Duets Lyn ENTE SINGERS MUSICALLIHEATRE A collection of songs from the musical stage, categorized by voice type. The selections are presented in their authentic settings, excerpted from the original vocal scores. ‘Compiled and Edited by Richard Walters LEONARD®Foreword ‘The Singer's Musical Theatre Anthology is the most comprehensive series ofits kind ‘ever to appear in print. Its unique perspective is in looking at the field of musical theatre in terms of vocal literature. One of the prime parameters in choosing the songs for this se- ries was that they should all be, in some way, particularly vocally gratifying. Many of the songs included here are very familiar to us, yet we seldom see them print ed as they were originally written and performed. The long tradition in sheet music throughout this century has been to adap: a song in several ways to conform to a format which makes it accessible to the average pianist. This type of arrangement is what one finds in vocal selections, or in any pianojvocal collection of show music. These sheet arrange- ‘ments serve their purpose very well, but aren't really the best performing editions for a singer. In contrast, the selections in this sevies have been excerpted from the original vocal scores. One of the many benefits of this isa much more satisfying piano accompaniment. In addition, many songs included here have never been available separately from the full vocal scores. In some cases, a song has required some adaptation in order to be excerpted from a show's vocal score. The practice of perforning arias as removed from their operatic con: text gives many precedents for making such adjustments. In many ways, one could view this anthology asa “critical edition,” or a'"performing edition.” Significant editorial adjust: ments are indicated by footnotes in some instances, ‘The original keys of this literature (which are used here) can give important informa- tion toa singer about the nature of a song and haw it should sound, and in most cases they will work very well for most singers. But unlike opera, these original keys donot necessarily heed to be reverently maintained. With some musical theatre literature, a singer should not rule out transposing a song up or down for vocal comfortability. Mezzo-sopranos in particu- lar may find some of their songs in inaccessibly low keys and may need to transpose them up. Concerning keys, one important factor to remember is that the preferred vocal sound. in women’s musical theatre literature is often significantly lower than as defined by classi- cal vocal tradition, especially by operatic standards of tessitura ‘There is certainly no codified system: for classifying theatre music as to voice type, ‘some roles the classification is obvious. With others there is a good deal of ambiguity Asa result, a particular singer might find suitable literature in this anthology in both vol- umes of his/her gender. Specifically, a classically trained mezzo-soprano wrll find many. comfortable songs in the soprano volume. Any performer of these songs will benefit greatly by a careful study of the show and role from which any given song is taken. This type of approach i taken for granted with an actor preparing a monologue or an opera singer preparing an aria, But because much thea- ‘ve music has been the popular music of itstime, we sometimes easily lose awareness of its ‘dramatic context, ‘The selections in The Singer’s Musical Theatre Anthology will certainly be signifi cant additions to a singer's repertory, but no anthology can include every wonderful song. There ie avast body of literature, come of i virtually unknown, waiting to be discovered and brought to lite [would like to thank the following persons for their help in assembling materials for this series: Judy Bell of The Richmond Organization, Paul McKibbins of Tommy Valando, Publications, and Lys Symonette of the Kurt Weill Foundation for Music, Inc. Richard Walters, editorTHE SINGER’S MUSICAL THEATRE ANTHOLOGY Duets Contents Anyone Can Whistle Oklahomat ‘9 With So Little To Be Sure OF 52. People Will Say We're In Love Babes In Arms 110 In The Shade 1g) You're Nearer 95 A Man And A Woman Bells Are Ringing Porgy And Bess 2S Salsburg Tot" Bess, You Is My Woman 113. I Loves You, Porgy Carousel 127 What You Want Wid Bess? 28 When The Children Are Asleep Roberta Fe TS2 The Touch OF Your Hand 40 Too Many Mornings ‘Show Boat ‘The King and 1 138" Make Believe 49" 1 Have Dreamed M5 You Are Love 55 Werkles In A Shadow Song Of Norway Kise Me, Kate 1s Strange Musle 60" Wunderbar Street Scene Knlekerbocker Holiday 62. Well Go Away Together G8. Te Never Was You 7B Will You Remember Me? ‘The Most Happy Fella 185" My’ Heart 1s So Full UF YouAbout The Shows ANYONE CAN WHISTLE, [MUSIC AND LYRICS: Stephen Sondhin BOOK: Artur Laurens DIRECTOR: Aur tauren CHOREOGRAPHER. erbert Ross ‘OPENED: 44/04 Something of “cul” musical, Anyone Can Whit wae an allegorical etre in which Angela Lansbury (0 itt Heady mua pied scrap mye oat torn cites piste a becomes mecafor he gulleandthepious, bul ne hoa sed when he mates ofa mena nti hatch mistaken forthe ne doctor, and Le Rem was the bead muse a0" ahitted she was unable BABES IN ARMS IMUSIC: Richard Rodgers BOOK: Richard Rodgers and Lorens Hart ym. Lorene ar CHOREOGRAPHER: George Saanchine DIRECTOR Robert Since ‘OPENED: 18/37 ih such songs as" Wish ere In Love Aga." “Johnny One Note" “The Lady Is ATramp:"“My Funny Xatentine and “Where Or When” Babes Instr boaaed move hitathan ay of Reger ana ar et ‘ine tag ual nthe high pte, youl show a group el youngatrs, whee parents are outs stig sage rene tcp ity ee sr Ura he sot fesstl show and have ther own youth center. Amen the ast babes n arms were Such ure tara os A ifed Drake and Dan Date. both appearing inthe fst Broadway oes ‘W's 999m version, stating Mickey Rooney and Judy Garland retained onl woo the Rodgers and Har songs. The dre war Duby Bevo. " * - BELLS ARE RINGNG MUSIC. Jue Se CHOREOGRAPHERS: Jerome Robbins an TYRICS AND BOOK: Sety Comden and Adolph Green ob Fosse DIRECTOR: terme Robbins ‘OPENED, 11/2158 Ever since appearing together in night clu ewe, Betty Comden and Adolph Oreen had wanted vo wet ‘uel or ter ead Hoy Te ay eve po waa nes Ma oly inealesome operator at telephone answering service who gts ovolted with he chents ves She ein {eet so elu fo one. playwnht in need of nopcation tht they mee, ali love, dance and tng nthe ‘tay ad enteral Ne ores in Cental Pan adton to being Coan eens oes Sas Bete Se Ranta ame sare "has nie La For the 1960 MGM movie version, Mis Holiday was coatarred with Dean Martin ina production directed by Vincente Minel ‘CAROUSEL, MUSIC Richard Rodgers ‘CHOREOGRAPHER: Agnes de Mile DIRECTOR: Rouben Mamoalian OPENED. 1/195 Harnerstein shifted Molna's Budapest locale to ate nineteath century Hsing village in New Eglend “The two prinepal oles ae ily Bigelow, ahies caval barker. and halle Jord, tx ordinary sco Worker. This ie not merely a simple boy meets gt plot, but cota a predominant theme of Wagedy {voughou most of the plays Pheacore ch ws musical hgh pot the Het coming wth I Leved ou" sung by Jule an Bly atthe fst meeting. n'Mister Snow” Cr, ules fend describes hers ‘ost prt ance bills famous "Solioquy” Renard Rodgers longet and most opera song nd can ‘ouly be considered an arta. The show closes wit the moving hyaike "You'll Never Wale Alone Mette trains on a prs biti The ratiny abe an, tSFOLLIES [MUSIC AND LYRICS: Steen Sondheim ROOK: James Golaman Bier Hr Price nd snl Senet (CHOREOGRAPHER: Michael Bennet ‘Toing place at a reunion of former Ziegfeld Foestype shows, the mosis deat withthe realty of ie sted with the unreal othe theatre theme eaplored through theives of two coupes, the up perclass uanappy Pils and Senlamin Stone Ale SnithandJobn Metarun) andthe adil uh Fappy say and Buddy Plummer Dorthy Colina and Gane Nelson, Foessizo depicted these couple thay were tn their youths Hashbsek device that promped Stephen Sondheim ta Ste up wit songs pr posey reminiscent of the sys of some ofthe teales great composers and yeast! the pase, “The show was given 2 concert performances in September of 1985 at Avery Fisher Halo New York, th 2st int incldd Barbara Cook George Hearn, Mandy atin, Lee Remick Carl Burtt at any ot freA new recording ofthe munca was leased a elt ofthese perionmance, THE KING ANDI MUSIC: Ritaza Rodgers ‘CHOREOGRAPHER: Jerome Robbins YRICS AND BOOK: Oscar Hammerstein I DIRECTOR: son van Brute OPENED. 3/9/31 ‘asides ting Marat Lando s Novel An ne King Of Siam aoa mi rt erred o tae Lawrence who ate tan auhabe vee for far euro the Broadway muta sage Based on {he dares of an adventurous Englishman, the story istet in Bengokinthe ery Ids, Ama Lconowens ‘in has accepted the posto schoolteacher fo the Siamese Kina cilten as frequent cates wh te ear rencontre ne oir rigs more Semon $e for his peopl. the show marked the Hit colaberation between Richard Rodgers and sca Ham ‘meri an ther third torn over one thousand yrtonnances ‘ast opposite Miss Lawrence (ho ded in 1952 ringer ofthe ply) was the then ie known Yul ‘SrynnerAterhe orga! production Bryer viral made te Ringe personal propery Ine oatared with Deborah Ker inte Fox ove version dreceaby Wale Lang Tweng year ier, by how So strred: he began origina new tage production hich layed New Yorn with Canta Seas Anna; and London in 1979 wi Vega Wenn as Aaa’ goer rerun touring in 81 sn at {he ime os det 185, ven tnosands of perormances ae King Rana KISS ME, KATE [MUSIC AND LYRICS: Cote Porter BOOK: Samoe! and Blin Spewace DIRECTOR: Joh © Wilton (CHOREOGKAPHER: Hanje Haim (OPENED: 12/90/48 ‘The genesis of Coe Forte's longest runing muscal occurred in 1935 when producer Saint Saber, then 3 $agehund orth Theatre Gals pction of Shakeapeare'sToming OF The sew. bece sare tha ‘ars Alfred Lunt and Cyne Fontanne.quareled almost inch in private adi the eharctersin he py ‘Years ater he fered this parallel sory asthe basis fora musa comedy to the sane wring tri, Porter frdtheSpewacks, who had aren worked onthe acces show Loar To Met Th entire ei of Riss Me ate ocurs backstage and onstage at Ford's Theatr Balmor, during tryout fs musi version of 3 Taming O The Sire The ma po concerts teeta coro! Fred ea (Aa rac) and in emperamental exw Lt Sancan Pats Marne) sas the Shesjenes Feit Snd'Kate™ ight and make up and eventaly demonevate thelr eagurng alles oy Sach other. ‘One othe hie! etures of the cori the skill way Coe Forte combined his own tusical word (in "So Intove"Toe Damn Hot and "Why Cant You Behave?) wil Shakespear's word Hate Men), whe tie trsing of 2 Virmexe walt patody ("Wunderbar")and a come few ofthe Buds lye Bast UP ‘our Shakespeare’) [MGM's 1953 screen version, under George Sidney's dren, nada cast headed by Howard Kee, Kathryn (Grayson and Ann Mer.KNICKERBOCKER HOLIDAY Must: Kar Wei ‘CHOREOGRAPHERS: Can Randall and Edwin Denby LYRICS AND BOOK: Maxwell Anderson DIRECTOR: Joshua Loar OPENED: 10/9/38 In spit oft relatively short un Knicerboche Holidays considered asignfcantmllestone inthe develop- ‘ent ot Ameriean Mal These. one ofthe fret scale oe an storia abject to comment Coren rblns yn ac thee ed eon) pat alanis nen tte elga f Co. Stuyvesant in New Amsterdam in T647-The sory els how Gov. Staywesant (Water ston) faterence on bcal of an independent an troublesome ke sharpeney, rom Brosck Rthard ‘ola who has boon alti seecod by the cul to be exeated ona trumped up charge, many bpcaues they had no one to hang When te father Tina, (aun Maden), rons tue loveless ‘dughte's hand in mariage to the govertor. Stuyvesant reveals his feelings about ove and growing old in ‘he fouching september Song” The resctonary gveror proceed to abolish whatever ieedoms etm {hu previously enjoyed: nd when om protests we hn all but tom the eedom loving is Aer Tean® escapes and seis the Governor intended brie. Nelson Eady and Charles Coburn starred in the 144 UA fin version, which Harry Joe Brown directed ‘THE MOST HAPPY FELLA MUSIC, LYRICS AND OOK: Frank Loesser ‘CHOREOGRAPHER: Dania Krupska DIRECTOR: foscpn Anthony ‘OPENED. S136 Adapted from Sidney Howard's Plier Pri-vinlg pla, They Knew What They Wanted, The Mos Happy Fata was «parol ambitions work forthe Brosdnay theatre, with more than try separate musa ‘ombersincuding aria dea tios. quartets chord place, ad retalives Robust emotional expressions {tens oay Joc, Joes") were interspersed with more waitona specaty number such ae "Big'O” {nd Standingn The Comer’, though ne rnanner olan oper, te progam cree dd iat individ ‘selections nthe sory eth Calfora’s Napa ale, an aging viyard ower Claed by opera singer Robert Weede; ni ia ronda role) propoeato a wares, Rosabela (Jo Salas) by tai and she Sccepts Roaulla sso upset to find Tonya anc at that on thelr wedaing ight she allows hereto be seatced by Je the handsome ranch foran Art Land). Once he covers that his wills to have another ‘at's cl, Tony treatens to koe, but there es reconcliton and the vintner even fleet ras he ‘hia his om, A reveal of The Most Happy Fella pled on Broadway i 179, with Clog Toa in the teeing rote. ran 62 prlormances OKLAHOMA! MUSIC: Richard Rodgers (CHOREOGRAPHER: Agoes de mile [RIGS AND BOOK: Over Hasmersten 1 DIRECTOR: Rouben Mamoulian OPENED: 131/43 ‘Ther aremany reasons hy Otlahomats a recognledlandmarkin the history ofthe American musical the- {tein he inal collaboration between Richa lodgers and Oscar ammerai yot only exper feed the ator elements in the production ~ so songs and dances also tld dea alts "veal hen desires and tears the principals Inndition the musa based on Lan Rae’ la. Green ‘in The aac ws the at wth a book hat honey depicted the ind of raged plonees eho fd once isd held a fended the cae. Stn Indian Tertory soon afer the tur of the century. Okiaboma! “pina simple tate mostyconcersed with whether he devent Curly (Aled Drake) or the menacing Jud ‘Cioward bu Siva gts to ake Laurey Joan Rober) tothe box soc. Tough she chosoe ha ia at of pga Laurer really oves Cary ad they soon mae plans to mary Atthtr wedding they ln in calbrating ‘hdfc! spending satehoed then ater Jods aceently led tn fant wih Cony he couple deo et suey with the inge on fo. With ts Brosdway run of fv years, nine months, Clakoma established longa rcord tat it hel or fiteen years as oured the United Stats abd Ctadafor over a decade o19, the musa was revived ‘on Bronway with cst heated by Laren Catan sid Christine Andrea, and ra for 2 performances ‘The fim version the ata Todd AO, was eased by Magnan 1958. Cordon MacRae, Shiley Jones and (Ghetote Grenivod were ni ab the decor vas red Zinnemann.ON THE SHADE MUSIC: Harvey Sehmict, LYRICS Tom Jones ‘BOOK: Nfochara Nash ‘CHOREOGRAPHER: Agues de Mile DIRECTOR: Joseph Anthony ‘OPENED: 10/2788 N. Richard Nash adapted his own play, The Rlnmaker 6 Schmit and Jone st Broadway mesial fo: lowing ther diy succeaat The Fania OF Drondvay. Nash’ ply x probably best remember for {he im version wich starred Burt Lancaster and Kathrine Mepoura The pt othe mie! version = ‘mains quite faith fo that fe predecesvor tr simple fal of Lal, a aging unatied woman io lives wit her father and brthers ons drought sehen rand ia the American west Starbucks treniem inmaker comes on he soene ade soon seen tobe econ man that he i, espe easing are ‘na: He does, however pay sincere tendon to lee, anc ewatens ove and en er Thesong inhi vo teeing vga nds tft cbc Lie foveal ne eee PORGY AND BESS (MUSIC: George Gersncin LYRICS ra Gershwin an Duoce Heyward TIBRETTO: Dubose Heywara ‘OPENED: 10/10/38 neal ecu ane nested nd apo wien ya ner opr Py ogc ee Ry Ses ear eyes at hn raeston Sout Carlin and Hs ematnd rye eel gir Porpy the coe Bee he sacl Got ee tales eer Spore Gees nuance hi Sinful Brey tacos tb ne ay ear saebret ere “ieintind eeepc’ ete eps ling Ses Sn ocd ‘The ital Brosaway production, with Tedd Duncan nd de Brown inthe terol, we ota commer success. thougn may ofthe slog and dts ~-Sumesns" “Besos My Woman Now "91 Got Piety ("Nutini ain Necessary So" or example quick cut on Four msjr revival tgp and fee have Dees mounted on Brosdway since ie fis engagement fn 1842, again wth Todd Duncan and Anne Brown, iran 286 perermanes na somehattrouned down version In 1952 b part a our yar interna "onal icu it returaed wih Wiliam Wartela and Leontye Price and ran ors pertormances Anacoaumed production n 1976 bythe Houston Grand Opera Compan featured Donne Ray Albert as Porgy ad Clams Beteas tens and had 22 pertormance anon roadway 86) production was based onthe 076 veraon andas he tet dramatic work ever sage tthe Radio hy Musical gave #5 performances The Meta plan Opera produced te mont in 155, the et priommance ever given In hat Nous, ROBERTA MUSIC: Jerome Kern (CHOREOGRAPHER: Jose Limon LyRIGS AND BOOK: Oto Harbach DIRECTOR: Hassard Short (OPENED: 11/15/38 “Thesusica was adapted rom Alice Der Miers novel Conn by Roberts, but the ed hei plo tat ‘emalned in the sho sain to be a scat amework for sme st rate tong. Rob probably est t= ‘membered athe source forts most amour sng, smoke Gets nour Eyer two i versons were made ‘oF pla the ft one in 1085 and staring rene Dune, Fro Astaire and Cinger RogersSHOW BOAT MUSIC: Jerome Kern LEYRIGS AND BOOK: Oscar Hammerstein I DIRECTOR: ete Colven OPENED. 1278127 No show ever t hit Broadway was more hstorcaly important, and atthe same time more beloved than ‘Show Bot ha lands ofthe 19D season Eon erbur's noel fie on the Mail waste source ior this mustal/opereta, end provided a ch plot and characters whlch Kern and Hammerstein ampifed to'vecome some eth most memorable ere fo grace the singe. Shas Boat nok ony smming up oti that had come before both in the tusk and operetta genres, but plants a seed of complete cong, ‘ehichlster ure blossoms inte more adtentarder shows of the Ds, 4D and Si Almost every song Inthe sows familia emake Bellee"Cant Help Lovit Dat Man "You Are Love's“ Why Del Lave butt "bi and tnt ost lsc song of the muna lage, “Or Man Rivers Since prem in 1227 {nsshow tas bee constant revival in some way o another whether ns three esto ine York Droduetonsin toring companies, in operaticFepertoris onthe aay. many amateur productions. Show ‘Boa Secs to bea permanent fate ia musa! hate SONG OF NORWAY [MUSIC AND LYRICS: Robert Wrght and George Forrest ROOK: Mion Lazarus (seed use by Eaverd Greg) CHOREOGRAPHER: George Balanchine DIRECTOR: Evin Lester and Charles K Preemat OPENED: 821/44 ‘Song OF Nona wae Set presented in July 1944 Wy Edwin Lester's Los Angeles and San Franciaco Light ‘Opera Companys auccess prompted the move to roadway. The operta ype musical wih slush sare ‘ted om melo by Evrard Greg. spun a rmantczed tala te ary years ofthe composer (played {ewence roots) who, wth his end the poet Rlurd Norraak (Reber Schafer), are ansious toring ne arte stature to Norwy Temporary thwarted from ths nobleam by hs dalancea ome whan alan ‘rma donna (ea Petia) Grieg eventually returns to his country and his patent wile (Helens Biss) and Eomposes the Ain Pano Concert. ‘lim version ofthe musical was made by Cineramain 187, with Andrew Stone directing, Florence Hender STREET SCENE ‘Must: Kurt We OOK: Eimer Ree YRS: Langton Hughes ‘CHOREOGRAPHER: Anna Solow DIRECTOR: Charles Prcdman (OPENED: 19/47 ‘Kurt Weill persuaded Elmer Rie to write the Hort based on hit own Pte rie wining pay with poet {Engston Hughes supplying the powerful and inaguetve tes. Bled aaa dramatic musa" the lena lif crema end vic was wry close to gene pera. fac, the ply went on 1968 to become part ttn cepartory othe Hew Yor Cty OperaCompay Thestory deals principally withthe brie stareroseed ‘mance of sam Kaplan (Bran ulvan) and ose Maureant (Anne Jey) and the wag consequences ‘tthe ney of Rese's other (aya Stoiay, Te lt lowly farmers crest igual, each dope ‘ng one ofthe color characters inbabting the seedy tenement ofthe stingWITH SO LITTLE TO BE SURE OF from Anyone Can Whistle Moderato __ STEPHEN SONDHENEcon moto (APCOOD:) ‘Tews more of ex A of miMot aval is Eriyagthas beeCa ay base" thy tis — 49 (ht som = pie a= bout the wee ge oat | til) Bo ‘Andantino Wah we Met be sae of te aSYOU’RE NEARER from Babes In Arms Words by LORENZ HART Dus by RICHARD RODGERSstartet Ta ap )o Slower atiSALZBURG from Bells Are Ringing ‘Words by BETTY CODEN & ADOLPHE GREEN ‘Musi by JULE STYNE Yoo said it! You anid i) heard you say Oh Sandor! Slowly du) saxon See, Sue, engivemeyour money, With yur life snrings to the Ii-tle Mor sock,Bright Waltz dw ») saxnon te Sale - burg of Where Hevedodiaughter Ue e-teraal = ly. I ‘Sele = burg by the Balj Where gon dan ge gli ing by the 2 sce ses00e sue hrlldar= lng! Trop = i cal night Fees tinea) Tih ORF ‘ll, What arr)‘Stee“ sl vil ul " som: You saig itt Siz - bug— by the bea Ther a dewscs a tect py we aS of SOE You atid you te met SUR He loves me! ree, Im Satz ~ bung — on the sho fos Gpiialaan = et fei sha sie Heep comming tack for more. Lieb = chen! Gold by tebarge dow the Were the com eer Tome all_the aie tad to erry aed ol Come to Sut- burg wih me jb cbea! {SS ee ES i be:WHEN THE CHILDREN ARE ASLEEP from Carousel Words by OSCAR HAMMMERSTEIN 1 ‘Muse by RICHARD RODGERS Modersto Voice Plano: (own a H-tle owsedad I sail Ite boat And theTove a t-te gist and ice ia covewith me, And toon abell be iy And ia a manner of speskist 1 moaidbe aatin- == Gare; Wr, St0m mi) MSE told you my plang and the things Tin = tend td mato ev-ty curl on yor ead stand on ead!Allegretto make © - nough money ota one - to oat, TH pat ser i= te boat, TM makeloot of it~ tHe boats! Then Sallie! oot a-guin area big fleet ofBarn! Me Seom F ‘Wh gle Feat all that ering? Tey ah oi tbe Ming! Goi! tpt ths ican an eal sardines. Go ‘Slowly and softly AR oy 355 Pa a eT tet» at ac cnn inh gt on com Car gl iho Allegretto ite Srewinatee)are 5008 be dara-is socks fer eight little feet, Are yoo build-in caries dear t= Me Howse get bigger! Ant =o wil myModerato con moto SSS SS = === ‘When the eitdren ares - sleepiwell sk and dream = SSS | Saree z 4fan we hor tad and be flad that i all came tru!house is real-ty thei we are left a-lont And fre from all their fase,‘Then in A mtn-ner of opeak-it Carri When the cibdren are = sleepWelt ait ad | dream, Me Dreams that wost be in-ter-ruptod — [Tita‘And be = hold If att love you the way T lore yon to-day Youll par-don my ony - ing‘at dream I know ds: When the children are asleep Thea: phe ose ser =a [ee = bec pepTOO MANY MORNINGS from Follies lust and tyice STEPHEN SONDNEIR Sempre rubato reaming of ylny mom = ngs Wihengthat he oom might eed ——How thou) 1 find Meno mossGe we hoe tat there wiI HAVE DREAMED from The King And I ‘Words by OSCAR HANMERSTEIN 1 ‘nc by RICHARD RODGERS Slowly d= 1 bave dreamed —— or — that your arms are love Pee een rere Tipe I wr'ry word youll— ib the glow of 1 ‘have dreamed ——That ty ow 1 think 1 know What it like Poco piu mosso J 9: you A+ lone and a wake, I've ‘molto fopate Ta ty | 7 CT Tooked at the stars, The same that smiled sa74 [dT ya |jo fre Love = by ht jour arms reltesiesy1 have dreamed ——— evry word yolll whis How you look inthe glow of eve - ning, 1 have dreamed and enjoyed the view. Ta these z Neg passonacydreams Tee loved you 7 think ——————— row Whit ith like What ith like : you, loved by F = = [patterns jzJ we ingWE KISS IN A SHADOW from The King And I Con sntimento (1= 97) Word by OSCAR HAMMERSTEIN i ‘Must by RICHARD RODGERS LUN THA es) 16 ee ‘S Ss We ke a te dow We bide fomte mom, — a afone frou we = et{TUPTIM and LUNA: (she) kn theWUNDERBAR from Kiss Me, Kate Tempo di Vase Viennese ‘CoLe PORTER ee1g Alite tighter | = — = bierBoth waiteIT NEVER WAS YOU (IT NEVER WAS ANYWHERE YOU) from Knickerbocker Holiday vrs. wy weve. sxorrson Allegro moderato con expessione Most by KURT WEILL re eos a ve tenting tow iOe rtene I ms es dime, OF tower pondnghoh on om = pias, OF recat fem te etait ae memy ® 35 oA > yom pers hone and uy me en “Soret think aboot ha. Ltrs ope tat me tht hs Sorat” We ald ne= ° ve We o-ing Ooh ae And the winds ta f= ow Foc oot = in od an un forgot c ve ben low$ rine, TNs oS =o 3 aeWILL YOU REMEMBER ME? (MY LOVE WILL CLING TO YOU) from Knickerbocker Holiday Words by MAXWELL ANDERSON Musi by KURT WEILL TranquiloMy we wil ang ‘hindMY HEART IS SO FULL OF YOU from The Most Happy Fella egy aking hr had ay)Atlgro agitato(d 10) ovr. quate gs Gang Uso Tah ta a eure! aay en 1 Want eae ci MY HEART IS SO FULL OF YOU Moderato sppassionsto J-direas)i —2 2 at ba _ onibas), ov. (coin of dc) Cis! | wa eo Ben in i Tow ses Sipe Be Spt! ey tort corte stant. Ret pres raps ROSABELEA aif a fs} Tn ke spec A spec ke di Bei ony ps con peas Recitative apo Ladies anf gen-tle-en, Oar Urow-a din par - ty to “THe soon ines may beomitedP iy. Tomubetiganemaceonat! ——Mywieikw ine mem, My wi _ (ery boat) What cn-ee plan oun 1 plant Wat otbeer drm cun {dear what for_Whatevrt for? Wea ay east oe et iter aston ste seu, oe , 4 ,PEOPLE WILL SAY WE’RE IN LOVE from Oklahoma! Words by OSCAR HAMMERSTEI I ‘Mase by RICHARD RODGERS Moderato oan Why do they think up stories that lnk my CariyScme people claim that you are to Matte ret ot FP hey fame with yous? Coie Why db thenaleh-tors cat ter Tl fay The ch as Why you take the trouble to_bake_m (é { t trike Ft Wed Weir dors?” Zan: kon 8 ny fo povewhlth ay is gute n= fiw = ‘rte ple? ran yar echg|_ Saved ure eile“ the : t faert Hore eth let» rae-ti-€al list of “date” for you ‘het keep Stewart TaN the advice you give $0. HeeRefrain ceDont throw. wiiy Dust praise lease. Dost ook = ple willy Dole may oe tous quets at me my charm too mich —— tt my folks too mach — £2 _vain_with ime > aa at my kes tao mach in the Tain with me wereant gue at yen to are 0 ike gear haat _in)mine — t Fir [Pwr age rasta low Hk a Peo - ywill Your han Feels 0 " peepee rected alate =: Poo lewect = ing things rr Ziti?) Give me ny sight with mo. pet = ing things ight with me! Tl the stars rer RP a Sweet - heart —_— ok) They see Peo - ple will sy Peo - ple wil ny al and ny from theyke sus italA MAN AND A WOMAN from 110 In The Shade ‘Words by TOM JONES Moderately-In 4 Mc by HARVEY SCHRIDT S man ard wom-an can be close to-geth- er That they all- most be-came like one to love till lite and a womzan Can be part of exch oth 6that you love the The ‘things , == Poco pit mosso Heed times come, And when they do, ‘You dont mean what 4:‘Then the man and the wimaa, Who were the woman, Who ws wit er can be sud ~ den I ‘mo- meats they've know, Get = ting the _tove = ly ‘And the man and the wom-an must go Mck to just living all a alPid mosso Te does at have bo tke that nt to end thet wy. con make it ast for - er In tempo rman and & wom-an Can be 0 close lo-geth-er That they al- most bo-come likewart Tove ‘They prom = ige_to_love till % oman and A wom-an can be Of eich other And though trou bles may come andr ‘that they have in =Hard Unes come, ‘hst_yool) pall throughs Tong Se Jon have cach And the qo Fe OF Poco meno mosso rman and tho wom - an, Who wore 0 close to = geth= en, Cane man and tho wom = tay Who were Vd avengelos = er as time goes by, Jong 25 they both are er _as time goes by, ong 58 they both are will = tog ‘man and the wom-an Will grow elos-er wn-til the day they dle man and the wom-an Wil grow clos-er until the day they die,T feel fo are Tt could te eet 50. ‘A lore can last until you ‘A love Gan last es til goa PayBESS, YOU IS MY WOMAN from Porgy And Bess i censinwn Music by GHORGE GERSHWIN oe ST T catmato Poco allargando Agdantino cantabile PoReYs you is my wo- man =a F ao ‘you isl Aa you sus! laugh aa slag as! dence for 7 izde s0r-10W of de past fe all done‘Tempo I, molto eantabileSubito pli mosso ‘epee en Poco sostenuto atone te a Ge : fae = rie Te pees ter = toe Mei te av Bbn e o 7 RF ——— summer time av win-ter UM. sopsy = ‘Morn is? time an ev-vin time as” — oOSSS Inf enimendo ___ te ‘Tempo I. motto cantabileDis life win = le is je a e. Bess, we two —_ -—» -—*% 2s brow, You ot ‘you loves ‘yo! Por 63,Subito pli mossoeSS= SSS —— Morn = inv time an’ evi time ar sum-mer tne an! win- ter allargando Oh my Por- ey wy = ———— era tempo —— SS From dis min-ute Im tell-in’ you, 1 keep dis vow a tonpg™ Se mace te oy Bes, From dis winso Tn lis you, I keep dis ow acres ARES go NER SAREIORD estar fom seineI LOVES YOU, PORGY from Porgy And Bess ‘Words by DUBOSE HEWARO and Ra GERSIWIN feby GEORGE GERSHWIN Moderatoespressive (d= 80)fet mest ee with you Bh the cook PORGY: mp PF meominan(eather bet ina08) = Whats he mat tr, Be Dats at =r, Hon =e, owt you wotY= oyow you ten with Gown — (Cond he cop-ple to enters? ma = my hig beige tong men | EE — |Nes com forme when de cot = ton come 1 town 1 tt myeS ae Sebito moderato + Why yo ams cle pul up he nt me mea =f Imato (4= 1 oar = + = mI *Andantino (d= 59) mess nf, teen) Twins 1 ay bee tut DR wor ty, You & 100 oan er sa, orien 1 ee im bs typoSees aTi =. oie ‘~ } > = | We de magon— meow, Bes, dee wae ony Jago Andantino mato expressive ending wth oman) = C esmm Allegetto(4= 108) toa ORGY: (wthsrenhand ryt) You da sed to Yous pleted op up pi sane an? Init yo! worry down.Pil appssiona Dose hen bes, you kn + out + homeaom, Hon}, a you got los.waste say ereWHAT YOU WANT WID BESS? from Porgy And Bess ods DUBOSE HEARD an a cay iy ug Gens Moderato sempre ntmata (= 88) ESS; tw xsi end aed ‘Woet yousant wld Best. 3 P masenore mato at rey oyemaoBap mis 35 ee yo a Thelen bet te ok Tvante witoth- ee woman, Iga a won, 33fr ev, ewoul de wheat me, if sabtonente erebe.THE TOUCH OF YOUR HAND from Roberta Moderato Words by OTTO HaRzacis ania ‘usc by JEROME KERN Se sremaante:oe Allegretto con anima ten @MAKE BELIEVE from Show Boat Words by Oscar agneRsrE ‘Musteby JEROME KERN Moderato Oey make bee 1 foe you mg tTAlereto Gia ram 8 = bout tap = pn toePoco animato (J =4) We eed ot mind con-encion's Ps ind ewe put corto in yrMacrouy:, beYOU ARE LOVE from Show Boat ‘Words by OSCAR HAMMERSTEIN I ‘Muse by JEROME KERN Tempo di bolero (= 100)Joke was aim = Tkeacwon = ering hehe mine wouldIntwo poco eat | ue with my ume a ound ye, You va—ore ch for eyeon ———— Hm Grandiowo E = [STRANGE MUSIC from Song Of Norway Words and Mase by ROBERT WRIGHT ScEORGE FORRESTModeratoOF nt ie ce ease dat sem 10 ay. "Tve found you” fount you! ye fund oe ome ‘Tempo Calando EDVARD: (cnt)Stop that Pn rae a TheSvanlowe ly hum fe coming om iy att PP som at tmWE’LL GO AWAY TOGETHER from Street Scene Words by LANGSTON HUGHES Susie by KURT WELL, Allegro con brio‘d.ce) awaAllegro moderato Js) ih tarm ond fonder eopreston fe Aoway ton gether, just we fo, at you and th ge 244979 D5, amie = &——— nefsam i Life is a eky-tall moun-iain Where clouds play hide ded Sams ss ol sa 3eth = gether, when we pe rE ose: tw beard tht pope are mush cer nd fide, wae you get any from Naw York, Oh we cols oiSem! Sam: We camir wo just make up our minds hat we will. Roses We wot need lt the to of, pose Homeneedootbe = palvacs or a oa tebe - et Fee ind 8 ehel-terMeno mosso old andwind and weacther Ti lento a a Twig to-gether, | Wheawe go aemay to-getheer | Whenwe go, —— Lento