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A COMPREHENSIVE COLLECTION of POPULAR MUSIC for EASY PIANO 1910 - 1980 John Brimhalt’s SONGS OF THE CENTURY 1990 — 1939 1960 — 1969 Beyond The Bae Horizon The Exodus Soma Newathes (Vln Love Wi You) Never On Sundog Our Ot Nowhere Tate OF Honey Pentnouse Serenade (When We're Alone) | Was Nery Good Yer Mini Moon iver Beer arr Potks (Roll Out The Barret) | Ae Cat Cotas For Two Baby Elephant Wa Tove Thy Nejghboe Gall Metrresponaible Daring Je Vor Alm Bencoup Donlalgse Tanta sane Welcome To My Word A partial list of contents includes: Paris In The Spring ‘Sanshine, Lollipops and Rainbows aan uae Narhor Ligh weigh Sone Jou Seca +1940 — 1949 ve ion And Lee Suing Bheber Hi Maes IVs Lang Long Way To Tipperary How High The Moon Peed nae Erchocd ke On Dolores Gente On My Mind The Tall Of The Lonesome Pine Tet Want Te SThe World On Fe | Semicon ty Ml ‘Thats A Plenty Mule ‘Time ForUs Nola Take Toe "A" Ten teow Roses Of Peards Thememter You “The Bells Of St. Mary's Perdido: 1970 — 1980 (ack Home Azan Taana (Were De Begin) Love Story a Black ani Hindestan Grasng Down The River SS La ay ‘Amivetany Som {fst Theme From The Godfather 1920 — 1929 How Are Things tn Glocea Mora The Entertainer >My Mammy (The Sum Shes Eas Sa By Steg | Brest Touch The Wing “The Sun Shines West) ‘The Most Betutful Gis Second Hand Rose 1950 — 1959 Feelings Yes! We Have No Bananas (Cherry Fink And Apple Blowom White | What Did ForLove ‘The One I Lave Belongs To Somebody Ee) | Ser ae You Needed Me Atabamy Bound Nive Don't ry Oat Loos Five Foot Two, Eyes Of Blue Paris ‘Music Box Dancer {ou knw Suse teow Sos) ree Dierent Wore Nights of Splendor Entertainment ‘Steps Time Gal “The Happs Wanderer (Valde-, Muskrat Ramble Letty Heart In San Francisco a “The Best Things In Life Are Free ‘YoungAt Hear Side By Side Lia's THEMED pasion Up Yo Orso FEATURING: A STAR BEYOND TIME Matin" Whoopee! Love Theve reese Louise THE MOTION PICTURE table of contents (The) Battle OF New Orleans 10 (The) Bible Tells Me So try Pink And Apple Blossom W. (The) Happy Wanderer Left My Heart In San Francisco Tove Paris ve Grown Accustomed To Her Face 28 Let Me Entertain You Mister Sandman Rock Around The Clock Satin Dott Silver Bells That's Amor ‘That's Entertainment 28 Tom Dooley True Love Vaya Con Dios Why Young At Heart (Pp HaNsen House BBD Wet Avera Mim Bench, FL35199 50: The 1950's opened with a lot of sure things going for it; a President halfway through his lerm, economic upswings and lols of new care after’ the war years of the fortis. This Act ‘opened with Harry Truman putting his approval fon development of the Hydrogen Bomb, bigger and more awesome than the A-Bomb that levelled Hiroshima and. Nagataki. Americans ‘went off to fightin the Korean “police action In the name of the United Nations. Winston Churchill spoke in Fulton, Mo,, and introduced the tem “Iron Curtain” into the language ax the Cold War entered an icy stage Les Paul and Mary Ford had a million seller in their recording of “Vaya Con Dios” over: laced with Paul's multiguitar tracks, Billy Graham brought his evangelism to New York's Yankee Stadium and filled the huge arena with 92,000 people. The Bsby Boom was on and everybody was having a good time, ax incomes went up, marriages went up, housing was up; but the great Joe Louis went down, defeated in 18 rounds by Ezzard Charles, Broadway shows sparkled and swayed to music from “Gigi” “The King and I," and “Paint Your Wegon.” Airwaves caried Jo Sta ford singing “Shrimp Boats Are A-Comin’" and ‘The Kingston Teo's “Tom Dooley.” New stars were vaiting to emerge as musical taster began to change in this changing decade of the "50's: Fabian, Paul Anka, Bobby Dati, Fats Domino, Jerry Lee Lewis, Debbie Reynolds and Connie Francis, Elvis was King, though, and stopped hearts ina way no one had since Frankie played the Paramount, For the motion picture com ny of the same name, Bing Crosby made “Hiere Comes The Groom” and crooned yet another milionselling hit song: “In The Cool, Cool, Cool OF The Evening.” AA Pan-American Airlines Stratocruiter few [New York to London in the amzing time of 9 hhours and 16 minutes. America’s population was up to 150 millon, and in New York City, where lived 7 million of them, a heat wave Pushed the mercury up tothe mark alter a record snowall in March (much, Imuch after. So there was a certain logic 10 America’s singing “Fever,” “Misty” and "Que Sera Sera." Millions of us wore “I Like Ike” butions and we proved it by electing war-hero Dwight Eisenhower as President, Vice President for the 8 “Ike” years was Richard M. Nixon, ‘who was to gan a certain noteworthiness on his ‘own some year ater. “Heartbreak Hotel” was someplace to sing sbout, 0 Presley did, to the delight of screu ing girls Judy Garland made “A Star Is Born” and sang "Man That Got Away” with a special quality only she had to give. “Siher Bell” brightened Christmastime, and “Jamaica Fare well” was a kind of vooal springboard for Harry Belafonte Sputnik went into orbit and Americans ‘went into a panic of engineering studies and the race for space was on, Cape Canaveral becaine four Space Center, which. laer became Cape Kennedy and then Cape Canaveral again, The Russians sent a dog into space and America sent 1 monkey. Both returned safely, in time to hear the new musieasensition ~ Rock and Roll! Bill Haley “Rock Around The Clock” and Little Richard did his “thing.” The Everly Brothers stylized their way into young hearts all over the land with rhythmic interpretations fof “All I Have To Do Is Drearn” and “Wake Up Little Susie.” Frankie Laine, Bing Crosby, Frank Sinatra, Johnnie Mathis, Tony Bennett and Pet Boone all rode musical winners during the decade ‘The New Music beat through “Satin Doll” and “Kansas City” and pop music was changed forever. My Fair Lady opened to run on Broad: vay, seemingly forever. Grace Kelly of Phils delphia became Princess Grace of Monaco and @ ‘movie carer was ended. Ingrid Bergman called a Tong but temporary halt to her eaveer as she simultaneously made the picture "Stromboli? and left her physician-husband for her diretor. By the time the Act was drawing toa close the youthful face of John F. Kennedy was being Seen more and more and the “missle gap" with Russia was as hard 10 pin down as mercury from a broken thermometer. The curtain closed on scattered applause for 2 decade well done mostly 3 I's cherry pink and apple blossom white, ‘ ‘The poets say. When your true lover comes your way ‘The story goes that once a cherry tree, It's cherry pink and apple blossom white, Beside an apple tree did grow, From “UNDERWATER” CHERRY PINK AND APPLE BLOSSOM WHITE French Words by JACQUES LARUE Ena Words by MACK DAVID Tempo di Rumba Moderato Moseby 0) FE Gm7 — ——= Te —— Is cher + ry pink and ap - ple bos - som white, cher = ry tree, of cr F When your true lov = er comes your | way. Be- ‘side an ap - ple tee ‘did | grow, 2 cher = ry pink and ap = ple + som — white, — there a ‘boy once met his i be,. 101950 Pais Conran Sand 1955 to Chany Costa, Ne Vo, NY. nugergeeneeteeot ontgtenn meraconal Copyright Scored 4 And there a boy once met his bride to be, It was a sight to enthrall, Long, long ago. ‘The breezes joined in their sighs, ‘The boy looked into her eyes, ‘The blossoms started to fall, er ROS The po = ets The sto - ry goes that once a Long, long a- The boy looked | in- to her eyes, It was a |sight to enctheall, The breez-es Joined in th Sighs, The blos - soms [start - ed to fal, And as they SS SS SS SS SSS gently caressed, The tov - ers | looked upto find, The. branch -es a = a — i = + Cherry Pink And Apple Blossom White-3.2 ‘And as they gently caressed, ‘And that is why the poets always write, ‘The lovers tooked up to find, If there’s a new moon bright above, ‘The branches of the two trees U's cherry pink and apple blossom whi Were intertwined, When you're in love, of the two trees = fowined,And that is why the po - ets If there’sa new manbright a - | bove, Gm? —— ———- —— Ws cher = ry pink and ap = ple | bios = som white, — 5 = Z ———— | When you're Cherry Pink And Apple Blossom White-3-3 6 Igive to you and you give to me ‘So. on and on it will always be True love, true love. ‘True love, true love. From the Film “HIGH SOCIETY" TRUE LOVE Words and Music by COLE PORTER 7 For you and Ihave a guardian angel . But to give to you and to give tome On high with nothing to do Love forever true. Gtsus) G om 7 ie noth = ing mf dim Bb7 v7 q c Gaim you and to | give poco rit THE BATTLE OF NEW ORLEANS By Moderately JIMMY DRIFTWOOD VERSE eigh - teen andfour - teen we | took a lit - tle trip, A- looked down the riv-ér and we | seed the Brit-ishcome. There Hick - ry said. wed___| take ‘em by sur-prise If we 2 Colo-nel Jack -son down the | might - y Mis- sis - sip’ been a “hun-dred of ‘em | beat - in’ on the drum. fire a mus-ket till we | looked ‘em in the eyes. bac-on and we | took a lit - tle beans And we high and they | made their bugles ring, While we fire__ till we | seed their fac-es well, Then we met the blood -y Brit - ish-near the | town stood be - side our cot - ton bales and | did - © - pened up our squir-rel guns and | real - snr eS Ail nigs Reserves CHORUS - We | fired our guns and the | Brit-ish kept a-com-in'. There | wuz-n’t nigh as man-y as they a wuz awhile a-go. We | fired once more and | they be-gan to run-nin’ On a. 67 6 3 @ cs cm 3.0ld ic 5 ranthrough the riars and they|ran_ through the bram-bles And they ranthrough the bushes where a ran so fast that the hounds could - n't catch 'em— Ondawnthe Mis -sis-sip-pi to the rab -bit could-n't go. ‘They Gulf of Mex-i-co. On |] down the Mis-sis-sip-pi to the| Gulf of Mex-i - co. | down the Mis-sis-sip-pi to the | Gulf of Mex-i-co. 2,We |] Gulf of Mex-i-co. They| 10 Have faith, hope and charity, Do good to your enemies That's the way to live successfully. And the Blessed Lord you'll surely please, How do I know? The Bible tells me so! How do I know? The Bible tells me so! THE BIBLE TELLS ME SO B DALE EVANS Moderately ‘That the way to live suc -| cess - ful-ly, | ‘And the Bless-ed Lord you'll | sure - ly at How do I know? The Bi- ble tells me - | mor - row, just be real good to - ; sae ee Pesmision Ste Rene a 0 he ye of sng wt ay other niin exprely phi Don't worry ‘bout tomorrow, Just be real good today, The Lord is right beside you, He'll guide you all the way. uu Have faith, hope and charity, ‘That's the way to live successfully, How do I know? ‘The Bible tells me so! . az | ; — = at a —s— Be 4 tay. The right be -| “side you, He'll G7 £ ‘That's the way to live suc -| cess- ful-ly— How do. I know? The| Bi- ble tells me 12 Gigi, Am Ia fool without a mind or ‘That funny, awkward little girl I knew, Have I merely been too blind to realize? Oh no! Over night there's been Oh, Gigi, why you've been A breathless change in you, Growing up before my eyes! Oh, Gigi, while you were trembling Gigi, you're not at all On the bring, was I out yonder From the MGM Picture “GIGI’ GIGI Moderately, with expresslon Lyric by ALAN JAY LERNER c Music by FREDERICK LOEWE B Dm7 GT G7(sus) Gr e mere-ly been too blind t0 re - a | - lize? Why you've been| mere-ly been too blind to re - a 2 . Why you've been| Dm? ar c E F P ‘grow-ing up be-fore Gi + si, You'renot at ggow-ing up be- fore Gi - gi, You're not at st 7 + BD 17a oy Shae Ca International Copyright Secure ‘IN Rigs Reserved ‘Any amangeiment or adaptations ti composton Wit the content ofthe owner an Ribose ot copyright Somewhere blinking at a star? Oh, Gigi, have I been standing Up too close or back too far? When did your sparkle turn to fire And your warmth become desire? Oh, What miracle has De+ 13 Made you the way you are? Gigi, Am [a fool without a mind or Have I merely been too blind to realize? Oh, Gigi, why you've been Growing up before my eyes! Gigi, you're not at all BT Bdim BT Di all that fun - ny, awk-ward tit = tle | itt, all that fun- ny, awk-ward lit- tle | gint G G+ C6 Bdim Am7 © - ver | night there’s been a Twas | mad not’ to have 2 © > Dr Gi (sus)D7 (sus) G7 B F Dreath - Jess seen the While you were trembling on the brink Was out] yon-dersome-whereblinkang at a While you were}tremb- Ting on the brink Was I out| yon-dersome-where linking at a Oh, | Gi- gi, Have 1 been Oh, | Gi- gi Have I been stand tooclose or back too | far? stand tooclose or back too | far? 4 ‘That funny, awkward little girl I knew, Oh no! Iwas mad not to Have seen the change in you! Oh, Gigi, while you were trembling On the brink, was T out yonder Somewhere blinking at a star? Dm F Fm When did your When, did your spark = fe spark - Te F6 Fms warmth be - come warmth be - come Fm g Oh, Gigi, have I been standing Up too close or back too far? When did your sparkle turn to fire And your warmth become desire? Oh, What miracle has Made you the way you are? C6 EmT if z f fi or And your fore ‘And your Em? Edim fa. Dm? t made Gr ¢. you the way dim. Dm Gt R ‘Dm G(sus) G7 c ae you the way you Gigi3-3 ove Paris inthe springtime, Tove Paris inthe fa, Tove Pacis inthe winter, From “CAN-CAN” I LOVE PARIS Slow Fox-Trot Tempo cm ony This rangement Copyet Inwunational Copgright Secured Made US. ‘iE by penn of Cappel. Co, 3 by Cote Porter by Cole forte Ud by Permision ‘A Rigs Reserved ‘Onerapubcaton anaes nih 15 When it drizles, Llove Paris in the summer, When itsizles, Lyric and Musie by COLE PORTER ea the | spring-time,, 16 Llove Paris ev'ry moment, Because my love is near. Evry moment af the yea, Hove Paris inthe springtime, Tove Pais, ‘ {ove Paris inthe fall Wy, oh why do I Tove Paris? Tove aris inthe winter, when it | driz ~ zles, Giibs) G7 cm Par- is inthe sum -mer, when it | siz -2les, ——— Sostenuto (jubilantly) c 1 pel gs =: —— F T i a of oy mo - ment of the BE a — = ee 1 Love Paris-3-2 7 When it drizzles, Ev'ry moment of the year, love Paris in the summer, Love Paris When it sizzles, Why, oh why do I love Paris? Tove Paris ev'ry moment, Because my love is near. Gr Dm? G7 FE year, as 2 G7 ¢ aim G7 G7 | | | L Love Paris-3-3 18 Tlove to go a wandering, Along the mountain track, And as Igo, I love to sing, My knapsack on my back. Valderi, Valdera, Valdera, Valde ha, ha, ha, ha, ha, ha, ‘My kmapsack on my back. Tiove to wander by the stream ‘That dances in the sun, So joyously it calls to me, "Come! Join my happy son!" Valderi, Valdera, Valdera, Valderi, Valdera, Valde ha, ha, ha, ha, ha, ha, THE HAPPY WANDERER (Valde-ri Val-de-ra) Brightly Lyric by ANTONIA RIDGE c Music by FREDERICK W. MOLLER ===: 10) ff toe to wan + der - 20) | ove to | won by the [stream 30) |] wave omy | hat al TY meet, wf il, — A That ‘And = or long the | moun tain dane. ea in the they wave back = to track, yee i Sis c F Dm c GT = =s == pe a, | oe oe mS |S ay ay ee. oe Nee, wet a 5 = SS Valdert, Valdera, ‘My knapsack on my back. I wave my hat to all I meet, And they wave back to me, And black birds call, They love to sing, 18 As o'er the world we roam. Valderi, Valdera, Valdera, Valde ha, ha, ha, ha, ha, ha, Valderl, Valdera, ‘My knapsack on ty back. ‘The Happy Wanderer-2-2 20 I left my heart in San Francisco, To be where little cable cars High on a hill it calls to me Climb halfway to the stars! I LEFT MY HEART IN SAN FRANCISCO DOUGLASS CROSS and GEORGE CORY Slowly Fdim FT Fo Bb Sarak 1 tet my | heart In san Fran=| els = eo, mp High” on af but Ess Bbdim pe To he where | i - tle ea = ble half-way to the stars! yn asa oy See Mae Pang Co, Ine, Now Ys ‘hi arangemenn ene ‘Soe Ts by remain, mera CSynga Seb ade ines Ainge ered 21 ‘The morning fog may chill the air, "Above the blue and windy sea, Idon't care, My love waits there When I come home to you, San Francisco, In San Francisco, Your golden sun will shine for me, CF m7 ee cm Fai 7 Fut may chill 1 dont | carer ay waits Bb Chiles emt e a cmt 7 Bem Dm? a7 ct Bet cmt Fr a om 22 I've grown accustomed to her face Her smiles, her trowns, ‘She almost makes the day begin, Her ups, her downs I've grown accustomed to the tune, Are second nature to me now; She whistles night and noon, Like breathing out and breathing in From the Broadway Museal MY FAIR LADY" I'VE GROWN ACCUSTOMED TO HER FACE Words by ALAN JAY LERNER Moderately... Music by FREDERICK LOEWE Adim Abs, BbT Stowly ve grown ac - |] cus - tomed to (ve grown cus - tomed to a tempo I F makes the day be ~ gin, Tye grown ac - makes the day be - gin. Tre ‘got ten (Sopra © 1956 by Alen Jay Larner and Frederick Loewe hls acangmentCopyigt@1972 by Aas Tay Lote ed Fedeeeh tae” Used by Penson Internationa Copy ocae idewe US. A Rig Reed ‘Eby permimion oF Chaps & Co, Ip Owner 3 publication and aed gh Iwas serenely independent And content before we met} Surely T could'alwaysbe that way again And yet, I've grown accustomed to her looks; Accustomed to her voice; Ab6 Adim cus - tomed to the tune, used to hear her say! She “Good 23 Accustomed to her face. I've grown accustomed to her face She almost makes the day begin, I've gotten used to hear her say: "Good morning" ev'ry day, Eb whist - les night and mom - ing” ev = ty Ab Gdim ( smiles, her frowns, joys heroes, | pocorit, na - ture to me | ha ture tome Fm7 Bb7 out and breathing ‘out and. breathing Fm7 BbO downs are sec - ond lows are sec = ond tempo Like breath - ing ike breath - ing Ebmaj? Eb6 ve Grown Accustomed To Her Face-3-2 24 Her joys, her woes, And so easy to forget; Her highs, her lows Rather like a habit one can always break Are second nature to me now; And yet, I've grown accustomed to the trace Like breathing out and breathing in Of something in the air; I'm very grateful she's a woman Accustomed to her face. AbG D7 Eb ch rene - ly in.- de ~ pen = dent and con - | tent be - fore we met; grte-ful she's a wo- man and so | eas y to for - gels Fm? BbT Gt CT N.C. could al -ways be that [way a - gain and yet, I've grown ac - a hab- it” one can | al - ways break and yet, I've grown ac - cus tomed to her looks: - | cus - tomed to her cus-tomed to the trace something inthe rs a | Eb Feb Fm7 Bbo r = r —a T ——— cus-tomed to her Tve grown ac - |] fee, eus-tomed to her Tye grown ac = |] face. rit Tye Grown Accustomed To Her Face-3-3 25 When the moon hits your eye Like you've had too much wine, Like a big pizza pie, That's amore, That's amore, Bells will ring, ting-a-ling-a-ling, When the world seems to shine Ting-a-ling-a-ling, and you'll sing, From the Paramount Picture “THE CADDY” THAT'S AMORE (That's Love) By JACK BROOKS and Bright Waltz Tempo HARRY WARREN 4 % Cc When the | moon hits your | eye like a big piz - za op stars make you | drool just like | pas-ta fa - Cdim = Dm? G? Dm G7 pie, that’s a When the zool, that's a When you To Coda c 4 world seems to | shine like you've | had too much |wine,that's a - | mor-é. dance down the |streetwith a | cloud at your Copyright© 1953 vy Paramount Msi Corporation, New York, NY. is arsngrent Coreg © T5889y Farman Mode Comporaton Ved by Pernsion International Copraph Secured " Sinela Ua PTA RightsReserved se of the ys ofthis song with ay other muse expresty prohibited 26 "Veeta bella." When the stars make you drool Hearts will play, tippy-tippy-tay, Just like pasta fazool, Tippy-tippy-tay, like a gay tarantella, That's amore, Lucky fella. When you dance down the street Bells will | ring, ting-a-ling-a - ling, ting ~ a- ting - a - ling, and you'll |sing, “Vee - ta Hearts will | play, tip-py-tip- py -| tay, tip- py-tip-py -| tay, like a Coda 7 gay tar - an tel - Ia. Thats Amore With a cloud at your feet, You're in love. When you walk ina dream But you know you're not dreaming, CODA G7 E? feet, you're in Cdim ic dream but you be he E765) know you're not ay Cdim 27 Signore, Scuzza me, but you see, Back in old Napoli, ‘That's amore. i Dm When you |walk in a © Gdim dream - ing, Sig -| nor i dhe old Na-po - li, That's a That's Amore mor - é., 28 Let me entertain you, And if you're real good, Let me make you smile Til make you feel good, Let me do a few tricks, « want your spirits to limb. ‘Some old and then some new tricks, Just let me entertain you Tm very versatile. And well havea good time, yes sr LET ME ENTERTAIN YOU Words by STEPHEN SONDHEIM ‘Music by JULE STYNE Moderately, with a lilt and not fast ae 7 Dm7 7 en- ter-| tain you, me doa few tricks, some | old and then some new tricks, I'm Dm? G7 ei a ‘And if you're real good, epyrght ©1959 by Norbeth Frodactons, Ine and Stephen Sonn Stentfnd Ht Corp Wasson Mes tion a aed hs This arangement Copyright© 184 by North Frodutons in and Stephen Sondhea Ud by Pemiason International Copyright Seeres Biase US. ‘i Rights Resved We'll have a real good time, Let me entertain you, ‘Let me make you smile. Let me do a few tricks, Some old and then some néw tricks, 'm very versatile. Dm? 20 ‘And if you're real good, Til make you feel good, want your spirits to climb, Just let me entertain you ‘And we'll have a good time, yes sir, We'll have a real good time. b7 o aim = TH make you feel good, oe ~~ 7 want your spir - its to e— Dm AT Dm a 7 Dm Cdim = = aia i a pe a apt tee Dm | | | : Let Me Entertain You-2-2 — fe Se ule. = =e oT ‘cCdim Dm? G7 c 30 Mister Sandman Like peaches and cream, Bring me a dream, Give her two lips Make her complexion Like roses in clover, MISTER SANDMAN Lyric and Music by PAT BALLARD, Bright Tempo(in staccato style) oe 4 BT % 3 mp Mister} Sand-man bring me a dream,_| Sand-man I'm so a- lone, _| Make her com- | plex - ion Don't have no - |bod - y _——S sagen SAD! A Ei I Mois & Copy nc, NewYork NY turstond append Mode ORs a1 Then tell me that To call my own, ‘My lonesome nights are over. Please turn on your magic beam, Sandman I'm so alone, Mister Sandman, Don't have nobody Bring me a dream, c AbT Ce Dial cae ‘Then tell me | that my lone -some your mag - ic ‘Mister Sandman-2-2 32 One, two, three o'clock, four o'clock Rock, We're gonna Rock Around The Clock Tonight, Five, sx, seven o'clock, eight o'clock Rock, We're gonna Rock, Rock, Rock, ‘til broad daylight, Nine, ten, eleven o'clock, twelve o'clock, rock, We're gonna Rock, gonna Rock We're gonna Rock Around The Clock Tonight Around The Clock Tonight, ROCK AROUND THE CLOCK Words and Music by MAX C. FREEDMAN and JIMMY DeKNIGHT Moderato Fm a. One, two, three o'-clock, | four o'clock rock, |} five, six, sev- en o'clock mf Fo — sight o'clock rock, —[Nine,tene-teveen o'clock, |twetve o'clock rack,We're gon - na o wt fs = pyr C7 Bb F CHORUS a Rock A - round The Clock To -night. Sonya ©1953 Mrs Mais ne, Now York NY. This arangemene Coprigt 074 by Myers Mase fo. ied Remison lotermationl Copyrpneecued "alsiein USA "A Rips Reversed 33 ae glad rags on and | join me, Hon_ We'll. hhave some fun when the Glock strikes two, and three and four If the | band slows down well chimes ring five and | six and seven. Well be Jrock int) up “in, cight, nine, ten, e- [lev = en, too, I'll be | ‘go - in’ strong and clock’ strikes twelve, we'll |cool off, then= Start a -| rock - SS = i “round the. Bb7 | We're gon- na | Rock A-round the | Clock To-night, We're gon na Rock, Rock, Rock,, til] broad day light_we're gon = na Rock, gon-na Rock A-round. or ft ae T When the When the When it's When the The Clock — To-night. Rock Around The Clock2-2 34 Cigarette holder which wigs me Baby shall we go out skippin’ Over her shoulder, she digs me Careful amigo, you're flippin” ‘Out cattin’ that Satin Doll Speaks Latin that Satin Doll. SATIN DOLL ‘Words and Music by BILLY STRAYHORN, DUKE ELLINGTON and JOHNNY MERCER Moderately, with a beat Dm7 GT Dm7 GT EmZ Ay wor Te rf 1. Cig - a-rettehold - -er which wigs me © - ver her should - er, 2. Ba - by shall we go ‘out skip-pin’ | care- ful a - mi - go, mf Em? ay Abm7 bh7 — E a: ——- she digs me, that Sat in you're flip ~ pin’ ay | i+ Copyright ©1958 by Tempo Mase tne, New York NY. This arangement Copy 1974 by Tempe Nase tne. ied by Permision Investors Copyngnt Secured asin US! “At Rig Reed 35 She's nobody's fool, : Switeh:E-Rooney So'm playing it coo as an be, Telephone nombers well you know, i giveita whl, Doing my rhumbas with nor But ain't for no gi catching me ‘And tha my Sain Do Gm ee} om? a F pa es ee =e = zi = 10 = bod-y's fool, 0 t'm | playing it cool as can | be, m eee —_ — + = -_ — rT Amz i Amz “7 an (spoken) give it a whirl but 1 | ain't for no girl catch-ing Switch -E -Roo-ney Dm? G7 Dm7 7 Ee ay _ ad rr OT Tel - © = phone num - bers well you know, ing my chum ~ bas Em7 A7 Cm | D7 Abm7 | Db7 6 ¥F TP with uno, ‘And that ‘n’ my Sat =i Satin Dolt-2-2 36 City sidewalks, busy sidewalks Dressed in holiday style. In the air there's a Feeling of Christmas. Children laughing, people passing, Meeting smile after smile, SILVER BELLS Moderately and Tenderly am a waks, bus = y Tights, ee > ew the the air there's shop = pers = it, crunch, smile oat = Sin ta's ter big smiley ‘Ths amaogene cong testa Bra se ‘ side - walks dressed in sup feel = ing of home ‘And on ev'ry street corner you hear: Silver bells, silver bells, It's Christmas time in the city, Ring-a-ling, hear them ring, Soon it will be Christmas day. Strings of street lights, By JAY LIVINGSTON and RAY EVANS. er hol = i loright red =. dal Tights Blink a and leneist. = ma with their |ireas — ure peo = ple See the wide ng, bunch, moet = ing hie ie Parra Muse Corporation, New Yat, MY Shay Pasay See Capon “The ie of he ef i nong why tr S ie exprenlypsbed PS acs Even stop lights blink A bright red and green As the shoppers rush Home with their treasures, Hear the snow crunch, See the kids bunch ¢ hear them ring, 387 This is Santa's big scene, And above all this bustle you hear: Silver bells, silver bells, It's Christmas time in the city. Ring-a-ling, hear them ring, Soon it will be Christmas day, SIL ver tells, cheist = man | ime ing=a tag, christ = tas 38 ‘Hang down your head, Tom Dooley, ‘Hang down your head and cry, Hang down your head, Tom Dooley, Poor boy, you're bound to die. inet her on the mountain, And there T took her life, | met her on the mountain ‘And stabbed her with my knife. Hang down your head, Tom Dooley, Hang down your head and cry, Hang down your head, Tom Dooley, Poor boy, you're bound to die. TOM DOOLEY Moderately CHORUS & Hang down your head, Tom| Doo-ley, ot Hang down your head Tom | Doo-ley, Poor Words and Music Collected, Adapted and Arranged by FRANK WARNER, JOHN A. LOMAX and ALAN LOMAX D7 Hang down your head and| cry, boy, you're bound_to | die. 4 VERSES 7 = ee F + an id moun-tain, And | there I took her | life, T ‘mor row, | Reck-on where 1M | bei If it a Reck-on where Pll su lRO-© Comrie 1387 Invern Coppin ect eek 4258 oy Luton Mat, New Yor NY. ae Fermin RT Rig Reserved 39 ‘This time tomorrow, reckon where I'l be? Ifit hadn’a teen for Grayson In some lonesome valley dea been in Tennessee. Achangin’ on a white oak tree, Hang down your head, Tom Dooley, Hang down your head, Tom Dooley, Hang down your head and cry, Hang down your head and cry, Hang down your head, Tom Dooley, Hang down your head, Tom Dooley, Poor boy, you're bound to die. Poor boy, you're bound to die, This time tomorrow, reckon where I'l be? " ae D7 G + — SS Sj = =e SSS = met her on the |moun-tain And | stabbed her with. my | knife. fad na been for_ | Grayson ava | “been in Ten > ney ‘a Jn “some Hone some | Val) tey ‘A+ | hangein'on awhite— "ok ] SS 2 eo == cHorus s _ — = & = 2s —— SS Maxg down your hes, Tom | Doo -ey, Hang down your head and + —a 4 Hang down your head, Tom | Doo - ley, cz, | Am D7 iG G you're bound ‘Tom Dooley-2-2 40 time has come fon Dios, my daring amy lo, fo bel are sty gi ‘ng Wherever you Although ‘Ga eth ‘Now the vlage mis you tisten ith your heart Soul en ev'ry toned) ho [Now the dawn i breaking ough Bur the memories we share are there Vata con Dion ms 0 Vaya gon Dos, ny darling May Gad be with yon my Tove, May Cort he with you my love VAYA CON DIOS fay God Be With You Medium Waltz Tempo YS ce % By LARRY RUSSELL, INEZ JAMES ‘and BUDDY’ PEPPER © ot Now thef} ha - ei - en - da's dark, the town vil - lage mis - sion bells — are soft =p dawn is break- Ing through 1s |steep- ing;__ = ly [ring= ings—— a gray to-/mor= row, Now the|time has come to part, the time for | weep - ing. Wt youl lis - ten with your heart_{— you'll hear them) sing - ing} — fare there to | bor’ - row. But the|mem-o- ries we share. con | Di 05, my Det qc be | with you, con] Di - 0s) wrrsuant Copy 41 Fine with you, my | love. Di - 0s) AL -| though you're man - y mil lion Each fright I saya pray'r| a pray'r to |guide you Amt DT ¢ : Dm? G D.S. al Fine % we to |has-ten ev-'ry lone-1y| hour of + ‘ry Ione-ly | day. 3.Now the az T'll never let you go, why No broken hearts for us, Because I love you, "Cause we love each other. T'll always love you so, And with our faith and trust, Why, because you love me. There could be no other, WHY Music by PETER DeANGELIS Moderately Lyric by BOB MARCUCCT G Gmaj7, G6 G Amt Dr a Sa Se T= 7 F ee rH nev er let you | go, WHY,because I | love you, 1 think you'reaw fly | sweet, WHY,be-cause I | love you. 3 a == ? F Amt DT Amt Dt Amt pt ru al - ways love you You sy I'm your spe - cial bro - ken hearts for found a per- feet Conright ©1959, 1960 y Dadar aig Co Ina New Yorks NY. Tus ranger Cone 972 by Damar Papal C3 tae Ua by Poin Imunol Coppi Sea ‘isin Bg Rte 43 Why, ‘cause I love you Why, because you love me. Why, 'cause you love me, We found a perfect love, And I think you're awf'ly sweet, Vea ilove that's yours and shine, Why, because I love you, Tlove you and you You say I'm your special treat, Love me all the time, Dm Dmr cm "cause we love each | oth - er. And — with our faith and D.Cal @ Coda Bb Am7 Dt Amt DT 7 ¥ therecouldbe no | oth. er, WHY,causel love you | WHY,'causeyouloveme. And and | you love me : ; ) aa You can go to extremes with impossible schemes, Fairy tales can come true, it can happen to you You can laugh when your dreams If you're Young At Heart a Fall apartat the seams and life gets Forits hard you will ind to be narrow of mind More exciting with each passing day, If you're Young At Heart, ‘And love is ithe YOUNG AT HEART ‘your heart or on it’s way. Words by CAROLYN LEIGH Music by JOHNNY RICHARDS i a Edim tales cancome true, it can /hap-pen to you if youre Know that its worth ev'ry trea-sure on arth to he aaa FT 3 OT Young At Heart For ive | hard you ‘Young At Heart For as | rich ‘as you nar-row of mind if you're Young At Heart, bet-ter by far to” be Young At Heart, Fm 2 o7 Ls a 3 a7 z go ‘to ox- tremes__ with im -| pos -"si- ble gchemes,_ you ean you_——should sur- vive to a | hun-dred and five, ook at copys 1984 by Chesie Corp, New York, NY. 45 y And if you should survive to a hundred and five, Don't you know that i's worth © Look at all you'l derive out of being alive, Ev'ry treasure on earth to be Young At Heart ‘And bere i antbast He For as ich as you are its much better by far eh bere ae Pest To be Young At Heart, If you are among the very Young At Heart. se c7 2 ar) PF? Bdim F7__ Bdim Tengh_when your dreams_ fall a | part at the seams and /life gots more ex-cit-ing with each| all “you'll de - rive out of Fv Bb Fidim Bb F#7 Cm Pv 7 ing day, and love is cith-er in yourheart or | on it's way. 2 Bh, Eom Bb be-ing a- live, and here is the best part, lyou have a head start, a8 Just take a breath Down in lover's lane, Of that new mown hay There you go And the sugar cane; Day dreaming when it's time Looks like tonight ‘That you obeyed There should be a moon ‘That Sunrise Serenade a 2 3 3. 3 3 chores. Just take a breath of that new mown hay— and the - gar cane:—| — looks like to-night there should be moon— down ‘There you | go. day dream i 's [time that you o-beyed that Sun Sunrise Seren ‘Thanks for the memory ‘ How lovely it wast Of candle light and wine, ‘Thanks for the memory Castles on the Rhine, Of rainy afternoons, ‘The Parthenon and moments Swingy Harlem tunes, On the Hudson River Line. ‘And motor tips and burning lips From the Paramount Picture “BIG BROADCAST OF 1938” THANKS FOR THE MEMORY Words and Music by LEO ROBIN and Moderato non troppo RALPH RAINGER oi F Fain 2 Thanks for the | mem-o - ry of | can-dle light Thanks for the | mem-o - ry of | sen- ti-men - ™ e & r P Cas-tles on the Rhine, The} Par - the-non and mo- mentson the| Hudson Riv er Line. How Nothing in my purse, And | chuckles when the preach- er said “For| bet-ter or for worse." How love - ly for the | mem-o- ry love - for the | mem-o - ry Copyright 1937 by Params Macc Comporain, New Yorke NY. “Capyriht eneed 1964 by Param Mase Corpora This arangement Copyrgh(O1984 by Parmcant Mae Compton Use by Peemision Internationa! Copyright Scere ein US. SR 48 ‘And causes a lot of bother. By the skirt who is doing him dirt; ‘The clerk who is thrown out of work The world isa stage, By the boss who is thrown for a loss, ‘The stage isa world of entertainment oe = di - pus rex chap kills his DS. tC, © cody Dm enh iy i I do = ing him Bb ‘Cm? FT Bb G7 | | | ‘That’s Entertainment 3-3 Brimhall’s Greatest Hits m