Chaitlie 4S Chaplin Sp & yeK JURNE CO/ New YorkTHE SONGS OF Charlie Chaplin This collectors' edition, which has never been available before, is comprised of songs written by Charlie Chaplin. All are derived from the music he composed for his films. 1 SMILE (from MODERN TIMES)........... 0002000000000 2 2 SING A SONG (from THE GOLD RUSH)....... te 3 NOW THAT IT'S ENDED (from A KING IN NEW YORK), . 4 WEEPING WILLOWS (from A KING IN NEW YORK)....... . 5 MANDOLIN SERENADE (from A KING IN NEW YORK) ...... . 12 6 FALLING STAR (from THE GREAT DICTATOR) 7 WITHOUT YOU (from A KING IN NEW YORK)........ 8 YOU ARE THE SONG (from THE GENTLEMAN TRAMP) 9 BEAUTIFUL, WONDERFUL EYES ( from CITY LIGHTS). . 10 THE SPRING SONG (from A KING IN NEW YORK) . 11 ETERNALLY (from LIMELIGHT) : 12 THE TERRY THEME-piano solo (from LIMELIGHT) .......... BOURNE CO/ New York Copyright ©1992 by Bourne Co., New York International Copyright Secured. All Rights Reserved Printed in U.S.A, Cover photo copyright Roy Export Company EaalishmentSMILE from MODERN TIMES Lyric by JOHN TURNER and Music by GEOFFREY PARSONS CHARLIE CHAPLIN Moderately, with great warmth ot Refrain F SMILE, tho’ your heart is ach-ing, SMILE, e-ven tho’ its break-ing, Sw f —F — Abdim Gm Adim Gm DI9 Gm D7 When there _are___ clouds = Gm Bbm bo through your fear und sor- row, SMILE. and_may - be to-mor-row, F Gm c7 see the sun come shin- ing thru (© Copyright 1954 by Bourne Co., New York. Copyright Renewed, ‘All Rights Reserved. International Copyright Secured. Printed in U.S.A,your face with glad-ness, Hide ev-'ry trace of sud ness. —_F —F Abdim Gm Adm Gm = D79) Gm_—sDT r, ‘Thats the Gm Bbm Eb9 you must keep on try-ing, SMILE, whats the use of crying, —F F Gm c7 find that life is still worth while,SING A SONG from THE GOLD RUSH Lyric and Music by CHARLES CHAPLIN ABE LYMAN and GUS ARNHEIM Moderato t VERSE Gg gs p G Most all our world-ly —_trou-bles, Are Just turn your tears to laugh-ter, And GB Bbdim Am7 D7 Am Dr on - ly drift - ing bub - bles. all our cares and joy will fol - tow af - ter, If May days you'll re - © Copyright 1925 by Bourne Co., New York. Copyright Renewed, ‘All Righis Reserved. International Copyright Secured Printed in U.S.A.br G DIA Are You'll gone with our to - mor - rows; So don't you let them soon for- get De - cem-ber; In - stead of ask- ing G c E7B Am oe 7 = = = =: SS fret you, Or some day they will get you, When pit - y, Just say you're sit - ting pret - ty Then cma GD Em AT br G skies are gray, work and play, And laugh your cares a you will see, that life will be, wond-rous mel - 0 = dy:Am DT G Gaim Am When you are gay—_ If all your FET As dark as night You'll find it Bm RHVAR FE? -D7/A CHE Cmé/Eb = bide: With just a song, They’llbe all right, And when you're ——_.6 DIA Gaim ‘When all the And sha-dows ——__________ Things are not ETB ORT Am C6EMpOmbAG/y what they seem —__ If youwill sing a song Just smile and too _ — eeNOW THAT IT'S ENDED from A KING IN NEW YORK by CHARLES CHAPLIN Valse Lente mr Eb Fm7 Bhdim Bb7 GTIC Cm Now That It's End-ed, the ro-mance is The pas-sion’s gone— Like the wind and the rain, Gone are the joys of our aa oe ee, © Copyright 1957 by Bourne Co., New York. Copyright Renewed. ‘All Rights Reserved. Intemational Copyright Secured, Printed in U.S.A,ness, But the sad - ness goes on and on______ Goes on and Eb Ffaim ar c7 FmC Gaim7 on, goes on and on, Gone are the joys of our a mip FT Bb7 Adim/Bb FavC Db7 C7907 ro ~ ness, but the sad-ness goes on, like an old-fash-ioned song, WhenI dream, When I 2 FPPC - — i. por Bio a Fini Bb7 Rb mt think of <—. RF cy10 WEEPING WILLOWS from A KING IN NEW YORK by CHARLES CHAPLIN got the weeping wil-lows and I'm stepping thro’plitewindows,on ac - count of you — On my Lord whatshull Ido? Whatshall I do? Jove you so and yet I ee Dm Dm DmC DmB Bb7 AT know you carlt be true, on - ly had the will to get a (©Copyright 1957 by Bourne Co., New York. Copyright Renewed. {All Rights Reserved. International Copyright Secured Printed in U.S.A.Dm Dm/C DmB c7 Dm DmiC DmB Dmg, Dm/A 7 hhave me in aspellbothnightand day—— You have me in yourpow-er, ev-'ry momentjev ry hour Leaveme DT Gm ATE why, oh why torment me so? 1 + dol-ise you, a-dore you, 1 implore you, Let me be treeMANDOLIN SERENADE from A KING IN NEW YORK Lyric by GEOFFREY PARSONS and Music by JOHN TURNER CHARLES CHAPLIN Slowly, with expression oii 21 Gi 2 co. e Cdim/D$ G7/D G7 Ev-'ry timeyoureneur, music starts, and I hear man-do - lins, Play-ing on the strings of my heurt, whenyoureneur,mando - e Bringing me a mem‘ry of the joy whenfirst I found you, = ©Copyright 1987 by Bourne Co., New York. Copyright Renewed, ‘All Rights Reserved. Intemational Copyright Secured Printed in U.S.A,B Like 4 ser-en-ade so gent-ly played ite ull a - rouna a? c Cdim/Eb G7 GT Ev-‘ry time we meet Ire -peat, I canhear man-do - tins, Sing-ing loves re-train soft and sweet, once again, it be - gins, nev-er hear a songbird, nev-er hear the charms of a thousand vi - © - tins, f |r Go cap eilec A) D/A CG Dm6F Ce Dm7 oo 1C AbT G7 \j20 ‘altuyehear the music Whenyouw in my arms, of thoselove-ly man - do - Lins. —— €4 FALLING STAR from THE GREAT DICTATOR, Lyric and Music by CHARLES CHAPLIN MEREDITH WILLSON EDDIE DeLANGE Slowly with expression VERSE = Gm7/C Gdim/C cr Cdim7 F All my life Ive been a lone- ty ad Lib, A Gm7 C7 Gein F cmD = -D79 = ov © Copyright 1941 by Bourne Co., New York. Copyright Renewed, ‘All Rights Reserved. Intemational Copyright Secured Printed in U.S.A,Some - where love is Dm7 Gr find it Tl take ARP FALL- ING STAR ra terkpo a $ Gm? c+79 Find me the to 3, cvG wv. cmp Dr un- der cov - hid - ing er. DUG Gm7 —— G7 Gm7/C Bbmic al- most an-y chance. RW D+79 you hea-ven-ly mes-sen-ger from a SS + 7 CHT love, FALL-ING STAR. cr - dove. Gm7c C7 =16 F cg F D+79 DT Gm7 c+79 cr of dreams, I find this — ETB ET F Cr/Eb prFALL- ING sTAR__ while search - ing for - long BGC Bb + T/C some - one who's lone - ly with you, FALL- ING 718 CHAPLIN & MUSIC by David Robinson 1s Charles Chaplin remembered precisely the moment when, as he said, "music. first entered my soul.” Asa small boy, living in poverty in Kennington, he heard’ a pair of street musicians playing "The Honeysuckle and the Bee™ on clarinet and harmonica at Kennington Cross. "It was here that I first discovered music, or where I first learned its rare beauty, a beauty that has gladdened and haunted me from that moment.” His powerful response to music was closely linked to his comic pantomime, ‘which was from the start marked by a strong rhythmical, balletic character. Music played ‘an important part in the presentations of the Kamo comedy sketch company with whom young Chaplin toured the vaudeville circuits hhefore going into pictures, He recalled that Kamo would achieve comic contrast by accompanying the grossest slapstick with delicate 18th century ai As soon as he was able to afford instruments, Chaplin taught himself to play the violin “and cello, and spent hours improvising on piano and organ. In 1916 he Published three songs of his own ‘composition. Later he wrote and published theme songs for The Kid, The Idle Class and The Gold Rush. In the silent period it was usual to commission professional arrangers tocompile suitable accompaniments for films from published music: these were then performed live by whatever instrumental combinations each cinema could afford ‘There is every indication however that as early as A Woman of Paris (1923) Chaplin ‘was involving himself closely in the musical preparation. For City Lights, his first picture with synchronised sound, Chaplin announced that he would compose the musical ac- companiment himself. The orchestrater was Arthur Johnston. "I really didn't write it down,” Chaplin said, in an excess of ‘modesty; “I la-laed and Arthur Johnston wrote it down, and I wish you would give him credit, because he did a very good job. Itis all simple music, you know, in keeping ‘with my character.” Chaplin had very clear ideas of what he wanted. He did not, for instance, want the arranger to make the music funny, like a cartoon film. "I wanted no competition, 1 ‘wanted the music to be a counterpoint of grace and charm ... 1 trig to compose clegant and romantic music to frame my ‘comedies.” ‘The recording was done under th direction of Alfred Newman, United Artists rmusical director. Sheaves of notes evidently taken down at Chaplin's dictation during the sessions reveal his concer with ever) phrase and note and instrument. The recording techniques ofthe time coul not do full justice to the music however; anc Chaplin was certainly disappointed with th result. His assistant Henry Bergmat commented, "the terrible technica ‘deficiencies of the medium aro too apparen’ don’t think they will ever overcome them ‘Thirty-five of the very finest artists player the score for Ciry Lights so beautifully o1 the set. Through the mechanics of thmicrophone it became something else." More than half a century later, Carl Davis re-recorded some passages of the score for use in Kevin Brownlow and David Gill's Unknown Chaplin, They were all astonished by the quality of the music, and concurred with Bergman's view of the inadequacies of the original recording. They suggested to Lady Chaplin that the music might be entirely re-recorded. She felt that Chaplin himself would have welcomed the possi- bility, and from then on generously sup- ported the project. A first it all looked quite easy, since the original score and instrumental parts were preserved - a few missing fragments of the ‘conductor's score could be made up from the parts. When the written score was com- pared with the original recording however, ‘considerable differences became apparent. It was clear that extensive revisions had taken place in the recordings. Originally the corrections would have been made on slips stuck over the parts; but these had become detached and lost. Only by painstaking comparison of the recording and the score was. Chaplin's final approved version eventually reconstituted, "Itwas evident that Chaplin had constantly sought to simplify, to get rid of arrange- ments that were too complicated,” says Carl Davis; “In this way he was making the score stronger and also less distracting. It was a process of intense simplification." One ofthe ‘ew arrangers commented sympathetically, "The man who did it must have wept. He did some wonderful arranging, but Chaplin pared it down." ‘The musicians all listened to the original recording before performing each cue, and would occasionally claim or disclaim notes fon the strength of what they heard. They ‘were impressed with the original perfor- mances and worked to capture the instru- mental styles of the period: it was essential to get the right sound as well as the right notes. Kenny Baker, who performs on ‘trumpet, particularly admired the work of his 1931 counterpart: "Such a wer sound he achieved." ‘As the work progressed, Davis, Gill, Brownlow and the players were more and more impressed by the quality ofthe original music. Even s0, they did not anticipate the extent of the problems of fitting score to film, given the precision and subllety of Chaplin's counterpointing of his musical themes. In the end several additional record- ing sessions were needed to do justice to Chaplin's conception. From the start Lady Chaplin had approved the idea of a series of live performances, before the release of the newly recorded synchronised version. This is perhaps the first time that @ score written for sound synchronisation has been performed, with the film, live before an audience. ‘These performances make exceptional demands on the conductor and his musicians, since ‘Chaplin matched his score so precisely to the ‘mage, primarily intending it for recording in the studio, fragment by fragment. Everyone concemed in the project, how: ever, agrees that they are more than re- warded in the outcome, by their fuller re- cognition of Chaplin's extraordinary musical understanding, and by the chance to offer this special birthday present for the cen- tenary of the cinema's greatest personality Photos copyright Roy Export Company ExablshestWITHOUT YOU Lye by from A KING IN NEW YORK ee IRVING GORDON CHARLES CHAPLIN, Moderato nf Seb Edim Bb7/F Fm7 BbT7 Fm7 gold iT. | FF Bb7 Bb7/Ab Eb/G Bb7/F Eb Ebdim Eb Gbdim tight ~ folds. {© Copyright 1992 by Bourne Co., New York. [All Righis Reserved. International Copyright Secured Printed in U.S.A.Eb Edim Bb7/F Fm7 Bb7 tf a Bb7/Ab cIG co Fm Abm/F Eb/Bb fool's gold. ‘An emp - ty come true, an Fm Bb7 Eb yy INTERLUDE Fine Eb Fm7 BOT Bb Ab Ab/Bb a2 INTERLUDE Ddim Dbdim Ddim Eb/G Eb/G —-Bb7/F Eb Fm7 Fm7/B> Cm/Bb Ddim Dbdim Ddim Bb7/Ab that willEb/G Eb/G Eb/G Bb7/F Eb Fm7 Abm/F Mo - ments with-out you all seem like years; and the a Fh Tt Jaugh = ter of chil dren tums4 Bb Gm Cm/Eb b7 G ‘BOT/E goneall wrong, ——____ Bbm6/Db there's no Christ = ie - ==# - =e A ee ope ee ie i = = o te mere tre po dim. bs : " G Bb7 —DS.al ine‘YOU ARE THE SONG Lyric by Masic by GLEN ANTHONY from THE GENTLEMAN TRAMP CHARLES CHAPLIN With feeling you are the FT BLE F Am/E Dm7 Gm) Gm/F C7/E C7 7 song is al-ways the same; Ir starts with love and ends with Bbdim/F FIC F Gm7/F c7 © Copyright 1974 & 1978 by Bourne Co., New York. Copyright Renewed, ‘This Arrangement © Copyright 1992 by Bourne Co., New York. ‘All Rights Reserved. Intemational Copyright Secured Printed in U.S.A,Gm7/F c7 F FT Bb/F F Gm7/F cr T could love you more. than 1 now. do. right Bb cm Fm7 Fm7 that love grows old, Eb EDT Ab Bb7 love turned to You warm myFm7 BT Abdim/Eb Eb Eb cm Ab Adim7 Eb/Bb cm Fm7 Bb7 7 my life is all through Gm7-5 c7 Fn? BbT E> Ab6 Eb6 rall. That all of my life, my life was you.28 BEAUTIFUL, WONDERFUL EYES from CITY LIGHTS by CHARLES CHAPLIN Moderato . i VERSE E Ejdim — B7/F# BT E T can't for- get when first we met be-neaththe star «ry skies ‘Through all the tears, through all the years, the vis-ion nev - er dies. Efdim — B7/FH BT ET But most of all the mag-ic of your eyes. ‘A-gain T see the mag-ic of your eyes. 7 © Copyright 1929 by Boume Co., New York. Copyright Renewed. ‘AIL Rights Reserved, Interational Copyright Secured Printed in U.S.AREFRAIN Am FT Am what have they seen ‘make them so beau = ti - ful? ET Am eyes, — what have they dreamed to make them so won - der ful? —= | F Am/E —Fedim FT —- 4 i = 7— — J - ——- — | = SS Sor-tow ful eyes, ‘what have they Jost to —makethem so sor - tow-ful? aaa ponies —_| —— © ET Am F Ey Bem -ti- ful, won = der- ful —— yes. eyes. ll See _ = | SSTHE SPRING SONG from A KING IN NEW YORK by CHARLES CHAPLIN Moderato Bb Dbdim Cm F7 Spring's the for mak - ing love. FT FI+ Bb FwG FmD G7 Cm cr omar nal Spring, of thee Ising. © Copyright 1957 by Bourne Co., New York. Copytight Renewed, ‘Al Rights Reserved. Intemational Copyright Secured Printed in U.S.A.F9 F9 Bb Dodim = Cm time but fall in love. F a ee a FT Fr+ Bb FG Fm == the skies are blue a - bove. F live to sigh But fall in love,32 ETERNALLY from LIMELIGHT (The Terry Theme) Lyric by Music by. GEOFFREY PARSONS (CHARLIE CHAPLIN Slowly, with great feel = nf Refrain Bb EE FT be lov- ing you E - TER-NAL - LY, love that's trucy FT ten ‘The sun would From the start, with-in my ems Teal - ways _—————————— known, _—~_ SF omt Fe Bho Bhaim Om Fro ——— shine, when you were mine And mine a = lous ———— © Copyright 1953 by Bourne Co., New York. Copyright Renewed ‘All Rights Reserved. Intemational Copyright Secured Printed in U.S.A.Bb Eb6 ov — img TER - NAL - LY, Tho! the sky should fall, re - member34 THE TERRY THEME Piano Solo from LIMELIGHT ("Eternally") Andante (rubato) by CHARLES CHAPLIN snes fru ©Copyright 1953 by Bourne Co., New York. Copyright Renewed {Al Rights Reserved. International Copyright Secured, Printed in U.S.A.Allargando ee ——— rp ts rite dim => ji Ba. J)Photo copyright Roy Expost Company EstublishnentROBERT DOWNEY, Jr. as CHARLIE CHAPLIN from the MOTION PICTURE CHAPLIN Charlie Chaplin and The Little Tramp TM and Copynigan 172 puoo1es, inc. 9.4. 419351