 | %32
w: nights I've known,|long- ing for you So|lost and a- lone.|Gone, gone the|love we knew,|
"Em" E2 GF"C" G3 E |"B7" ^D^C D2"E" E4- |"B7" E6 z2 :|"B7" ^D^C D2"E" E4- | %36
w: Blue is my world now|I'm with- out you.|_|I'm with- out you.|
"F#m7""E" !fermata!E6 z2 |] %37
w: _|


Love Is Here To Stay

Context: Originally written for the 1938 film 'The Goldwyn Follies', this song has become a standard in the American jazz repertoire. It is celebrated for its lyrical beauty and melodic sophistication, often performed by various artists across genres.

The piece features a rich harmonic structure typical of Gershwin's style, blending elements of jazz with classical influences. The use of chromaticism and unexpected modulations creates a lush soundscape that enhances the romantic theme. The melody is characterized by its smooth, flowing lines that evoke a sense of longing and nostalgia. The lyrical content reflects themes of enduring love, with a conversational tone that invites emotional connection. The interplay between the vocal line and accompaniment showcases Gershwin's ability to integrate jazz rhythms into a more traditional song form, making it both accessible and sophisticated.

This music piece is characterized by its smooth, flowing melody that evokes feelings of warmth and nostalgia. The harmonic structure is rich and complex, featuring lush chords that enhance the emotional depth of the lyrics. The rhythm is gentle and swaying, creating an inviting atmosphere that encourages listeners to reflect on themes of love and commitment. Instrumentation typically includes piano, strings, and soft brass, contributing to a soft jazz or orchestral feel.

In a dimly lit jazz club during the late evening, the warm glow of soft lights casts a golden hue over tables adorned with flickering candles. A couple sits closely together at a corner table, their hands intertwined as they share intimate glances. The band on stage begins to play 'Love Is Here To Stay', filling the air with its soothing melody. The singer's voice resonates with heartfelt emotion, drawing the audience into a world where time seems to stand still. Outside, rain softly taps against the window, adding to the cozy ambiance as patrons sway gently in their seats, lost in the music's embrace.

X:520
T:Love Is Here To Stay
C:George and Ira Gershwin
L:1/4
M:2/2
I:linebreak $
K:F
V:1 treble
%%MIDI program 0
V:1
"C13" A |[M:4/4]"F6" c c A D |"Fmaj7" E E2 A |"D9" c c A D | E3 A |"Gm7" c c A C |"C9" D D2 E | %7
w: The|more I read the|pa- pers The|less I com- pre-|hend The|world and all its|ca- pers And|
"F6/A" G/G/ G-"Abdim7" G F |"Gm7""C7" G4 |"Bbmaj7" d c B/A/ B |"F/A" c c2 F |"G13" (3E E E E D | %12
w: how it all _ will|end.|Noth- ing seems to be|last- ing, But|that is- n't our af-|
"C7" E4 |"Bbmaj7" d c B A |"Em7b5" G/G/ G-"A7" G A |"D7" ^F/ F A/ D2- |"G7" D2 F2 |"C13" A4- | %18
w: fair.|We've got some- thing|per- ma- nent, _ I|mean in the way|_ we|care.|
 !fermata!A ||[M:2/2]"C13" C D A |:S"G9" F4 |"Gm7" F/ G F/"C7" G G |"F6""Bb7" F4 | %23
w: |It's ver- y|clear|Our love is here to|stay,|
"Am7" z C"D7" D c |"G9" A4 |"Gm7" F/ G F/"C7" G G |"Eb9b5""D9" A4 |"Bm7b5" z e"E7b9" e d | %28
w: Not for a|year,|But ev- er and a|day.|The ra- di-|
"Am7" c2"D7" d3/2 c/ |"Gm7" B/B/ B"C7" c3/2 B/ |"Fmaj7" A A"Bbmaj9" c B |"Em7b5" G A"A7" A G | %32
w: o and the|tel- e- phone and the|mov- ies that we|know May just be|
"Dm7" F G E F |"G7" z/ G A/ ^F G |"Gm7" d4 |"C7" z C"D7" D A ||"G9" F4 |"Gm7" F/ G F/"C7" G G | %38
w: pass- ing fan- cies,|And in time may|go.|But, oh my|dear,|Our love is here to|
"F6""Bb7" F4 |"Am7" z C"D7" D c |"G9" A4 |"Gm7" F/ G F/"C7" G G |"Eb9b5""D9" A4 | %43
w: stay.|To- geth- er|we're|go- ing a long, long|way.|
"Bm7b5" z e"E7b9" e3/2 d/ |"Am7" c/c/ c"D7" d/ d c/ |"Gm7" B/B/ B"C7" c/ c3/2 | %46
w: In time the|Rock- ies may crum- ble; Gi-|bral- ter may tum- ble,|
"Eb9b5" z/ A/^G/A/"D7" c B |"Gm7" G2"G#dim7" d2 |"Am7" z c"D7" d A |"Gm7" c2"C9" D2 | %50
w: They're on- ly made of|clay, But|our love is|here to|
"F6" F4!fine! |"D7" z C D A!D.S.! |] %52
w: stay|It's ver- y.-|


Love Is Just Around The Corner

Context: Originally written for the 1942 film 'The Fleet's In', this song has been covered by various artists over the decades, showcasing its enduring appeal. The song is characterized by its lush melodies and heartfelt lyrics that express a hopeful and romantic sentiment.

Musically, 'Love Is Just Around The Corner' features a standard AABA structure typical of the era, with a smooth melodic line that embodies the optimism of love. The harmonic progression often utilizes major keys, creating a bright and uplifting atmosphere. The arrangement typically includes lush orchestration, enhancing the emotional depth of the lyrics. The use of syncopation in the rhythm adds a playful element, making it suitable for both vocal performances and instrumental interpretations. The lyrical content reflects themes of anticipation and joy associated with love, employing imagery that evokes warmth and comfort.

This piece is characterized by a smooth, flowing melody that captures the essence of romantic longing. The instrumentation often includes strings and brass, providing a rich backdrop to the vocal line. The tempo is moderate, allowing for expressive phrasing and dynamic contrasts that enhance the emotional delivery. Harmonically, it embraces traditional pop sensibilities with well-crafted chord progressions that support the lyrical narrative.

The music plays during a serene twilight scene in a quaint park filled with blooming flowers and gently swaying trees. A couple sits on a bench, gazing into each other's eyes with smiles that reflect their shared dreams and hopes for the future. Soft golden light filters through the leaves, casting playful shadows on their faces as they share whispered secrets and laughter. Nearby, children play, their joyful shouts blending with the gentle strains of the music, creating an atmosphere of pure bliss and romantic possibility.

X:521
T:Love Is Just Around The Corner
T:Love Is Just Around The Corner
C:Leo Robin, Lewis E. Gensler
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Voice"
%%MIDI program 52
V:1
|:"G7" G2 G2"C7" G>^FG>A |"Fmaj7" =F2 c6 |"G7" z2 G>^F"C7" G>FG>A |"Fmaj7" =F2 C6 | %4
w: Love is just a- round the|cor- ner,|an- y- coz- zy lit- tle|cor- ner,|
"G7" z2 G>^F"C7" G>FG>A |"Fmaj7" =F2 c4"Am7b5""D7" d2 |"G7" A4"C7" z3/2 F/ G2 |"Fmaj7" F8 | %8
w: love is just a- round the|cor- ner, when|I'm a- round|you.|
"G7" G2 G2"C7" G>^FG>A |"Fmaj7" =F2 c6 |"G7" z2 G>^F"C7" G>FG>A |"Fmaj7" =F2 C6 | %12
w: I'm a sen- ti men- al|mour- ner,|and I could- n't- be for-|lor- ner|
"G7" z2 G>^F"C7" G>FG>A |"Fmaj7" =F2 c4"Am7b5""D7" d2 |"G7" A4 z3/2"C7" F/ G2 |"Fmaj7" F6 z2 | %16
w: when you keep me on the|cor- ner just|wait- ing for|you.|
"A7" A4 A3 G |"Dm7" F2 D4 A2 |"A7" ^G2 A2 G2 A2 |"Dm7" D6 z3/2 ^F/ |"G7" G G2 G"C#dim7" G G2 G | %21
w: Ven- us de|Mi- lo was|not- ed for her|charms, but|strict- ly be- tween us you're|
"G7" G G2 G"C#dim7" G G2 G |"G7" G2"Ddim7" ^G2"G9" A2"G7" =B2 |"C7" c6 C2 |"G7" G2 G2"C7" G>^FG>A | %25
w: cut- er than Ven- us and|whar's more you've got|arms. So|let's go cud- dle in a|
"Fmaj7" =F2 c6 |"G7" z2 G>^F"C7" G>FG>A |"Fmaj7" =F2 C6 |"G7" z2 G>^F"C7" G>FG>A | %29
w: cor- ner|an- y coz- zy lit- tle|cor- ner|Love is just a- round the|
"F" =F2"Am7b5" c4"D7" d2 |"G9" A4"C7" z3/2 F/ G2 |1"F" F4"G9""C7" z4 :|2"Fmaj7" F6 z2 || %33
w: cor- ner and|I'm a- round|you.|you.|
"F" c2"E" =B2"Eb" _B2"D" A2 |"C#" ^G2"D" A2"Eb" B2"E" =B2 |"F" c8- | c8 |] %37
w: Oo _ _ _|_ _ _ _|||


Love Is Strange

Context: Originally recorded in 1956, 'Love Is Strange' became a significant hit and has been covered by numerous artists over the decades. The song captures the complexities of love and relationships, often reflecting on the bittersweet nature of romance.

The piece employs a distinctive call-and-response structure typical of R&B, with a smooth melodic line that contrasts with its rhythmic backing. The use of vocal harmonies enhances the emotional depth of the lyrics, which explore themes of love's unpredictability and the pain of separation. The instrumentation features a blend of piano, guitar, and horns, creating a rich texture that supports the vocal delivery. The dynamics shift throughout the piece, emphasizing moments of longing and joy, effectively mirroring the lyrical content.

This music features a smooth and soulful melody characterized by intricate vocal harmonies and a steady rhythmic foundation. The instrumentation is lush, incorporating elements typical of R&B and soul genres, including piano riffs and brass accents. The lyrics express complex emotions related to love, highlighting both joyful and painful experiences in relationships. The overall mood is reflective and nostalgic, inviting listeners to connect with their own experiences of love.

The music plays during a twilight scene in a bustling city park, where couples stroll hand in hand under softly glowing streetlights. A young couple sits on a bench, lost in conversation, their faces illuminated by the warm light. Nearby, an older couple shares a quiet laugh while reminiscing about their past together. The air is filled with the scent of blooming flowers as leaves rustle gently in the evening breeze. The atmosphere is infused with warmth and tenderness, perfectly complementing the emotional undertones of the music.

X:522
T:Love Is Strange
C:E. Smith, M. Baker and S. Robinson
L:1/8
M:4/4
I:linebreak $
K:C
V:1 treble nm="Melody" snm="Choir"
%%MIDI program 53
V:1
"C " z c AG Ac AG |"F " [fcA][fcA]/[fcA]/ [fcA][fcA]"G " [gdB]2 [gdB]2 |"C " z c AG Ac AG | %3
w: |||
"F " [fcA][fcA]/[fcA]/ [fcA][fcA]"G " [gdB]2 [gdB]2 |"C " z c AG Ac AG | %5
w: ||
"F " [fcA][fcA]/[fcA]/ [fcA][fcA]"G " [gdB]2 [gdB]2 |"C " c2 c2 c2 _e z | g4"F7" f_e c_B | %8
w: |||
"C " g4 e2 c'g |"F " a2 z2"G7" f2 g2 |"C " e4 z2 c'g |"F " a4"G7" f2 g2 |"C " g4 e2 c'g | %13
w: Lo- ve! * *|* Love is|strange. * *|* Lot of|peo- ple * *|
"F " a2 z2"G7" ff gg |"C " e4 z4 |"F " z4"G7" f2 g2 |"C " g4 e2 c'g |"F " a2 z f"G7" ff gg | %18
w: * take it for a|game.|Once you|get it * *|* you ne- ver want to|
"C " e4 z2 c'g |"F " a4"G7" ff g2 |"C " g4 e2 c'g |"F " a2 z e"G7" ff gg |"C " e4 z4 | %23
w: quit. * *|* Af- ter you've|had it, * *|* you're in an aw- ful|fix.|
"F " z4"G7" f2 g2 |"C " g4 e2 c'g |"F " a2 z2"G7" f2 gg |"C " e4 z2 c'g |"F " a2 z2"G7" f2 g2 | %28
w: Ma- ny|peo- ple * *|* don't un- der-|stand; * *|* they think|
"C " g4 e2 c'g |"F " a2 z e"G7" ff gg |"C " e4 z4 |"F " z4"G7" f2 g2 |"C " g4 e2 c'g | %33
w: lo- ving * *|* is mo- ney in the|hand.|You're sweet|lo- ving * *|
"F " a2 z e"G7" ff gg |"C " e4 z2 c'g |"F " a4"G7" f2 g2 |"C " g4 e2 c'g |"F " a2 f2"G7" ff g2 | %38
w: * is bet- ter than a|kiss. * *|* When you|leave me * *|* sweet kis- ses are|
"C " ec AG Ac AG |"F " [fcA][fcA]/[fcA]/ [fcA][fcA]"G " [gdB]2 [gdB]2 |"C " c z c z c z cc- | %41
w: missed. * * * * * * *|||
"F " c c2"Gmin" c2 G _B2- |"C7" Bc _BG F G2 (3F/_E/C/ |"F7" _B,C _E"G7" F2 G c z | %44
w: |||
"C " z _E2 C =EC z C |"F " GG c"G7" z z _E C2 |"C " c z c2"Cmin" c2 _e z |"Cdim" _g4 f_e c_B | %48
w: ||||
"C " c2 z (3C/E/G/ d_d c2 |"F " z2 z (3G/B/d/"G7" g_g f2 |"C " z2 z (3C/E/G/ d_d c2 | %51
w: |||
"F " z2 z (3G/B/d/"G7" g_g f2 |"C " z2 z (3C/E/G/ d_d c2 |"F " z2 z (3G/B/d/"G7" g_g f2 | %54
w: |||
"C " c z c2 c2 e z | g4"Fmin7" f_e c_B |"C " g4 g4 |"F " z4"G7" f2 ag |"C " g4 e4 | %59
w: ||Ba- by,|Oh, O\- h|ba- by,|
"F " z4"G7" f2 ae |"C " g4 e4 |"F " z4"G7" f3 g |"C " e2 c2"Cmin" c2 _e z | g4"Fmin7" f_e c_B | %64
w: my swe- et|ba- *|you're the|one. * * *||
"C " g4 g2 c'g |"F " a2 z2"G7" f2 g2 |"C " g4 e2 c'g |"F " a2 z2"G7" f2 a2 |"C " g4 e2 c'g | %69
w: Ba- by, * *|* O\- h|ba- by, * *|* my sweet|ba- by, * *|
"F " a2 z2"G7" f3 g |"C " e2 c z cG z G- | GG c G2"Fmin7" F/_E/ C_B, |"C " C2 z (3C/E/G/ d_d c2 | %73
w: * you're the|one. * * * *|||
"F " z2 z (3G/B/d/"G7" g_g f2 |"C " z2 z (3C/E/G/ d_d c2 |"F " z2 z (3G/B/d/"G7" g_g f2 | %76
w: |||
"C " z2 z (3C/E/G/ d_d c2 |"F " z2 z (3G/B/d/"G7" g_g f2 |"C " c z c2"Cmin" c2 _e z | %79
w: |||
 g4"F7" f_e c2- |"C " c4 z4 |] %81
w: ||


LOVE IS THE DRUG

Context: Released in 1975, 'Love Is the Drug' is one of Bryan Ferry's most iconic songs, known for its catchy hook and seductive lyrics. The song became a commercial success, reaching high positions on music charts worldwide. It has been featured in various films and television shows, cementing its status as a classic in the glam rock genre.

Musically, 'Love Is the Drug' features a blend of rock and disco elements, characterized by its driving bass line, lush string arrangements, and prominent brass instrumentation. The song's structure follows a standard verse-chorus format, but it incorporates unexpected chord changes that enhance its emotional depth. The lyrics explore themes of desire and addiction, using metaphors that liken love to a drug. This duality is reflected in the song's energetic yet sultry delivery, which invites listeners to experience the highs and lows of romantic entanglement. The production techniques employed, such as layering vocals and instrumental textures, create a rich soundscape that complements the lyrical content.

The music features an upbeat tempo with a strong rhythmic foundation, driven by bass and drums that create an infectious groove. Melodically, it showcases smooth vocal lines interspersed with harmonized backing vocals. Instrumentation includes electric guitars, synthesizers, and orchestral strings that add depth to the arrangement. The overall atmosphere is vibrant and alluring, drawing listeners into a world of romantic intrigue.

The scene unfolds in a dimly lit nightclub during the late hours of the evening. Patrons are dressed in glamorous attire, with shimmering sequins reflecting the soft glow of disco lights. The air is filled with excitement as couples dance closely on the floor, lost in their own worlds of passion and desire. A live band plays energetically on stage, with Bryan Ferry captivating the audience with his charismatic presence. As the music swells, emotions run high—some couples exchange flirtatious glances while others share intimate moments, embodying the intoxicating effects of love that the song so vividly portrays.

X:523
T:LOVE IS THE DRUG
C:Bryan Ferry
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:C
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
|:"Dm" z2 z2 z2 z2 | z2 z2 z2 z2 |"Am" [EAc]2 [DGB][DGB] [EAc]2 z2 | z8 :| z2 z2 z2 c2 | %5
w: ||(Love Is The Drug)||Ain't|
"Dm" d2 d2 d2 z2 | z2 z A c2 cG |"Am" c2 A2 A2 z2 | z4 z2 e2 |"Dm7" e2 d2 d2 z2 | z2 z d c2 G2 | %11
w: no big thing|to wait for the|bell to ring|ain't|no big thing|the toll of|
"Am" A2 z2 z4 | z8 |"Dm" A2 A2 GA- A2 | A2 Ac- c2 z G |"Am" A2 A2 c2 dc | eAzA- A2 z2 | %17
w: bell||ag grav at ed _|spare for days _ I|troll down town to the|red light place _|
"Dm" A2 B2 AA B2 | AAzc- c4 |"Am" A2 AA c2 dc | e2 AA- A4 |"Dm7" GA A2 GA A2 | AAzc- c4 | %23
w: jump up bub ble up|what's in store _|Love Is The Drug and I|need to score _|Show ing out Show ing out|hit and run _|
"Am" A2 A2 c2 dc | e2 AA- A2 z2 |"Em" B2 B2 B2 z2 | BczB- B4 |"Am" A2 AA c2 dc | eAzA- A4 |: %29
w: Boy meets girl where the|beat goes on _|stitched up tight|can't break free _|Love Is The Drug gotta _|hook in me _|
"Dm7" [FAe]4 [FAd]2 z2 | cczd- d4 |"Am" A2 AA c3 d | eAzA- A4 |"Em" [GBe]4 d4 | c2 cd- d4 | %35
w: Ohh _|catch that buzz _|Love is the Drug I'm|think ing of _|Oh _|can't you see _|
"Am" A2 AA c2 G2 | A2 z2 z4 |"C" [EGc]4- [EGc][FAc] [EG-c-]2 |"G" [DGB]4 z2 z2 | %39
w: Love Is The Drug for|me|Ohh _ _ _|_|
"F" F3"C/E" E- E2"Dm7" D2 |"C9" C6 z2 |"C" [EGc]4- [EGc][FAc] [EG-c-]2 |"G" [DGB]4 z2 z2 | %43
w: ||Ohh _ _ _|_|
"F" F3"C/E" E- E2"Dm7" D2 |"C6" A,6 z2 |"Dm" A2 A2 c2 z G | A2 Ac- c4 |"Am" A2 A2 d2 cd | %48
w: ||Late that night I|park my car _|Stake my place in the|
 eAzA- A4 |"Dm" A2 A2 c4 | A2 ed- d4 |"Am" A2 A2 c2 dc | e2 AA- A2 z2 |"Dm7" A2 B2 A4 | %54
w: sin gles bar _|face to face|toe to toe _|Heart to heart as we|hit the floor _|Lum ber up|
 A>c- cF F2 z A |"Am" A2 A2 c2 z c | ddzc- c4 |"Em" B2 c2 B4 | BczB- B4 |"Am" A2 A2 c3 d | %60
w: Lim bo _ down _ the|locked em brace the|stum ble 'round _|I say "GO"|She say "YES" _|dim the lights you|
 dccA A4 :| %61
w: can guess the rest _|


Love Is The Sweetest Thing

Context: Originally composed in 1932, 'Love Is The Sweetest Thing' has been performed by various artists over the decades, becoming a staple in the jazz and pop repertoire. Ray Noble, a prominent British bandleader and composer, wrote this piece, which has been interpreted by many vocalists, including Al Bowlly and Frank Sinatra. The song captures the essence of romantic longing and sweetness associated with love.

'Love Is The Sweetest Thing' features a lush melodic line characterized by its smooth, flowing phrases that evoke a sense of tenderness. The harmonic structure typically follows a standard AABA form, allowing for expressive lyrical delivery. The instrumentation often includes strings, woodwinds, and brass, creating a rich texture that enhances the emotional depth of the lyrics. The song's tempo is moderate, lending itself to a relaxed yet poignant interpretation. The lyrics convey themes of love's sweetness juxtaposed with the bittersweet nature of longing and desire, making it relatable across different eras.

The music is marked by a gentle swing rhythm that invites listeners into a warm and intimate space. It features a memorable melody that is both uplifting and reflective, often accompanied by lush harmonies that create an atmosphere of nostalgia. The instrumentation typically includes soft brass and string arrangements that complement the vocal lines beautifully, enhancing the overall romantic feel of the piece.

In a dimly lit jazz club during the late evening, couples are seated at small tables adorned with flickering candles. The air is filled with a warm glow as a singer stands at the microphone, softly crooning 'Love Is The Sweetest Thing.' Patrons sway gently to the rhythm, lost in their own memories of love. A couple at the front table gazes into each other's eyes, their expressions filled with affection and longing. The soft clinking of glasses and quiet laughter blend seamlessly with the music, creating an intimate atmosphere where time seems to stand still.

X:524
T:Love Is The Sweetest Thing
T:Love Is The Sweetest Thing
C:Ray Noble
L:1/4
M:4/4
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
%%MIDI program 0
V:1
|:"D" z d"Bm" d2- |"E7" d e/c/-"A7" c/B/ A |"D" z d"Bm" d d |"E7" d e/c/-"A7" c/B/ A | %4
w: Love is|_ the sweet- * test thing,|What else on|earth could ev- * er bring|
"D" z A A"D7" A |"G" A B/G/-"Em7" G/F/"A7" E |"D" z D"Bm" D D |"E7" D2"A7" E2 |"D" z d"Bm" d2- | %9
w: Such hap- pi|ness to ev- * 'ry- thing|As love's old|sto- ry.|Love is|
"E7" d e/c/-"A7" c/B/ A |"D" z d"Bm" d d |"E7" d e/c/-"A7" c/B/ A |"D" z A A"D7" A | %13
w: _ the strang- * gest thing,|No song of|birds up- on _ the wing|Shall in our|
"G" A B/G/-"Em7" G/F/"A7" E |"D" z D"Bm" D D |"A7" E2"D" D2 |"Bm" z d c"Bm6" B | %17
w: hearts more sweet- * ly sing|Than loves old|sto- ry.|What- ev- er|
"F#m" (3A B c"F#m6" c2 |"Em" z/ B/A/G/"A7" F E |"D" A4 |"Em7" z/ G/F/E/"F#7" D C |"Bm" (3D E F F2 | %22
w: heart may de- sire,|What- ev- er fate may|send,|This it the tale that|nev- er will tire,|
"E7" (3^G A B (3B c d |"Em7/A""A7" e4 |"D" z d"Bm" d2- |"E7" d e/c/-"A7" c/B/ A |"D" z d"Bm" d d | %27
w: This is the song with- out|end.|Love is|_ the great- * est thing,|The old- est|
"E7" d e/c/-"A7" c/B/ A |"D" z A A"D7" A |"G" A B/G/-"Em7" G/F/"A7" E |"D" z D"E7" F/B/"A7" A |1 %31
w: yet the lat- * est thing,|I on- ly|hope that fate _ may bring,|Love's sto- ry to|
"D" d2"G/A" z"A7" z :|2"D" !fermata!d4 |] %33
w: you.|you.|


Love Me Do

Context: Released in 1962, 'Love Me Do' was the debut single of The Beatles, marking the beginning of their rise to fame. The song features harmonica played by Lennon and is characterized by its simple structure and catchy melody. It reached number 17 on the UK charts upon its release.

'Love Me Do' employs a straightforward verse-chorus structure, with a prominent use of harmonica that adds a distinctive sound. The song's lyrical content revolves around themes of love and longing, typical of early 1960s pop music. Its simplicity and catchy hook contributed to its widespread appeal, making it a staple in The Beatles' early repertoire. The use of vocal harmonies between Lennon and McCartney showcases their developing songwriting partnership, which would evolve significantly in subsequent works.

The music features a bright and upbeat melody that combines elements of pop and rock. The instrumentation includes rhythmic guitar strumming, a steady drumbeat, and a notable harmonica line that serves as both an introduction and interlude. The vocals are delivered in a light-hearted manner, conveying a sense of youthful exuberance and romantic yearning.

In a lively café during the early evening, the warm glow of hanging lights casts a soft ambiance over the patrons. A young couple sits at a corner table, their eyes locked in an intimate gaze. As they share laughter and whispers, 'Love Me Do' plays softly in the background. The couple's hands brush against each other, creating an electric connection amidst the casual chatter around them. Outside, the sun sets, painting the sky in hues of orange and pink, perfectly mirroring the warmth of their budding romance.

X:525
T:Love Me Do
T:Love me do
T:John Lennon and Paul McCartney
T:Country Swing
C:John Lennon, Paul McCartney
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
"G" D2 D F |"C" G z z F |"G" D2 D F |"C" G z z F |"G" D2 D F |"C" G z z D | E2 D C | E4 | z2 G G | %9
w: Love, love me|do you|know I love|you I'll|al- ways be|true, so|please * *||love me|
"G" _B G3 |"C" z d c2 |1"G" _B G G2 |"C" z4 :|1"G" _B G G2 || z4 |:"D" A2 A G | ^F2 z2 | %17
w: do *|whoa *|love me do||love me do||Some- one to|love|
"C" g2 f d |"G" c/_B/ G z2 |"D" A2 A G | ^F2 z2 |"C" g2 f d |"G" G z z2 | D2 D F |"C" G z z D | %25
w: some- bod- y|new * *|some- one to|love|some- one like|you|love love me|do you|
"G" D2 D F | G z z F | D2 D F |"C" G z z D | E2 D C | E4 | z2 G G |"G" _B G3 |1"C" z d c2 | %34
w: know I love|you I'll|al- ways be|true so|please * *||love me|do *|whoa *|
"G" _B G G2 | z2 z2 :|2"C" z d c2 |"G" _B G G2- | G4 |] %39
w: love me do||whoa *|love me do.||


Love Will Keep Us Together

Context: Released in 1975, 'Love Will Keep Us Together' became a significant hit for Neil Sedaka and was famously performed by The Captain & Tennille. The song topped the Billboard Hot 100 chart and won the Grammy Award for Record of the Year in 1976. It reflects themes of enduring love and commitment.

Musically, 'Love Will Keep Us Together' features a catchy melody characterized by its upbeat tempo and simple chord progressions typical of 1970s pop music. The song employs a verse-chorus structure, with a memorable refrain that emphasizes the message of love's endurance. The use of vocal harmonies enhances the emotional impact, while the instrumentation includes piano, guitar, and light percussion, creating a warm and inviting sound. Lyrically, the song conveys a reassuring message about love's ability to overcome challenges, employing straightforward yet heartfelt language that resonates with listeners.

The piece is marked by its uplifting melody and harmonious vocal arrangements. It features a blend of soft rock elements with a prominent piano line that drives the rhythm forward. The lyrics express themes of devotion and reassurance, encapsulating the joy and warmth associated with romantic relationships. The overall tone is optimistic, making it a staple in love songs from its era.

Imagine a sunlit afternoon in a cozy living room adorned with soft pastel colors. A couple sits together on a plush sofa, sharing smiles and laughter as they reminisce about their journey together. The gentle sound of 'Love Will Keep Us Together' plays softly in the background, enhancing the warmth of their connection. Outside, birds chirp as the sun casts a golden glow through the window, creating an atmosphere filled with love and nostalgia. The couple exchanges knowing glances, their hands intertwined, embodying the essence of enduring love that the music celebrates.

X:526
T:Love Will Keep Us Together
T:Love will keep us together
T:Neil Sedaka, Howard Greenfield
C:Neil Sedaka
L:1/4
M:4/4
I:linebreak $
K:C
V:1 treble
%%MIDI program 4
V:1
"G" d3 z | f e d/c/ c | d/A/ B z2 | f/f/ e d c |"E7" d/A/ B z2 | f e d e |"C" _B/G/ E G z | %7
w: Love|love will keep us to-|geth- er *|think of me babe when-|ev- er *|some sweet talk- in|guy comes a- long|
w: You|you be- long * to|me * now|aint gon- na set you|free * now|when those guys start|hang- in a- round|
w: willbe|there to share * for-|ev * er|love * will keepus to-|geth * er|saidit be- fore andI'll|say it a- gainwhile|
 _B/G/ E A G |"Cm" _B A/G/ G3/2 G/ | d c/d/ _B G |"G" B z z B/B/ | B B A G | B z z B/B/ | %13
w: sing- in his song *|dont mess a- round you|got- ta be strong just|stop cause I|real- ly love ya|stop I'll be|
w: talk- in me down *|hear with your heart andyou|wont hear a sound *||||
w: oth- ers pre- tend *|I need you now and|I'll need you then *||||
"G7" f B A G |"C" d c/d/ c B/c/ |"D7" d z G G/G/!dacoda! |1"G" _B A3 | G4 | z4 | z4 :|2"G" _B A3 || %21
w: think- in of ya|look in my heart and let|love keep us to|geth *|er|||geth- er|
w: ||||||||
w: ||||||||
 G3 A | E D z z | z4 |"Bb" d2 c2 |"C" c d/_B/ G3/2 G/ |"Eb" _B B/B/ c B/G/ |"G" d3 z | %28
w: * what-|ev- er||young and|beau- ti- ful * but|some- day your looks will be|gone|
w: |||||||
w: |||||||
"Bb" d3/2 d/ c c |"C" c d/_B/ G2 |"Eb" _B B c/B/ c |"D7" d g/e/ d g/e/!D.C.! | d g/e/ d g || %33
w: when the oth- ers|turn you off *|who'll be turn- ing you|on? I will * I will|* I will * I|
w: |||||
w: |||||
O"G" _B A3 | G3 A | E D z2 |] %36
w: geth- *|er what-|ev- er|
w: |||
w: |||


Love's Been Good To Me

Context: This song reflects the personal experiences of the artist, who often wrote about love and relationships. Rod McKuen was known for his poignant lyrics and emotive delivery, capturing the essence of human emotions in his music.

Musically, 'Love's Been Good To Me' features a simple yet effective melodic structure that emphasizes the lyrical content. The use of soft instrumentation creates an intimate atmosphere, allowing the listener to focus on the emotional weight of the lyrics. The song employs a moderate tempo and a straightforward chord progression, which enhances its accessibility. Lyrically, McKuen expresses a complex relationship with love, acknowledging both its joys and sorrows. The recurring themes of reflection and gratitude are underscored by his warm vocal delivery, making the song resonate deeply with listeners.

The music piece is characterized by its gentle melody and heartfelt lyrics that explore themes of love and reflection. The arrangement typically includes soft strings and piano, creating a soothing backdrop that complements the emotional depth of the vocals. The song's structure is straightforward, allowing for a clear narrative flow that guides the listener through a journey of reminiscence and appreciation for love's impact on life.

The music plays softly in a cozy living room bathed in warm, golden light during a late afternoon. A couple sits together on a plush sofa, reminiscing about their shared memories. The room is adorned with photographs capturing moments of joy and tenderness. As they listen, they exchange glances filled with nostalgia and warmth, reflecting on both the beautiful moments they've experienced together and the challenges they've faced. Outside, leaves rustle gently in the breeze, adding to the serene atmosphere as the music envelops them in a comforting embrace.

X:527
T:Love's Been Good To Me
T:Love's Been Good To Me
C:Rod McKuen
L:1/8
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Voice"
%%MIDI program 52
V:1
"Eb" z2 GA"Gm" B3 E |"Fm" F2 A6 |"Bb7b9" z2 DE F3 D |"Eb" E8 | z2 GA"Gm" B3 E |"Fm" F2 A6 | %6
w: I have been a|rov- er,|I have walked a-|lone,|Hiked a hun- dred|high- ways,|
w: ||||||
"Bb7b9" z2 DE F3 D |"Eb" E8 |"Cm" z2 ed c3 B |"Gm" G2 G6 |"Fm7" z GBA G2 F2 |"Abm6" E8 | %12
w: Nev- er found a|home.|Still, in all, I'm|hap- py,|The rea- son is you|see,|
w: ||||||
"Eb" z EFG"Eb9" B2 B2 |"Ab" B2 A2"Abm6" E4 |"Eb" z2 GF"Fm7" E2"Bb7" F2 |"Eb" E6 z2!fine! || %16
w: Once in a- while a-|long the way,|Love's been good to|me.|
w: ||||
 z2"^N.C." G2 B2 E2 ||"Fm7" F6 F2 |"Bb7" A2 A6 |"Fm7" z EGF E2"Bb7" F2 |"Eb" E6 z2 | %21
w: There was a|girl in|Den- ver,|Be- fore the sum- mer|storm,|
w: There was a|girl in|Port- land,|Be- fore the win- ter|chill,|
"Cm" z eed"Gm" c2 B2 |"Fm9" G2 G6 |"Ab" z ccB A2 G2 |"Bb7" F4 (3B2 c2 d2 |"Eb" e3 e e2 d2 | f2 e6 | %27
w: * Oh her eyes were|ten- der!|* Oh her arms were|warm! And she could|smile a- way the|thun- der,|
w: We used to go a-|court- ing,|A- long Oc- to- ber|Hill, And she could|laugh a- way the|dark clouds,|
"Ab" d3 c B3 A |"Am6""Db9" E8 |"Eb" z EEE B2 B2 |"Fm7" B2 A2"Db9" E4 | %31
w: Kiss a- way the|rain,|and ev- en tho' she's|gone a- way,|
w: Cry a- way the|snow,|It seems like on- ly|yes- ter- day,|
"Cm7" z EGF"Fm7" E2"Bb7" F2 |1"Eb" E8 :|2"Eb" E8!D.C.! |] %34
w: You won't hear me com-|plain.-||
w: As down the road I||go.|


Love's Theme

Context: Released in 1973, 'Love's Theme' is notable for its lush orchestration and romantic themes, becoming one of Barry White's signature pieces. It features a prominent string arrangement and is often associated with the disco era, though it has roots in soul music.

'Love's Theme' showcases a blend of orchestral strings and rhythmic elements typical of disco. The piece is characterized by its sweeping melodies, which evoke feelings of romance and nostalgia. The use of lush string arrangements creates a warm, inviting atmosphere, while the rhythmic underpinnings provide a danceable quality that aligns with disco sensibilities. The harmonic structure is relatively simple yet effective, relying on major chords to reinforce the uplifting mood. This piece exemplifies the transition from traditional soul music into the more dance-oriented disco genre, reflecting broader trends in 1970s popular music.

The music features a smooth and flowing melody primarily driven by strings, creating an atmosphere of romance and elegance. The arrangement is rich and layered, with a gentle yet persistent rhythm that invites movement. The overall sound is polished, showcasing the lush orchestration typical of the era, which enhances the emotional impact without overwhelming the listener.

Set in an elegant ballroom during a lavish evening event, guests dressed in formal attire glide across the polished wooden floor under soft, ambient lighting. A large chandelier casts a warm glow over couples as they sway gently to the music. The atmosphere is filled with laughter and soft conversations, punctuated by the melodic strains of 'Love's Theme,' which envelops the room in a romantic embrace. As couples share intimate moments, their expressions reflect joy and connection, perfectly harmonizing with the music's smooth and inviting tones.

X:528
T:Love's Theme
T:Love's Theme
T:Barry White
C:Barry White
L:1/8
M:2/2
I:linebreak $
K:D
V:1 treble
%%MIDI program 40
%%MIDI control 7 100
%%MIDI control 10 64
V:1
"D" A8- | A4 F2 c2 |"Bm" c3 B B4- | B6 FB |"D" A8- | A4 F2 e2 |"Bm" e3 d d4- | d4 c3 B | %8
w: Play|* our love's|theme to- night.|* My love's|here|* it's no|dream to- night.|* It's been|
w: play|* our love's|theme once more.|* make her|feel|* what she|felt be- fore.|* While the|
"Em7" d2 BG- G4- | G3 B d3 e |"Em7b5" d2 _BG- G4- | G3 G GA_Bd |"Dmaj7" c2 dc- cdcd | %13
w: oh, so long *|* we've danced to|our love song, *|* And I just know the|mel- o- dy * that made her|
w: lights are low, *|* just let the|mu- sic flow. *|||
"Bm9" c2 dc- c3 c |"Em7" d2 ed- dede |1"A11" f3 e"A7" f2 e2 :|2"A11" f3 e"A7" f2 G2 ||"D" A8- | %18
w: mine will be * the|mel- o- dy * that keeps her|close to me. So|close to me Love's|theme.|
w: |||||
 A4 (3z2 d2"Eb" _e2 |"Em" e4 z4 | z4 (3z2"D" d2"Eb" _e2 |"Em" e4 z4 | z4 (3z2"D" d2"Eb" _e2 | %23
w: * Let it|play!|Let it|play!|Let it|
w: |||||
"Em" e4 z4 | z8 |"D" (3B2 A2 B2- BABA |"Bm" (3B2 A2 B2- BABA |"Em7" (3B2 A2 B2- BABA |"A7" z8 | %29
w: play!||La la la * la la la-|La la la * la la la|La la la * la la la.||
w: ||||||
 z4 z FGB ||"D" A8- | A4 F2 c2 |"Bm" c3 B B4- | B6 FB |"D" A8- | A4 F2 e2 |"Bm" e3 d d4- | %37
w: Come on and|play|* our love's|theme a- gain.|* Touch her|heart,|* touch her|soul, and then-|
w: ||||||||
 d4 c3 B |"Em7" d2 BG- G4- | G3 B d3 e |"Em7b5" d2 _BG- G4- | G3 G GA_Bd |"Dmaj7" c2 dc- cdcd | %43
w: * Once we|sip the wine, *|* her lips will|wel- come mine, *|* And I just know the|mel- o- dy * that made her|
w: ||||||
"Bm9" c2 dc- c3 c |"Em7" d2 ed- dede |"A11" f2 e"A7"f- f3"Em7" d |:"Dmaj7" c2 dc- cdcd | %47
w: mine will be * the|mel- o- dy * that keeps her|close to me. * The|mel- o- dy * that made her|
w: ||||
"Bm9" c2 dc- c3 c |"Em7" d2 ed- dede |"A11" f2 ef-"A7""^Repeat and fade" f3"Em7" d :| %50
w: mine will be * the|mel- o- dy * that keeps her|close to me. * The|
w: |||


Lover, Come Back To Me

Context: Originally composed for the 1924 musical 'The New Moon', this song has become a standard in the American songbook, frequently covered by various artists across genres.

The song features a lush orchestral arrangement characteristic of early 20th-century musicals, employing a rich harmonic language that evokes deep emotional resonance. The lyrical content reflects themes of yearning and romantic loss, utilizing a traditional AABA song structure. The melody is lyrical and flowing, with a wide vocal range that allows for expressive interpretation. The use of chromaticism in the bridge heightens the emotional stakes, while the return to the A section provides a sense of resolution yet retains an underlying feeling of melancholy.

This piece is characterized by its sweeping melodies and heartfelt lyrics that convey a sense of longing and emotional depth. The orchestration typically includes strings and woodwinds, creating a warm and inviting soundscape. The vocal lines are designed to showcase the singer's emotional expression, with dynamic contrasts that enhance the narrative of love lost and the desire for reconciliation.

The music plays during a dimly lit scene in a vintage café, where a solitary figure sits at a table, gazing out of the window as rain softly taps against the glass. The atmosphere is thick with nostalgia; soft candlelight flickers, casting shadows on the walls adorned with sepia-toned photographs. The character, dressed in period clothing, appears pensive, clutching a letter that evokes memories of a past love. As the music swells, their expression shifts from sorrow to hope, reflecting on cherished moments while longing for their beloved to return.

X:529
T:Lover, Come Back To Me
T:Lover, Come Back To Me
T:Sigmund Romberg
T:Oscar Hammerstein II
C:Sigmund Romberg
L:1/8
M:4/4
I:linebreak $
K:G
V:1 treble nm="Piano"
%%MIDI program 0
V:1
|:"G" z GGA B4 |"B7" z FFG A4 |"Em" z GGA"Em7" B4 |"A7" z EEF"Cm" G4 |"G" z DDE"Em" GABd | %5
w: The sky was blue;|and high a- bove,|the moon was new|and so was love.|This ea- ger heart of mine was|
"A7" B4"D7" A4 |"G" DE G2"C" G2"Cm6" G2 |"G" (G4"D7" d2) z2 |"G" z GGA B4 |"B7" z FFG A4 | %10
w: sing- ing:|"Lov- er, where can you|be?" *|You came at last.|love had its day,|
"Em" z GGA"Em7" B4 |"A7" z EEF"Cm" G4 |"G" z DDE"Em" GABd |"A7" B4"D7" A4 | %14
w: that day is past,|you've gone a- way.|This ach- ing heart of mine is|sing- ing:|
"G" DE G2"C" G2"Cm6" G2 |"G" G4"B7" F4 |"Em" EFGA Be^de |"Am" ce^de"Em" B4 |"B" B4"B7" F4 | %19
w: "Lov- er come back to|me!" When|I re- mem- ber ev- 'ry lit- tle|thing you used to do,|I'm so|
"C7" G4"B7" F4 |"Em" EFGA Be^de |"Am" ce^de"Em" B4 |"A7" B4 EFGB |"D7" d4"D9" A4 |"G" z GGA B4 | %25
w: lone- ly.|Ev'- ry road I walk a- long l've|walked a- long with you,|no won- der I am|lone- ly.|The sky is blue,|
"B7" z FFG A4 |"Em" z GGA"Em7" B4 |"Fdim" z BBc"E7" d4 |"Am" z ccd"Am7" egec | %29
w: the night is cold,|the moon is new,|but love is old;|and while I'm wait- ing here, this|
"G" Bd"Em"BG"Am" A2"D7" B2 |"G" DE G2"C" G2"Cm6" G2 |1"G" G4"D7" z4 :|2"G" G6 z2 |] %33
w: heart of mine is sing- ing:|"Lov- er come back to|me!"|me!"|


Lovers In Japan

Context: Released in 2008 as part of the album 'Viva la Vida or Death and All His Friends', 'Lovers In Japan' is known for its uplifting melody and themes of love and hope. The song features a prominent use of piano and strings, creating an expansive sound that reflects the band's signature style. It has been associated with various charitable causes, particularly in support of children in need.

Musically, 'Lovers In Japan' employs a blend of alternative rock and pop elements, characterized by its anthemic chorus and layered instrumentation. The song features a moderate tempo and is structured around a verse-chorus format, with a notable use of dynamics that builds towards the chorus. The harmonic progressions are primarily diatonic, utilizing major chords to evoke feelings of optimism and nostalgia. The lyrical content juxtaposes themes of love with a sense of longing, enhanced by the imagery of travel and connection across distances. The use of percussive elements alongside melodic lines creates a rich tapestry of sound that invites listener engagement.

The piece is characterized by its bright melodies and lush harmonies, creating an atmosphere that is both uplifting and reflective. The instrumentation includes piano, strings, and rhythmic guitar, which together build a dynamic soundscape. The vocals are delivered with emotional sincerity, enhancing the overall theme of love and connection. The song's structure allows for a gradual build-up to a powerful chorus, making it resonate with listeners on both emotional and auditory levels.

The music plays during a serene sunset scene in a vibrant city filled with twinkling lights. A couple stands hand-in-hand on a rooftop terrace overlooking the skyline, their faces illuminated by the golden hues of the setting sun. They share soft laughter while reminiscing about their travels together, surrounded by potted plants and fairy lights that create an intimate ambiance. As the music swells, they exchange meaningful glances, embodying the joy and hope that love brings amidst life's uncertainties.


Lovesick Blues

Context: Originally written in 1922, 'Lovesick Blues' became popular through its association with several artists, notably Hank Williams, who made it a hit in 1949. The song reflects the deep emotional pain of unrequited love and has been covered by numerous artists across various genres.

'Lovesick Blues' employs a simple yet effective structure that combines traditional country elements with blues influences. The song is characterized by its use of a 12-bar blues progression, which creates a melancholic atmosphere. Lyrically, it presents a narrative of longing and despair, employing vivid imagery to convey the protagonist's emotional turmoil. The use of repetition in the chorus emphasizes the depth of feeling associated with heartbreak. Furthermore, the song's melodic line features wide intervals that enhance the expressive quality of the vocal delivery, allowing for a poignant interpretation of the lyrics.

The music features a slow tempo with a prominent use of acoustic guitar and steel guitar, creating a rich, emotive soundscape. The vocal delivery is heartfelt and expressive, often incorporating techniques such as slides and bends to convey deep emotion. The lyrics explore themes of love and loss, painting a vivid picture of heartache and yearning.

The music plays during a quiet evening in a dimly lit room, where a solitary figure sits by the window, gazing out into the night. The soft glow of streetlights casts shadows across the room, highlighting the person's pensive expression. Outside, raindrops gently tap against the glass, mirroring the tears welling in their eyes. Memories flood back as they recall moments spent with a lost love—laughter shared under starlit skies and whispers exchanged in hushed tones. The air is thick with nostalgia and longing as the music swells, enveloping the scene in an aura of bittersweet melancholy.

X:531
T:Lovesick Blues
T:Lovesick Blues
T:(Adapted by Hank Williams)
T:Cliff Friend
T:Irving Mills
C:Cliff Friend 1921
L:1/8
M:4/4
I:linebreak $
K:F
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z z z2 z ^GA=G |"F" A^GA=G A f2 c | c2 c2 A2 FC | DCD^D"C7" E4- | E6 BA | BAB=B cf c2 | G6 A^G | %7
w: I got the|feel- in called the blues * *|Oh oh Lawd since my|ba- by said good- bye-|* Lawd I|dont know what I'll do * *|* all I|
 A^GA=G"F" A f2 c- |"F7" c2 F2 A2 c2 |"Bb7" d3 c d2 F2 | _A6 d2 |"F" d c2 c- c=B_BA- | %12
w: do is sit and sigh * *|* that last long|day she said good-|bye- well|Lawd I tho't * I would cry|
"D7" A6 z ^G |"G7" A d2 ^G A d2 ^G | AAAA B G3 |"C7" dcdc dcdc | dc A2"F7" f2 c2 | cf c2"E7" A4- | %18
w:
 she;d|do me she'd do you she's|got that kind of lov- in|Lawd I love to hear her when she|calls me sweet dad *|* * * dy|
"F7" A2 FD FE D2 |"C7" C8- | CABA BB =B2 |"C7" c4 G4- | G^FG=F G2"Bb" _A2 |"A7" =A8- | %24
w: * such a beau- ti- ful|dream|* I hate to think it all|o- ver|* I've lost my heart it|seems|
 A2 A2 B2"F7" c2 |"Bb7" d3 c d2 F2 | _A6 dd |"F" c4 c=Bc^c |"D7" d d2 d- dc A2 |"G7" AfAf A G3 | %30
w: * I've grown so|used to you some-|how Lawd I;m|no- bod- ys sug- ar|dad- dy now * and I'm|lone- * * * some *|
"C7" z ccc dc d2 |"F" A f3-"Ab" f4- |"Gm7" f4"F7" z4 |] %33
w: I got the love- sick blues|||


Lucky Lips

Context: Originally recorded by Ruth Brown in 1957, 'Lucky Lips' became a hit and has been covered by various artists, showcasing its enduring appeal. The song's catchy melody and playful lyrics about luck in love resonate with audiences across generations.

The song features a lively tempo and a doo-wop influence, characterized by its repetitive chorus and engaging rhythm. The use of call-and-response vocals enhances its playful nature, inviting audience participation. Lyrically, it explores themes of love and fortune, using the metaphor of 'lucky lips' to symbolize the joy and serendipity found in romantic relationships. The harmonic structure is simple yet effective, allowing the melody to shine while the instrumentation complements the vocal lines with upbeat brass and rhythmic guitar accents.

This piece is marked by an upbeat tempo and a catchy melody that captures the essence of youthful romance. The instrumentation includes brass sections that add a vibrant texture, while the vocal delivery is energetic and expressive. The lyrics convey a sense of optimism about love, using playful metaphors that evoke feelings of joy and hope. The overall sound is polished, reflecting the production styles of mid-20th century pop music.

Imagine a lively dance floor in a retro-themed nightclub, filled with couples swaying to the rhythm of the music. The lighting is dim but colorful, casting playful shadows as disco balls twinkle overhead. Young men and women dressed in vibrant attire share glances and laughter, embodying the carefree spirit of romance. In one corner, a couple leans close together, sharing whispers and smiles as they feel the music pulse through them. Outside, the night air is warm, hinting at summer's embrace as laughter spills into the streets.

X:532
T:Lucky lips
T:Lucky lips
T:Jerry Lieber, Mike Stoller,
C:Jerry Leiber, Mike Stoller
L:1/4
M:4/4
I:linebreak $
K:Eb
V:1 treble nm="Electric Piano"
%%MIDI program 4
V:1
 z/ z/ z z z/"Eb" G/ | G G G/F/G/F/ | E/E/ z z z/ B,/ | A/A/ A A/G/- G | F2 D F | A A A G | %6
w: When|I was just a lit- tle|ba- by I|did- nt have man- y *|toys by my|mom- ma used to|
 F F- F/B/ c |"Eb" B B B/A/- A | G2 z B/B/ | B B B A | G E2 E/E/ |"Ab" A G A B | B/c/- c z/ c/ c | %13
w: say son * you got|more than o- ther *|boys now you|may not be good|look- ing and you|may not be too|rich * * but you'll|
"Bb" d B"Ab" c A |"Gm" B- B/G/"Fm7" A z/ A/ |"Bb" G B G/E/ F | E"Eb" z B c || G G G F | %18
w: nev- er ev- er|* be a- lone cos|you've got luck * y|lips luck- y|lips are al- ways|
 E/E/-E/ z/ F G | A A A G | F3 z | A A A G | F F F A |"Eb" G G G F | E2 z B | B B B A | %26
w: kiss- ing * luck- y|lips are nev- er|blue|luck- y lips will|al- ways find a|pair of lips so|true dont|need a four leaf|
 G/F/ E z B/B/ |"Ab" A G A B | B/c/- c z z/ c/ |"Bb" d B c A |"Gm" B G"Fm7" A z/ A/ | %31
w: clo * ver rab- bits|foot or good luck|charm * * with|luck- y lips you'll|al- ways have a|
"Bb" G B G/E/ F |"Bb" E z z z/ E/ :| E z B B ||"Bb7" B =B c d |"Eb" e4- | e4- | e4 |] %38
w: ba- by in * your|arms I|arms luck- y|ba- by in your|arms,|||


Lullaby of Birdland

Context: Originally composed in 1952, 'Lullaby of Birdland' is a jazz standard that has been covered by numerous artists. The song was inspired by the famous Birdland jazz club in New York City, which was a prominent venue for jazz musicians during the mid-20th century. George Shearing, a British pianist, popularized the piece with his unique style, blending classical elements with jazz.

'Lullaby of Birdland' features a distinctive melody characterized by its smooth, flowing lines and rich harmonic structure. The piece is often performed in a moderate swing tempo, allowing for expressive phrasing. The use of syncopation and chromaticism contributes to its dreamy quality, making it an ideal choice for both vocal and instrumental interpretations. The harmonic progression typically includes major and minor chords, creating a sense of tension and release that enhances the lullaby theme. The interplay between the melody and accompaniment showcases the improvisational nature of jazz, inviting performers to explore personal interpretations while maintaining the essence of the original composition.

This piece is characterized by a gentle, soothing melody that evokes a sense of calm and tranquility. The arrangement typically features soft piano chords accompanied by light percussion and bass, creating a warm atmosphere. The vocal lines are often smooth and lyrical, with an emphasis on expressive dynamics that enhance the lullaby effect. The overall sound is lush and inviting, making it suitable for both intimate settings and larger performances.

In a cozy, dimly lit jazz club nestled in the heart of New York City, the soft glow of candlelight flickers across small tables where patrons sit sipping on drinks. A gentle hush falls over the audience as the band begins to play 'Lullaby of Birdland.' The scene is set late at night; outside, the city hums with life, but inside this intimate space, time seems to stand still. On stage, a pianist skillfully caresses the keys while a vocalist sways gently, their eyes closed as they lose themselves in the music. The atmosphere is serene; couples lean in closer to one another, lost in conversation or simply enjoying the moment. As the melody swells and flows like a gentle breeze, it carries with it an air of nostalgia and warmth that envelops everyone present.

X:533
T:Lullaby of Birdland
T:Lullaby of Birdland
T:George Shearing
C:George Shearing
L:1/8
Q:1/4=160
M:4/4
I:linebreak $
K:Ab
V:1 treble nm="MusicXML Part"
%%MIDI program 0
V:1
"Fm7" ccBA"Dm7b5" G F3 |"G7b9" =D2 F"C7b9"=E- E4 |"Fm7" C2 G"Dbmaj7"F- F4 |"Bbm7" D2 c"Eb7"B- B4 | %4
w: Lul- la- by of bird- land,|that's what I _|al- ways hear _|when you sigh. _|
w: Have you ev- er heard two|tur- tle doves _|bill and coo _|when they love? _|
"Cm7" eedc"Fm7" B A3 |"Bbm7" FcB=E-"Eb7b9" EcB_E- |1"Abmaj7" E4-"Dbmaj7" EBAD- | %7
w: Nev- er in my word- land|could there be words _ to re- veal|_ _ in a phrase|
w: That's the kind of ma- gic|mu- sic we make _ with our lips|_ _ _ _ _|
"Gm7b5" DAGC-"C7" C4 :|2"Abmaj7" E4-"Eb7" EEGA- ||"Abmaj7" A8 ||"Cm7b5" c2 d=d"F7b9" ece_d- | %11
w: _ how I feel! _|||And there's a wee- py old wil-|
w: |* * when we kiss!|_||
"Bbm7" d B3- B4 | B2 =Bc"Eb7b9" d_Bdc- |"Abmaj7" c8 |"Cm7b5" c2 d=d"F7b9" ece_d- |"Bbm7" d B3- B4 | %16
w: * low _|he real- ly knows how to cry!|_|That's how I cry in my pil-|* low _|
w: |||||
"Eb7b9" B2 =Bc d_Bdc- |"Abmaj7" cdc"C7"B- B4 |:"Fm7" ccBA"Dm7b5" G F3 |"G7b9" =D2 F=E-"C7b9" E4 | %20
w: if you should tell me fare- well|_ and good- bye! _|Lul- la- by of Bird- land|whis- per low _|
w: ||||
"Fm7" C2 GF-"Dbmaj7" F4 |"Bbm7" D2 cB-"Eb9" B4 |"Cm7" eedc"Fm7" B A3 | %23
w: kiss me sweet _|and we'll go _|fly- in' high in Bird- land|
w: |||
"Bbm7" FcB=E-"Eb7b9" EcB_E- |1"Abmaj7" E4-"Dbmaj7" EBAD- |"Gm7b5" DAGC-"C7" C4 :|2 %26
w: high in the sky _ up a- bove|_ _ all be- cause|_ we're in love. _|
w: |||
"Abmaj7" E4- E=EFd- ||"Bbm7" d4"Eb9" c2 cA- |"Abmaj7" A8- | A6 z2 |] %30
w: _ _ all be- cause|_ we're in love.|_||
w: ||||