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PIANO.

VOCAL.

GUITAR

,
LYRICS MUSIC BY BY DAVID ANGELO LYNCH BADALAMENTI

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Piano/Vocal arrangements by Edwin McLean Music Engraving by Edwin McLean Production Manager: Daniel Rosenbaum Art Direction: Kerstin Fairbend Administration: Monica Carton Director of Music: Mark Phillips ~ ISBN: 0-89524-613-9 notation software was used to arrange and engrave the compositions in this book.

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Copyright © 1990 Cherry Lane Music Company, Inc. International Copyright Secured All Rights Reserved

CHERRY LANE MUSIC: THE PRINT COMPANY EXECUTIVE: Michael Lefferts, President; Kathleen A. Maloney, Director of Administration; Len Handler, Creative Services Manager; Monica Corton, Contracts Administrator; Karen Carey, Division Secretary; Karen DeCrenza. Executive Secretary. MUSIC: Mark Phillips, Director of Music; Jon Chappell. Associate Director of Music; Steve Gorenberg. Music Editor; Kerry O'Brien, Music Editor. ART: Kerstin Fairbend, Associate Art Director; Jamie Pene, Staff Artist. PRODUCTION: Daniel Rosenbaum. Production Manager; James Piacentino, Production Coordinator.

Contents
In trod uction
by Bruce Pollock
4

Twin Peaks Theme
6

Love Theme From Twin Peaks
(Laura Palmer's Theme)
9

Audrey's Dance 12 The Nightingale 16 Freshly Squeezed 20 Into The Night
24

Dance Of The Dream Man 30 Falling
34

out of Tacoma. Lynch is well on his way toward concocting his own North by Northwest Side Story answer to Leonard Bernstein's West Side Story. bearing the title "Tell Laura I Love Her. Snow Queen. who'd surfaced in 1959. by far one of pop's most tragic love songs belonged to 1960. surely the gnarled subconscious mind of young David Lynch was somewhere plotting within earshot. as well as the astounding TV movie it defines. In fact. in his own twisted image. with "Come Softly to Me. Nor can it possibly pass unnoticed that . the Miami Vice of its time for its use of music. second only to 77 Sunset Strip in its hipness quotient. the horrors were ongoing. so deliciously. Twin Peaks does Miami Vice." for the twangy guitar." by Marty Robbins. the tip of the iceberg puncturing the pristine dream of a town caught in 1960. Thomas Wayne's gloomy eulogy. recreating. Taking equal parts Olympia. If it never rains in Southern California. That was the year the Bobbettes shot Mr. than anyone would ever suspect. To understand the desperate destinies of the characters living in Twin Peaks. Bobby Darin chose 1960 to revive the saga of the-drowned girl. till it rips that ethereal cool jazz surface of those twangy guitar nights to bloody pieces. Disguised as old-fashioned Cowboys and Indians. by making its soundtrack an integral part-if not the integral part--of its story line! The final. Washington's own ethereal Fleetwoods. Lee. a profoundly personal and prophetic vision of the music and mythology of 1960. hypnotic. Vancouver. it's because Washington and Oregon use it all up before it can travel down the coast. 1960 was a year of uncommon darkness in rock 'n' roll. the entire world was destroyed by a nuclear bomb. which debuted on Broadway in 1958." in 1959." a classic TV detective show of 1960. steps away from the Canadian border. and sent "Maria" to the charts. in the crucial year of 1960. Peter Gunn and 77 Sunset Strip one better. in both of which the young lover perishes in the final verse (to say nothing of Larry Verne's supposed novelty. ha ve much more in common with that aforementioned seminal work of top-of-the-chart-makingteenage angst from 1960. especially of the teenage variety. Or is it? From the evidence I've assembled after a summer of careful watching and listening. "Clementine. and a Mousketeer named Annette Funicello was our reigning Laura Palmer. one must be on familiar terms with the pop 45's that reached the charts in that eerie and foreboding year. [ody Reynolds' "Endless Sleep" had brought forward the idea of teenage suicide pacts. in 1958. is the 1960 pop charts themselves. truly Lynchian piece in my musical thesis. aging hippie playground of pony tailed men and women. as brought to fruition on the soundtrack." was already on the charts at the time of the plane crash that took Buddy Holly. which were fairly riddled with death and destruction. we had "Running Bear. when a hopeful youngJFK rode out of Massachusetts. and Duane Eddy's "Because They're Young." by Mark Dinning. interminable 1960 of the mind. The next-to-last element is The Ventures' recording of "The Theme from Peter Cunn." Although this Laura doesn't wind up getting killed (only her race car-driving lover). hea vy as the weather in the Northwest quadrant. Throw in The Viscounts' "Harlem Nocturne. with the title tune a hit by Frank Chacksfield. In 1960. recounted a typically grisly result of a teenage joyride. In the movie On the Beach. Lee in "I Shot Mr." "Teen Angel. so jubilant and so doomed. an intangible. a darkness at every tum reinforced by the music of Twin Peaks: moody. in effect. Custer"). who disappeared at the end of the 60's with their homemade guns and recreational drugs (and vice-versa). by Johnny Mathis. and you almost have it. 4 . Richie Valens and The Big Bopperon "The Day the Music Died." Coincidence? I think not. an America suspended in 1960." for the haunting sax line. the murder of a Pineapple Princess. it is my now-unswervable contention that David Lynch has done nothing less with his endless movie and its soundtrack. "Please Mr. "Tragedy.The Music of Twin Peaks "Theme from A Summer Place" it's not. cool jazz Wailers (not the reggae group)." and the sax-driven. with a dark side only a David Lynch could have imagined and portrayed so cunningly. the Pineapple Princess. I have come to the unequivocal conclusion that Angelo Badalamenti's mesmerizing music of Twin Peaks." by Johnny Preston and ~'EIPaso. written in blood. especially those singles which formed the basis of Lynch's own Northwest Sound. v.. whose "Tall Cool One" made some national noise that same year. than to offer up.

itself becoming a Hollywood movie in 1960.) FBI agent Cooper dreams of getting his slice of the pie (didn't Skip & Flip do "Cherry Pie" in 1960? You know they did). Laura's cousin dreams of becoming her cousin's mirror image. Twin Peaks sustains its momentum on the dreams of its assorted sordid citizens: Laura and her legion of lovers. (Johnny Burnette's big hit of 1960 was "Dreamin"'. who dreams of escape. Laura's mother and cousin saw the killer in separate visions. sang ''Mountain of Love" in 1960. Shelly. Ben and his brother Jerry (!) dream of burning down the mill. it would be almost 20 years after "A Summer Place" and West Side Story until The Bee Gees.. America. at the edge of the New Frontier all over again. and. had a dream of getting a patent on her silent curtain rollers. Audrey dreams of bringing her Marlene Dietrich act to One-Eyed Jacks (Roy Orbison sang "Blue Angel" in 1960). Laura had her own dark dreams. ready to explode in multicolored fireworks of self-expression. cheerleader. It's 1960. as do James and Donna. the town's dream girl. Another coincidence? Doubtful. who didn't? Regardless. reuniting them for the first time since they were matched in . Laura's shrink dreams of saving her from herself. (Jack Scott had a hit with "Burning Bridges" in 1960. But now.. sex and violence. a treatise much like Twin Peaks. Similarly. I mean. the story of Laura Palmer (LP!) is less a murder mystery than the mystery of a murder... namely "Blue Velvet. herself. ButMarv Johnson's smash was "Move Two [!]Mountains. on the subterranean teenage condition run amok in honor and betrayal. In 1960 America. the boys of 1960. Twin Peaks' own dreamlike theme song. for such prominent roles in Twin Peaks." But a rumbling guitar and an insouciant saxophone netherworld existed below the surface of every seething dream. of course. In his dream he sees Laura's killer. let history be the judge of that. In such a context.. "Falling. Nadine. a place that was safe and warm. and translucent as Twiggy. Saturday Night Fever. and the question of who killed her is probably moot. warring tribes and establishment corruption-the impossibility of escape. and John Travolta's confident index· finger jabbing at the sky would come to redefine movie music as hopelessly glittery accessible disco trash. parents vs. The film may have been Hollywood's answer to West Side Story. Wake up and smell the coffee! . lies and videotape. David Lynch and Angelo Badalamenti. West Side You can't make these things up. by the Statues in ." by [ulee Cruise. Richard Beymer and Russ Tamblyn. Bobby once had a dream of playing football. and was. why else would Lynch cast those two forgotten hunks of 1960. the mysterious path it wreaks through the underbelly of a town. more gossamer than The Fleetwoods.. not incidentally. with haunting strings under the guiding hand of Percy Faith.Bruce Pollock 5 . his cousin..Story!? Famously enamored with certain darker shades of the rock In' roll experience. purity versus corruption.") You think all this was lost on a malleable radio slave like Lynch? I'm not saying the writers used every title in planning their insidious scenario . Leo's wife. after 13 years of dirty dancing. Wailers-informed. is so cool jazzy and ethereal it's hardly a song. Pineapple Princess turned rotten at the core of an America stuck in 1960. with their Duane Eddy-inspired. whispery Fleetwoods-like North by Northwest Side Story soundtrack have given us another chance. birdlike on the wind." from the Troy Donohue movie which cut to the heart of thwarted young love. complete with sex. Harold Dorman. the more appropriate one being. teenage morality and good music was defined by "A Summer Place" . But neither did this tune=-or any other-have the impact that year of "Theme from A Summer Place.. Ed's patch-eyed wife. children. barely more than a whisper of a theme. where good girls all wore "ltsy Bitsy Teeny Weenie Yellow Polka Dot Bikini"'s and dreamed of "Puppy Love. now dreams of taking care of Leo. 1960." Lynch was undoubtedly one of the few who heard it in its chart incarnation just prior to Bobby Vinton's hit of 1962.

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. ( A~/C I I I ~ Cm . ~ • Cm I ~ ~ :4j • -+ W ~ :4j • :4j - ~ ~ ~ · • Ab/C I ~ ~ ~ I ~ ii ii .LOVE THEME FROM TWIN PEAKS (Laura Palmer's Theme) Music by Angelo Badalamenti Moderately I A~/C I• --+ ~ ~ Cm ~ ..jj :4j ~ ii ~ 11 11 11 I I ~ 11 . • Cm • Cm ~ • Cm ~ ~ ~ -+ (· :t ~: 11 :H - • 11 ~ :.jj 11 11 ~ 1i ~ 11 11 11 11 9 . p :4j :lJ - (· · ~ :4j ~ Cm? ~ ~ ~ ~ A~/C ~ ~ Cm ~ ~ :4j ~ . I · A~/C 11 _l • a Cm •••• Cm? ~ • Cm Ab/C I ~ ~ ~ ~ • Cm ••• -:n: - :4j -+ If: :t :t :4j ~ Cm7 :.

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..J: -. FI7 I mm ~.I --e- • -9 •• B • -9 . .. for me. ~ d :.. " Z love _"0" meant a ~ . ~ _1! : _-6 " ~I I: said it I to it me __ " "" " Q .U . ." • 4 ..I.l · · 11 " ..Z. .. __ Q : -d . I r= .. The ~ ~: night · 1\ i - ~ in . . . I I .. .110 ~ ~ .THE NIGHTINGALE Lyrics and Music by Angelo Badalamenti and David Lynch Moderately slow B . " J: ~ r . . 16 .. ~" . 11 . P " u ~ F f. ~ I ..II there E II 1 a F'7 ~ 1: is ... ( ~ ~ 1+ m E t. I· " "IT .. ' " Q ( ( 1\ ~ 1+ il t: 11 ...gale..

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F I I' · • .__ n:C' f' u more. " .II to . .. v v ( t ~ +t _ ~ · · .. ( ( ~ +t Ii - E .. ._ _"IT · ~ love__ _-o- II. :u- II _.. . the - f · · . .. . .. for - ev it . _. • v ' .. v : -6- ( ( 1+ I ~ ""er ~! -"(melody) . ~ II. l' *Sing Ist time only E • V { ~ +t. a. Yr. ~ y you -9 •• I . B •• . . ~: --.......' .. 4 . 1$ ~: ~1$ • • to touch H you. '..--.U u all .. • Q . .. # 11 _. ~ u through world. • -i • 19 . ~ '" +t Ii :u. ~ tL ¥ " --.D .I long • to see__ ~: ! ~ you. •4 •• B • D ~. - .. cross ~I~ . I Ii 'I fit e # F'7 Repeat and fade "" ~ ( · IL r • r •... ::: . E _-nthe_ night.....

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r I 1m r i .FALLING Slowly. ~ 1\ I r Dm o FaddZ F----"Dmadd2 mm . .. time. ~I r Drnadd2 . i _-. I 1 F DmaddZ I I Dm o mm i so face.rrr )QUf r i - '" _-' . ~I -d. . III I .. 11m r q.Y... ~ '. i . I 1.J.j. I {Then T:enrrr.Jl )QUI _ I J ~I r me 0 y. _111 • u r pr "i-' 34 ._ I I... this ~ time.. .m Fadd2'. . expressively Lyrics and Music by Angelo Badalamenti and David Lynch F I 1m Ii I I~~~~~·~~~~·~~~. ~I I I .. don't let ~"T ..-"T U::::~= 0 ' ~I -. ..ft. r--rI J I - r I . Fadd2 :jj I ~ I · · saw kiss t (r - r ri your - -& -.~:~~~~~~~~~ (melody) ... s'!.. i . · · 1 I r ____ -Drnadd2 0 __ ' '~'I 11· -d_. I· I < I\. F )QUI _ F Don't T let self be h~ this ~. Ii I I I hurt self be P . Dmadd2 i "' . I r 1\ I Fadd2 Dmadd2 Dm e Fadd2 I -IJ -r"T--.. .. _II • ~I Dm o Fadd2 I I I F I r I . mp . .

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