so:

// of Qeorqe Qerjhwwj most famouj scnqj

\
iHcLuclinq hfj oivwsptaa/ arranqementj lor the picwo
EDITED AND REVISED BY HERMAN WASSERMAN
SWANEE

NOBODY BUT TOU

I'LLBUILD A STAIRWAY
TO PARADISE

DO IT AGAIN

FASCINATING RHYTHM

OH, LADY BE GOOD

SOMEBODY LOVES ME

SWEET AND LOW DOWN

THAT CERTAIN FEELING

THE MAN I LOVE

IP YO' HANDS

DO DO

MY ONE AND ONLY

'S WONDERFUL

STRIKE UP THE BAND

I GOT RHYTHM

WHO CARES?
 volume contains eighteen George
THIS
Gershwin songs which were his own fa-

vorites. In each case the words and music in

their original form appear, and then the song

is followed by special piano arrangements

which Gershwin made for the purpose of play-

ing for his friends.

This book was published originally in de

luxe form in 1932. The edition was quickly

sold out, bul it was felt that during the depres-

sion the public: would not wish to bu\ more

copies ot a high-priced volume of this sort.

During the p;ist years there has been an insist-

ent demand that this book be reissued in a pop-

ular-pi i( t edition. It now appears in this form.

A special word about Mr. Gershwin's piano

arrangements: ever since the original de luxe

volume appeared these arrangements have be-

come famous and man) piano teachers have

taught them to their pupils. Mr. Herman

Wasserman the renowned piano teacher of

New VbrkCit) (who was Mr. Gershwin's piano

i< .K lu 1 ). has foi this special edition relingered

tin arrangements and eliminated a few typo-

graphical errors thai appeared in the original

edition. Foi these arrangements especially the

>) is recommended to piano teachers and

students.
 / ?V»
;£*",

°^^
^^d s?*^^,^*^y

/^^&^^ ^*
 m

W 05
^^M

1 4 '

4#&& |\ B;i
B^ 1 A
 GEORGE
GERSHWIN'S
Song-book
Special Piano Arrangements Edited and Revised by

HERMAN WASSERMAN

SIMON AND SCHUSTER INC

NEW YORK
 ALL RIGHTS RESERVED
INCLUDING THE RIGHT OF REPRODUCTION
IN WHOLE OR IN PART IN ANY FORM
COPYRIGHT, 1941, BY GEORGE GERSHWIN
PUBLISHED BY SIMON AND SCHUSTER, INC.
ROCKEFELLER CENTER, I23O SIXTH AVENUE,
NEW YORK, N. Y.

REVISED EDITION

MANUFACTURED IN THE UNITED STATES OF AMERICA

 CONTENTS
Introduction by George Gershwin

SWANEE 10

NOBODY BUT YOU 16

I'LL BUILD A STAIRWAY TO PARADISE 22

DO IT AGAIN 28

FASCINATING RHYTHM 34

OH, LADY BE GOOD 41

SOMEBODY LOVES ME 47

SWEETAND LOW DOWN 53

THAT CERTAIN FEELING 59

THE MAN I LOVE 65

CLAP YO' HANDS 72

DO DO DO 79

MYONEANDONLY 85

'S WONDERFUL 91

STRIKEUPTHEBAND 97

LIZA 104

I GOT RHYTHM 113

WHO CARES? 121

 INTRODUCTION BY GEORGE GERSHWIN

A:-M ERICA, in the last twenty years, has be- At that, if you have the patience to compare the
come a veritable hot-bed of popular music. During arrangements of our old-time popular music with
this same fruitful period it has mothered some of the those of our latter-day hits, the latter-day arrange-

best music to be found in the musical comedy of the ments, simple as they are, will appear complicated
time. The way had been prepared, of course, as long by contrast.
ago as the epoch before the Civil War, when the Gradually, with the general increase of technical
minstrel show was in its palmy days and we already skill at the piano, there has arisen a demand for ar-

had truly popular songs and popular composers, not rangements that shall consider that skill. Playing my
to speak of the faint beginnings of jazz bands and songs as frequently as I do at private parties, I have
Tin Pan Alley methods long before the pavement of naturally been led to compose numerous variations

Tin Pan Alley was laid. upon them, and to indulge the desire for complica-

American popular music, since its origin, has been tion and variety that every composer feels when he
steadily gaining in originality; today it may truly manipulates the same material over and over again.
lay claim to being the most vital of contemporary It was this habit of mine that led to the original sug-

popular music. Unfortunately, however, most songs gestion to publish a group of songs not only in the

die at an early age and are soon completely forgotten simplified arrangements that the public knew, but

by the selfsame public that once sang them with such also in the variations that I had devised.
gusto. The reason for this is that they are sung and Hence, in this book, the transcriptions for solo
played too much when they are alive, and cannot piano of each chorus, after its appearance in the reg-
stand the strain of their very popularity. This is es- ular sheet-music form. Some of these are very diffi-

pecially true since the invention of the phonograph, cult; they have been put in for those good pianists,

and more so since the widespread conquest of the of whom there is a growing number, who enjoy pop-
radio. ular music but who rebel at the too-simple arrange-

When the publishers asked me to gather a group ments issued by the publishers with the average
of my songs for publication I took up the idea enthu- pianist in view.

siastically, because I thought that this might be a In a country that spends so much money on its

means of prolonging their life. It also occurred to dance music it was inevitable that there should be a

me that the idea might be taken up by other com- radical development in the playing of its most im-
posers of popular music. portant instrument — the piano. The evolution of
Sheet music, as ordinarily printed for mass sales, our popular pianistic style really began with the
is arranged with an eye to simplicity. The publishers introduction of ragtime, just before the Spanish-

cannot be blamed for getting out simplified vei sions American War, and came to its culminating point in

of songs, since the majority of the purchasers of pop- the jazz era that followed upon the Great War. A
ular music are little girls with little hands, who have number of names come crowding into my memory:
not progressed very far in their study of the piano. Mike Bernard, Les Copeland, Melville Ellis, Lucky
Roberts, Zez Confrey, Arden and Ohman, and oth- formance of these pieces is in order. To play Ameri-
ers. Each of these was responsible for the populari- can popular music most effectively one must guard

zation of a new technique, or a new wrinkle in play- against the natural tendency to make too frequent

ing. Some of my readers will recall various of these use of the sustaining pedal. Our study of the great

procedures,of which a number were reallybut stunts. romantic composers has trained us in the method

There was the habit Les Copeland had of thumping of the legato, whereas our popular music asks for

his left hand onto a blurred group of notes, from staccato effects, for almost a stencilled style. The
which he would slide into a regular chord; it made rhythms of American popular music are more or
a rather interesting pulse in the bass, a sort of happy- less brittle; they should be made to snap, and at

go-lucky sforzando effect. Then there was Bernard's times to cackle. The more sharply the music is

habit of playing the melody in the left hand, while played, the more effective it sounds.

he wove a filigree of counterpoint with the right ; for Most pianists with a classical training fail lament-
a time this was all the rage, as it sounded pretty well ably in the playing of our ragtime or jazz because

to ears that were not accustomed to the higher musi- they use the pedaling of Chopin when interpreting

cal processes. Confrey's contribution has been of a the blues of Handy. The romantic touch is very good
more permanent nature, as some of his piano figures in a sentimental ballad, but in a tune of strict rhythm
found their way into serious American composition. it is somewhat out of place.
To all of these predecessors I am indebted; some I wish to thank B. G. De Sylva, Irving Caesar,

of the effects I use in my transcriptions derive from Ballard MacDonald, Gus Kahn, and my brother,

their style of playing the piano. Ira Gershwin (Arthur Francis), for their permission

Now, the American piano player of popular songs to use their lyrics in this volume.
has managed to keep pace with the progress of the I also wish to thank Dr. Albert Sirmai for his as-

song that he plays. As the American popular song sistance in helping me with the proofs and the prep-

has grown richer in harmony and rhythm, so has the aration of this material in book form; and also Mr.
player grown more subtle and incisive in his per- Constantin Alajalov, whose splendid drawings have
formance of it. so well caught the spirit of the songs.

One chief hint as to the style best adapted to per- George Gershwin
GEORGE GERSHWIN'S SONG-BOOK
 ^

10

SWANEE
WORDS BY IRVING CAESAR

Allegro moderato 'if

VOICE ite i) j> }) i

i> ;> j^
J'ue fceen a - way from you a

^m ±=t
« m S5 j
^-H7^
f ^m
PIANO f& ^ tnf tu r^f- v
r
y#-g- ip5
p T^p
^ r
Jong-
r Tp-
timer
v |
v J >

I nev-er thought
j >
'
Jr ^ I'd miss you
jl
'

r
st
^ F

p^n

Copyright /gtg hy T. B. Harms fcf Francis Day y Hunter. International Copyright Secured
 11

<;/

p^
mi
_

'J*

iy^
/
f ,/
^
The birds are

11/
sing-ing, It

Zlf or
is song

If
- time

^*=^'
"ffiftij» m
:
jj* J j
TVn 7
1 :
-* P
f

hJ>.M
The ban -jo s
J'

strum-mid
j> J^ J'
soft and
i

f
loiVj.
i pM ^ I know
^PP
that you

33E3
yearn
£p?
ybr we too)
:se
Swan - ee.
p^^f ^m£?
You're call-ing me.
to

Pf a
¥=*£: E± £E tt
¥P^
!EEE '
*f h>i I
/* jojo dolce
~
:rj:,^rrL

REFRAIN
P P P
i
r

sfz
ȣ=

^ £^gjj

sfz
SP

fern Jl J* J> J,
I
J) ^EE*
Szt'an How I love you. How I love you

53
S i . g. i & :
S
1 1 I £ w 1EEEEE2 i 1EEEE3

s ^

p '
f
>
P
r
rf
f
y
Sft
X 3=5 3=5
12

My dear old
^j^i^J^T
Swan-ee} . Pd give the
i

world
r i»r
in be

c/ 13 f f
i
f
^m m tfOf
f
p J
IJ" J J
^ ±^ 2=:
J f

^5 ^^
A-mong f/ie folks
m
/

D - I -
P
X -
HP PMp
I - E - ven knOTt

fedfc
i ^
ttl 1
m*g
r
25
ftg=?

/
r r
dim.
la k^

p =fi ^UJ^-J i^A £

v

5fe^
Af<n my's
sfz

J> j,

Wait - in g for me}

j, j, |
sfz

Ji ;, ^
Pray -ing for me Down by the

1:
IS
\m 15"
^ *7 1*
P S/35
7

HF
^1^ P^^ P ^^
P
y
f P
7
f

* 3
Swan-ee.
Jd^i'
The folks up
p
I

f
north
^ will
Pppp
see me no more
P3
When

iff
J

f f
i^ d ii
tfl T-f-»S

§ m * ' *
*£
f r f=
 13

ffc^3
p-T^TT
/ go to the
}>

Swan-ee
j c=hjr-frin>-^^^
shore
(Spoken)

(I'll be hap -
py,
^^
I'll be hap -
i
pyj
i

mm, •)
-h ^
I
m fcEEf
-r
TRIO

s# mp-f

Swan-ee,.
^#^
Swan-ee,
dolce

f-p-p-f4f= p
I am com-ing back to

S Nn
s
*ri
mp-f
izz ^ 7 i7
p tftr
^7 i 7
Wi

£^rf
f f FT
^^
dolce
m :J
f w f f
} J, [J
f^
Swan-ee;- Mam- my Ma> my,

W
}

*=ib
i m mm r 7 *W& m ^~^~

f r
-C ^

^ r ? p y-

*f ) V

P 3^ P
[,)
^^?
f E^E^
f

r
JKHJ ^7)T% ±^ SE
/ foae f/i« oW folks at home home.
PIANO SOLO
 a

15

r>^ r^

W
^ iiiA
: ——
p

mu WwWWt^t-
^B pi^
M ^F
4
2 5

1-T T^s
:•?=
p^r
i &
molto cresc.

f»rh
m ^1^
7

§§i
2 1 2
HZU
J 5 4 3

PEg i ^S IP
-/ r
^U^
7ft,

3 & 1 2
r
#p

^ ^
«
 7

16

JVOBODT BUT YOU

WORDS BY B. G. DE SYLVA

VOICE
^ Allegretto moderato

ki
m m
d jV* -

w% \4r^-it
^B
PIANO

^ )M J "I

^
p
Mr
Afa - ny queens
I JL^
I have seen
^
On the stage
^^^
and the screen

fe&=|
— r-y—
a tempo
kI II
i
St ^ i

# f- #

Mr,
^m 53=^
W/io. would nev - er do.

$
tr^ ^ -,-
r^z
-1.

a
r ^ J-^

JS* —
i»,^ =
Lf

^
-J*
sg J

¥ I
*=
Copyright testy by T. R. Harms
^
& Francis Day fcf Hunter. International Copyright Secured
 r

^^
17

t*
i
-m r
He Burke
l^
Al
B
none them my

P^
i?t7 - - ice Joyce of zuere choice.

M
}

j
PIp=P=£
r^f H'f

*fc=F=f S ^^
** 7 '
l
^ P~fr m ^^
5uf when I met you

ffi
P m zjr^i—t -

7 1F~ 7
P^f v
t^Jf
m —r
r
, *r3 nJ ^
i r r
#=E^

*&
My
' E2EEE?
thump -ing heart

a
^
From the
:^2
ve - rv start

B35 w w
?=z*

^ & ^ ^==^ mt
wm r
i

r
^^ r
,j

Knew right a way rfcar That's why

z I dea)

3E
P (Up
* •
18 REFRAIN

*^f s

fe ^^m^m
have seen them all,
^^^
1
 19

S « * '

S
f> 1> J> J)
t^> Jtf - f/e yitm Yum? Hon ey, tell me

PPPf #
I[y

«^g
f-
^S pne

P j/to
^¥ £
You know iVs no
J>
fcotf -
J>

y
J>
but you
]r
_

i ?=* *f^= PPi

A A
T I
sss 2 3
f
PIANO SOLO
 21

s
^r^
§ m
m i ^4=# S^
r i> o 1

^## S ' |J
a
- ^5

S 1=1=1^
1

3
l

3
L.H.

^ fl
5
7
— ^E
^««=-
 j

22

I'LL BUILD A STAIRWAY TO PARADISE

WORDS BY B. G. DE SYLVA AND ARTHUR FRANCIS

Animato
VOICE
iN

PIANO

sg i MF#^
h ? V-—) mm-
p
j)Jv J';,
s.
J) >hJ J J J
i4ff voit Preach-ers Who de-light in fan-ning the danc-ing teach -ers

r
^
J

TX r
S 3
;i
-r
m i
cr
9 :

I— i — |* . l _g : Ppif j~ j j—

^C^ji|JrJ:;, j> J> I J J J J li J'- ilfe^

L«< wu; M/ you there are a lot of fea-tures Of the dance that car -ry you

O^Si^:
tf-VW r
J
•r
j j J t=j j*
t>ft • »1
n
' r.j3
—-ft;

9
rii
-*
1,V 5 d T»
•
— fl

ar

Copyright l<)22 by Harms, Incorporated. International Copyright Secured

 23

"!»
?
through
^^
The gates of
3=^
Heav - en.
3^> ^^^
It's mad - ness

^P i
*^*=p=
^ ^
3EEE* ^—
>
•
.

CJT
. !,

^ a r
tt^

r #ht
i'

n^ j iJ
r
tti J jOiJLhf r r r
I i
p nJi ^-
-

(h
Jb^

r
To

i*nn
P^p
fee al-ways sit-ting a

F
- round in

j j
sad-ness

j j

TX
i
When you could

r^g
^ i,n m
be learn-ing the

t
~T

P i

! 1 1

*
rr r uIVff TE
fc"
JI
J' r ff I

r i
'
p p
steps of glad-ness, You'll be hap -py when you can do just

$
j
s"
j j j i n^nrn i

{j AJ ?*^j^^
Q! f r
p s£
5t :

^ SIX
J

sev -
I.J

en;
I
,• j)

Be - gin
|
J. J)

to-day!
J.
You'll
J> I

find
^^j
J.
it nice

pas^ iini 3± N: j J: -* ^^
.p^N ,p — it.

^ i
24

f f f f
77ttf quick - est way to Par - a - dise When you frac - tise}

tmmmm
r^? fe#>^

^ 4 AM

p *
r
*
^^T
ps*
Here's
lo^^ the thing to do
t J>.J»ifr-ii
tJV'
Sim, -
I

fly say
li

as you go..
^
*T
S^ T r
I
J7.3.HJ
f g^JF^=f
«r */

t^=^ $
t* ^ f F^; fcf

REFRAIN
p-^fCon spirito

=£
/'// build a stair - way to
^
Pai dise With a

mm 3
T^
p-f

i t

f^ m
ncaj s£e<» e« - Vy
-V «>-

/'m g
£
in g
p
to get
r
p"
there
f
at

P»* TV
i§
"m
m
 25

j^-f in -
y price
r
f
v
Stand
V
a
r
side y
r
I'm
^on my
,
way! I've got the

'
it
*a j tfigrig
t 5
H^MlMI
J
P ?==£
I tst
f

^
blues
— «-
{?•

-
m
And uf a -
i
p'
fcore
p r^
iPs so fa * ri

m* 1
p
Shoes!

rwh- l±
^^
Go on and

a*
,

frm
7
F '

i
*
a^h • ^a^si i
4>
^F^
^^ u
\i \i la n * !^t !st W 1> v>^^_i

i
^f^f ^
i p
J J
* 1
J'- J' l V£ J*
i 5
car - ry me there! > I'll build a stair - way to Par -a- dise, With a

—
^^ UUJ i=
JI3Iaa=5E=i
. . i

^ ^H
°-

P3f
ht.T^ _u i -i i

T
*
, I

p*
1 =1=
f
JTjJ-,

p '
7 ^=r± = ^=

IT F2"

neu>
If
¥
stfe/>
i
er>
}

-
J-
Vy rfaj
£ P day.
P

1W irjj firJVjiz^ ^i#=f^ y^ :

7
^
? fr-H-
w
p 7
==s ^^ /
 26 PIANO SOLO
Vigorously

* 3

3^ 4> ^ , i» ^ I

/
s e^ * r^? fr £^£

#=i i *§:
J**L
sig .» ^v

P
L^LU^J Jd L.H.
2

it
1 i f
3ES m_

i. t^-i:
g •
Iz3=d3
Pf ^=*

m r
»
.

•
r_^
-
p^.ai F^t !>*

^3 s
* •Iste- *
«e
|
j f f f f ^

9:
^ hH
r T
i -
te: l>

fai
1

2
1

2
 27
**£.' te: e S~£ \rm-
,2

^ ^mm

£ \f- P-* s
#»
$ =3t

R.H.

-^-j~3,^:jr
8
^Q^ & i

/C\

££3 Ct
-On
IB.'
-«^
<-
r*-
fc^
r<
L.H. rit.
^ /7\

3 iJ^I b
2
J
«»
^J H u—
1-^2 — 3
-
1 2-
J>
^ /"^T
1 2 S
28

DO IT AG AIM
WORDS BY B. G. DE SYLVA

Moderato
VOICE

PIANO

what
^^nfe^=j
P^^P?
did you do to me? I just got
J J
a
i
J
thrill
ft^
mm
that was new to me,

±3*S=gl w—*-*
J i.fJ
rr t
f
a^i +^=te
r 'T
j
i
j
'
f
m t^% \ % \% % p

a
When
mm
your two lips
mm were pressed to mine. When you held m9}

fNl W* 5e^F M
s •
*f*~*Tlcr P i: if

f
JJ13J
r*~^ I
1
p %Jit 1
T
^ if it ItJfr

Copyright i<)2i ky Harms, Incorporated. International Copyright Secured

 <

^^
29

f- V m- p
J i
r r r
You should know
r
i

r f
was strug - gl
7 was -n't snug - gl-ing, I real - ly - ing

^m f=^n
j
f
.1^-3
=±
-

i
» rw —rw J .n j-i
T
^## *—ft- i< i t \*
— r

rail.

^ J J J up # -I»
J
I've on -
Y ly
i

met you, And I should - n't

r
let
£
you, but

£
4 3.
~^
I
*S^*
3
*—
rail.

m f f f W
REFRAIN
P-mf'In slow fox trot-time

n-f r *
f * T^ft
£ I may s &y }
J
"No,
J
no,
J
no,
J
no,
I
J
nop But
J J>
do
J)
it
A
a -
P
gain.

Pf
-zl
J
p*i -J
wmm
¥5= i %
r> f i
~<T"
30
cresc.

$ cv
Afy Zt'^s
$
jus*
J
acJte
J
<o have
J J
you
r
take,
r
The
r
kiss
r-
thaVs

PPi T
t^ ±- i-j j ^=^
^T^T T~*~~T r^fT
m o -J

^=Pp P i
T *
f i r

«/
fMi

^=P£
wait -ing for
^ you.
i
You know
P^ £ if you do,.

jp a tempo

J O J' JrjTJE
J J J J

m
no one ts near, I may cry }
"Oh, oh, oh, oh,
T
i
vnr ff*f #*t
?\~ o o
*>

T *
f * r i
f \
 31

s^
^
oh,"

^=r
But

$2
no
I
one will
3 1
hear.
O

^~i

TT^T
o
r^y
.

r
Mia

¥ ~hi^
.
;.
-

^
ma m "}

cresc.

^ r r r r>
i
*/
WJ

£ ^p j> k

^
scold me 'cause she told me It is naugh - ty ) but then,

J ,}-J
== = ,J
P^
: = *

^ t~t~~t^t ^f
*
cresc.

*P
1-o^
jhL

£
rr irr
^^
HFW atempo

N^f LAX. =^
^
/
Sil i *d^
o
#p
 PIANO SOLO
Plaintively

piu dim.
 1 1

33
mp legato

U* J
I 3 1

f *y <
f if
mrrt
25
a tempo

fO"
£
2 — j 2
3 "I

s 2 3

B
1 2 3

5
2 r a 1
1
-5— 1 5 1 1 1

1 J
3
- \>4

f f f
-

tip f f f f f f rf J5J
*.
1
—— 5

P
P
fr=fc
* w i m
5 4

3 1

\ i
o.

cresc
delicatiss.
^L i bi I \± l)i bi
m hi

P
- fr tt- Jl
EE=E= 1

2
2-

3 5
-1 a-

L *

t\> UJttL-i
i FFTNNt
bum Jf^biiS^
—— -1 2
R.H.
fF=F*
i
1
jt?

P£
1
3
subito

4
*£-
*/
Mt;

1 2
i ^
3 4 1

5 1

11 _
•iU i i j
4 ';
g u^g Hg---~-^^-S
^fe r r rr
^^
dim.
1—^1 1

O if3^r2 2 3 1— 11 r
\
K
.-
1
2 2
3 1

f
<$&. <&>. #
34

FASCINATING RHYTHM
WORDS BY IRA GERSHWIN

Moderato
VOICE SEE

PIANO
^E==3
n tfrtlfr^r
/
if
diir rit.
f
S£ K > y fe
£t ^# He: *

i=i
*r*r
^
ir^rJrJrJiU
Got a lit - tie rhy -
Jv JHiJ
thm, A rhy
^^
- thm, a rhy - thm
^-j) A >> J
That pit - a-fats through -my

\m *>
*^-J ) A>J- A JUsJ—Ji =p
brain. So darn per-sis - taut, The day is - nH dis - taut

3 \>i
fi ^£=3W J~l i'-J
rtJ
«/ ^ F^HL r r
as
\>\ i i~ i
: : i^ :

Copyright 1924 by Harms, Incorporated. International Copyright Secured

 35

==*
A r J) Jl.J'J^f ±±
(? P' PT P' P
When it - HI drive me in - sane. Comes in the morn- ing With-

S
f-
P^ f -<s —
w
/
fet*
r
34M^3
S / *>
41 <t.

S£fe?3
-*- -»- W-

fc*
ottf
^
an -
y warn-ing,
3=
fTT
Andhangs
|!Ur
a - round all day

sh^ 36
nJr J
^
x^iz^ 21
-•15-

SSE
^
Sf^ MTP
JVf Jiace fo sneak
P
up
^
to it }
zt±
P
*s
T
Some- day,
p r
and speak
P
up
P
to
^ it,

±±
P r rcresc. r
7' W t>
jj
* ^S
SBe
J_

r r
1
r f p r r f

b'l 7- JO- jn^. J> Jv }i

1^
J /io^>e tf list - ens when I say:

P ' >'-?•
Jii^—3 M- 3 J

^r J
~T T"
-I

T
36 REFRAIN

The
What a mess you're mak-ing!
I'm a qui - ver,
nat-ing Rhythm all -
 37

r^ j^ ,
p
H4
j' j' j :

i
( j j |*
£«=F
(Start a ho^-fing nev - er stop -ping). To find at night, no work— has been

W^
m "*V-

done.
^ I know that
Jl

once
^
it
i'

did-nH
J~p
mat-ter
p
T J)
But

S r*> t J J
^1
1
^

^m
I a
_o_ fc-
te i

£g ^ ^
tzozu^ow're do
£
-ing wrong; When you
3EE$ ^ start to
£
^ P^
pat-ter} Pm so un - hap -
1 py.

$%=&
N^ 5£
W.

^m Mki

fe g
"V
P F
ff g ^P
t' i'
v
7
g 1
b
P F g F F T
x
WonH you take a day off? De ctrfe <o ritn a - ion^ Some-where

n-mtr+ **
1 £ ;2=fc
^3
m l>>
38

f
n
m -F p F E *-p-
r
P p I

f J-
-5
fJ
/ar a - a>ay <y^j And make it snap - py! Oh, JtOZD

fe=j
*
^ «*-=-
^* »/

S «: Im

P^P
B r
io«^
mm
fo fee the I used to
IDT

be!

A-i Ui~i ^m m T T
idc
m
^m ~s

^=f
i 4 1
^
^ J» J'J>J'
Fas- ci-nat-ing Rhy-thm,
?^Ol^
n r
Oh, wonH you stop
J> J» P i*

pick-ing on me!I»

m
|g~j ^ ^ ^ cjxL ^
i>
ij j j
J H^T '^J

s *>.
faEEjE
./«

&i L*ta
w /* cresc.
A
*<, -f 3t?
 2 2

jg^-f=pf p

I=^i
5S
^1 r * r *
 I

40

13 2 12

T
3 i_2_3_4_3__L , , 32 i

1 3

A rJJ]jtf J ^w™w,*
j4ju- \
jk <>' \d.j-
i \
•

rr
^^ W a
t>» *- «• l~h.
a-
t- i
i

+
^ e ,

4
^^

3 3

3 5
4 5
2 5 >
2 "i

o 3

m g 3i »?^* W,
'
t*i E
ffl

SS 2—5 -
MMa 1-4 \5- I
4
f—5
5
— 1

mM
L.H.

m 1 3

m i ,*J J I
J *

r~r
J

mp dim. tp ftcrr
r 5 j
— m
i
3
1

»S=
rit.
*C^ *C t% "
j» j» \>

n
tj
-*fr.i

L.H.
l
5
1
9
-f-
J
 41

OH, LADY BE GOOD

WORDS BY IRA GERSHWIN

u Allegretto grazioso
VOICE
I
i
= O^
PIANO
fcjtj^l
^^
f
n
j
ij<
ll

^^ ^ r

sostenuto
^
rit.

^^ ire
»e
o: o
—
-&

*
j» (calmly)

r
Lts -

Au bum and
-
r
fen
r
fo
r
my
bru
nmtale
nette
^
of woe,
and blonde,
i'

It's

I
I
J)

ter
love
-

em
}
i'

ri - bly
all,
sad }
tall
but
or
o
true,
small.

>i-
ma tempo r
j
— j
-r
j- j>

f 'f j-i& *r
3*
m ^^m w^m

All dressed up no place to go,

p^pp
Each ev-ning I'm awf
J
- Hy blue,
But some-how they don't grow fond, They stag-ger but nev - er fall.

fe t
r
MiPJ i
TT

m- £
f^m 1
f^^^ PW^
Copyright 1924 by Harms, Incorporated. International Copyright Secured
42
PP
i
J wiits< zotn some
t
win -some miss;
i
Can't go on like
<>

this.
^
Win-ter's gone, and now it's Spring! Love! where is thy sting?

M =*£* fe •
J
*
-1
1 s
pp
r r r r
^ ^
z:

r "t
^> -/ rit.

£^^^^^?
I could bios - som out I know, With
J>U ,M
some-bod-y just like you,
*
so,
I

i mm
If

p
some -bod -
y won't re

fa b fc= *
F mf
- spond, I'm

%
go - ing to

f^Ppfi
end it all,

Pm
ffrff
so.

m =p J r J r
r^
rit.

P*
REFRAIN
p-tnf Slow and gracefully

§ PP and
P Oh
O/i, sweet love b la - dy, be good!,
Oh, sweet and love ly la - dy, be good!. Oh

\\
—o i &
p-mf
?n PW^ fe=3
t r 4 r
'

^h^

^^ p-i r Tj-f-i-f-»-*-f-^=#
 .

43

r
am so awf mis - un - der - stood, So
am so awf >ly mis - un - der - stood, So

^f^ f ^^^ m^r

p f -*>

Ja - <£^> fee good to me.

la - dy be good. to me.

r 4 r
| J
r 4 r u r 4 r

mf i>
x»

please have some

I
a

pit - y-
}
^^
I'm all a
This is tu - lip weath - er_ So leVs put
 . —

44
m*f
= r "r
r r r r '
r r
lone in this big cit I tell you just a
two and two to - geth er. I tell you just a

i i

ST:
^ P ^^ ^=F^

>
I
3

# P
lone some babe in the wood, So la - dy }
be good.
lone some babe in the wood So la - dy, be good.

^ ^
n ^
1

r 4 r rttJ > r j r

rr

i f
to me!,
?=*= -*>

me!
to me!. me!.

$k
*? — -&r * *• d
M im ~^rw 9

n
^ wm i
•fib. • *
 — '

Rather slow (with humor) PIANO SOLO 45

a
£ * bfe ^*V
»<*
A

# 35

W/
T
UP*'

r
1 2-

t S ^
±£
f
'«-)

**
i±
* i^^si Mfe # » * # * A
^?.

SI
v J>
^=^
I
r J>
4^H^ w
r =^f T !l

*r

J J

t
/: r~c r »
r r r
—r
5*
& («-) i

A.
i i
i
s
~

i
l ^ ^
5
4
1 5^54 5
9
2
- 21 '
ii
#U-^* J:

r i g i
i
»W *3J

p*
j^
^a w
:5£± j^ W^
3 2 2
j 3 —2 2-
 .

46

f
4

? ff- ^
«:

ff
^ f f ji.

'

^ih^-r-f-
5
f f f-
4321 ^
A
il basso niarcato

J_4
^
^
prmy
tf m^%~ ^
-
i_2_JL:

poco a
f f
poco
i

cresc.
,fr -4

PJE 4P hm-L # ^ I f
b*

ji "
5 » Jti.. It*, ft

2J*

h£Z 2
1
2
1
2 3 1 2
2 5

IN i
fFf
-Q-

^H
t

s
1 I

^ fczQJSf
F* i*i
J
 47

SOMEBODY LOVES ME
WORDS BY B. G. DE SYLVA AND BALLARD MACDONALD

u Allegretto moderato
VOICE

PIANO

fnpicon moto
8

f r 3 o
WTim ffcis world be - gan It was Heav - en's plan,

i^^i
s^^ 1
Ks^^ *r

^
#lr

^^
W/? legato

SI
f^^ ^f
;
r
^ r

± ^^=^
There should be a

i
?
g* r l for

r
ev

i
- 'ry sin

t^J^f
-

B
gle

3^ ^
^^
-
J J

f
. s

1 tftf
Copyright tgjj by Harms, Incorporated. International Copyright Secured
mmm
48

-©-
P^ i -©-

To my great re - gret Some - one has up - set}

feM ^ (O-
-©^

^F
(»-

pt
^^ ^^ ^P^ ^F^

P # P^P i -si-5-

Heav - erUs pret - ty pro - gram for

£
we've nev -
f
er met;

i^Ng f
J
j~j i-j i
k a — 5:
is;

liF

p£^
£ 5 ^N 1=

f
T=^4

poco rit

£=5
f f-
^J J J I J

clutch -ing at straws, just be - cause I may meet her yet.

JFtI—j-i «
poco rit.
S rrrS-
ia

J 3-
23
f^rT t=f=f r w
REFRAIN
V~f& tempo

^
molto legato

'I i *>

Some - bod -
y loves me I won-der who,
b^-T
J n* f
t
rrw
:

J f
T>*~

^y a tempo

<r
mmm I
^p*
 49

n T =N^£ -sm-

I won-der >ho can she be.

*m # ? « » * i i
TM * r
mf r
^-£-^ ^ ac r 4-r ^^p^
i*

Some bod - y loves me

^I wish I knew,

mm
-

p
ftw ^a fwr^
I
* J »
¥ i
> i

¥i i
i
rr-
$^*$ jtr M'f

i
fl'
'

Who
i r
can she
i

be
^^
wor-ries me,
o-

, #^H >-
f ^w V -©-

m=^
3! tai
r t
®=

#^ p
For ev -
y
ry girl
£ r
w
^° fass -
t
es
f
i
I
f
shout.
i
Hey!

+-J
y
9^
»
"j ^
iffj5_
J J

^
J

*
J

f
J

^s
J

f
=
P=^ I
50

o
f i P i
toy be, lbt< «>ere meant to be my lov - ing

J:
TO

J 3
^ J

*
J

f
J

*
J

«f
J-J
rrxif
J J

*HH& 1,3 'J

r* p :c
#
i>
<>
a
i
ba by- Some bod - y loves

o
m=4
fffl -J-- ^ 3 3 »j
FTH 5
i f M
irt 3 J J i i

r *
¥ W
-©-
i
/ n>on - der oho. May be it's

M i
vr
VmTJ
i I
Pf^f J . J

^E^ ^5
2:

rr

o=
irr
o_ »
ff-rfe l

3» s

ijjff j, *
rit.e dim. a
9$=S *>

r =f
r kl
 In a moderate tempo
PIANO SOLO

r. r r r '
? f^
2 +

„;
" ^it ^ tl
f- #-
l^i a «^ £Bt

^
JEE3J4

3* ^r^t htf^ f it &l

ep i s :

5
*
3 * 4
2 3 S

mX
3 9
5 *

^
2 I ^^g
* i 1 i i i^L
*/*

=fe
I
3
gp
Jil»
ff J?
&|» VVj1
J^ F^ ^F^
i f -t>

«/-

S r r
i

r r ^
i?
ijL
* «rj CJIXJ
1 4

5 4 5
! .

te:

^ <pi p

m^ 3 2
i
3 i p= ^f
-j j-- J flJ E^
52

i *E IO„

:J
i * "-* ", \
iglEtt
^r r
'

r »

rOl

^Htf^Lj
-i

r=^=T
^
ttft

W^d
-,

r^=r
Jt.

^
r=^
4t!t fc J V
^lad
r=T=r
i-

5 «=^i^jg
 r r
53

SWEET AND LOW DOWN

WORDS BY IRA GERSHWIN

Moderato P
j,
VOICE fefc
fr-Vpr r "r f
There's a cab - a-ret in this cit-y-

PIANO
&mr—
mp
r- v
feS
*"Mrr w w
^
« 1.
i
£
*
i
p^p
u^u ^ 4=L
r r
EE gi
f—f
i

'v-J'Vr s
I can rec-om-mend to
-o-

you; Pe^>s
^ you up like e - lee -
3^^
r~*rr
trie - i - ty.

^W ^Wf —^PFi
s ^
XI
S
J-
U -?
igi i
-;>y> i

r r
J
£^£ r r r —
^7^ When the band is blow-ing "blue."
-o-
«/

P ji p p
They play noth-ing class-ic,
'
f p
oh
i|=^
no! down there }

rrr^
mr
.

r
^^r si ± ^^ *^P£
r r—
Copyright 1925 by Harms, Incorporated. International Copyright Secured
54

$^^jr+-i>
They crave noth -ing else but the
i

r
low down there
J J i
fe^>
If you need a
s
ton - ic,

^i^fi
A«<i
molto cresc.

fr-n -iH'-
r
f/te need is
J)

chron-ic;
i
J». fo
h^- Jl
r
If you're in
rt- ff
p
a
^
cri
J)

-
r
sis}
Wti

'
•/ri

r
My
^
r
ad - vice
r
^ is:

S il( i iji '-

T
J J
f f
.J

T
J 41

molto cresc.

23 ^o IQI

P¥
i
i ? Hr It
m
i- -r r r r
REFRAIN
p-f di tempo cresc.

3F3£=3H^j— ji I
J 1

- J' ^ I£ s
Grab a cab and go down To where the band flay
is - ing-} Where

7 P ^m j j. j J>

p-f& tempo cresc.

p£3E::
r j r r~ 4 r

»/
lfe£=£
w^-p-fl-tH" ^
5
l

p p P Eg
-«*-

mt7& and ho n - ey flow down, Where ev - J

ry one is say - ing, "Bloz

^^M T3-Ol
 ^
55

that Sweet
f
and
1
Low-Down!"
1
H-
(tu -
UIm
tu!).
» ^^J^KTj
Bus -y
IF
as a bea-verf You'll

*UJ

Sf
Jf
-J-
— Iff
J
^
rr
j.
*v
jiPj
r Wf
PfPf r j r
J)

j5P^I
I
^ '- j V
;> j» J>-
p
j j i
'

p i p r

#
dance

•w
un - til

s •
you

^
s
tot - ter; YouWe

m
sure

j>~
to

^m
"
get the

^
fe - ver For

m
p£
r 4 r f W^£

»
7
p
P/it
i

- Zos
p-
-
pT^g'p
o-fher or dea -
r
con,
j)
You
'
p'
sim -
p^Tt^t
ply have to weak - en.

-p-1 P iti" r te
mp
f g-^f
5* m £ U:A
9-\r

T :
 Spoken-.

co- fa- Hon! The

SUrtyovr tJL Cone .-U^G** m Vou>U V~ - *n -
 Slow (in a jazzy manner)
PIANO SOLO 57

». ** + i+ 7
4fiitfe##^| ^E^i^li!^

s /
:t I P [tip
— j-p
s

;PiiiE^Hi Si^^ 3 feyrt ^a

«» /-
^
Pit i l^W I
:

>..«:«-##- ^£i* It
mu* si Bt
m ^^

p£ Jfc^E:

l£f
^^ ^ P £ h

mm
4hii #
:
»
jjT?-$f-
WZS-Wr

^
m^ i
^w
w tj 5 3
58

.- ^fc" 1

Ltte-teifi:

5^^^ £ 3E J
£ =i

U
marcnto
1
1 l
1 i
1 liii
1 1 1 - —^m^^m^m^^m-

i tf
i

1 2
4 5

^kr 'kr 1/
 j
59

THAT CERTAIN FEELING

WORDS BY IRA GERSHWIN

Moderato e semplice P
VOICE Bes
Steve:
Tip-Toes:
^^ i
Knew
I
it from
have symp-toms,
the
-©-

start
too,

PIANO
p^4
m« f
*M
if

\
i i>h j
i

p {
jt?
JJ_ Ji

P^
grazioso e semplice

¥
m
=?

p^^
Be
^^^
iore
Just
would
the
play
same
i
a
as
-o-

part
you.
r~T~T~T
Felt
When
that
they
feel
cen
-

-
ing
tered,

^ 1 I ^TJ
'

f [ i ^
f
J J J

r
J

\?a p i ^m p^
a r r r r r X*

come a - steal - ing In my lone - some heart,

when they en - tered In my heart, I knew.

+-++^
±E£

25Be ! J i
^n r^y
Copyright /psj by Harms, Incorporated. International Copyright Secured
 ^
60
Tip-Toes

fe ^^^^
It would be
3
x
#
deal
r
If
i

r
thaVs the
r r
way you
i
Bright - er is the day Since yorfve come my

lh J J J
j -o- J J J J,

f="^=? f
t^H*— P3 P^
Steve

iS ^ feel,
way;
^
But
Be
tell

lieve
^m
me
it
is
when you
it real
hear
- ly
me
f
real?
say-.
You
You
3
gave
gave
#
me
me

i J=^3
s>\ i d *

i ni
r^i^—-* ^F^F
a •a.
f
> j i
T^ i
REFRAIN
J9-^ a tempo

j^Wi r r r <r r
5
Tfiaf cer - fatn ,/eeZ - ing }
The first time I met you

^
That cer - tain feel ing, The first time I met you

M
-

s Ef
o
±=M
jp-/^ a tempo
^ r
£

TTTT
3S o

rr r
^f r=a ^^ ^^
^^ J hit the ceil -
p
mg
J> J
I could not for
J J i J
get you.
}

That cer - tain feel - ing I could not for get you.

*^j i=i M t
IT w! 3
Y
mm
r^f i ^f F=T=f j
 61

p You
I
were com plete
hap
- ly
pen
sweet,
just
Oh,
As
r
ou/mf
^iow
r
could
came
r
I
in
r-
do?
view..
felt it -

i I
il
J J
r
S f f
WZ'
/
m f
I want ed phras To
Grew sort of diz Thought,

m b
i "J ,"J "J J=l J

?
f *
f f
w;
*/

garr-^rT s<-

sing
"Gee!
your
Who
prats
is
-
zes
he?'L
That
That
wmm cer
cer
tain
tain

m 1- J J *)
-o- |J J J
I % :

rf rir i?

Pm
n r

s ^P ^ Tne one that they «// love

y*eeZ - ing Pm here to con fess, it

P^F* r= r **
ss ^^ w f
cresc.

un pochett. rit.
 PIANO SOLO
Ardently
* * *

P tiHHHHJ%t
w
JLi-Ju£±^£
m
(B)
J>
5ffi
Ff= LLLr^Li gp^p

l-^i- ^-
£^ s
k-^t t t t d fe=a
#^F=y
2 3
t=*
§5
1

cresc.

se&
<*-\ 0-
^v#h
i ^^f !..

3 4 5 4 2 2 3
1 1 2 . 1„ -
o 4 1 2 3
li
14 fct f,

MjT^lpyfTpy^
J^^CX/^g
/
AJ f
ro::

5
A 2
2 * 11
11 *™-;
4 >4 3
' 5 3
'J

* ^* *
-o-

TfF^r mf
p#a E gEExESg
r^j-js
'
hj h.
5£
64

^^ &"--.

ii
1
''
f t
m i '"i t IV
-m-

1
^=^ J^
§s
Ft ^^f Pv

£
s ^
s

t*| # A; *£ i^te> I* * f >

Sr=f F
I

as m U r f rj t iiif g^R

ffi
j ^H
P^J 1 ¥ Eg
w 1 WL
ffl

. 5
cresc.

^ <
i
•
*f¥g fc
T 4 ti i tys

±==i
fe^S f^f ^ip \>t-
z^:
¥^S
A *

decresc.
/,

^ *ZJh
W^m N^i^
^P^ i r
r
kg
i
f
r
f
i r -
r
4

MH
2 2
3 4
2
2 2 > I
1 1 * 5

m
,
I
1

^ Q!?#
(S

if p
*X
^^tCTR^we
#= S^ J t]
^ n
2
4 2 3 2
4 2 1 - » 2 13 1 B
 65

THE MAJV I LOVE

WORDS BY IRA GERSHWIN

Andantino semplice /7\

VOICE ^:

PIANO
m t,]]]
mp
r'n'r
] ffrzi
f^^£ ^ dim.e rail.
s S /?\

mm 331
-O-

fk
J J J J I
jU 'J^ wm£ p
When the mel-low moon be-gins to beam, Ev - ry night
y
I dream a lit - tie dream,

>Pm
a tempo

m=_f TTJ-^ m
P molto semplice f
:
X r r
i^rttJl a a i
:ii_

rTTT ^77^
And of course Prince Charm
arm-t«^
-^
-ing is the
r
theme The
r i

r
he jotr me. Al

P l
i J^j—i rmi^n^
r
E^w ffi
|Tpf*=& i
r
m Be
g m
K
d- -5

Copyright 1924 by Harms, Incorporated. International Copyright Secured

 r

66

m
though I re - al
±^XM
ize as well as you, It is sel-dom
^'-
that
Q
[F-
P
a dream comes true,
^ai

poco rail.

^^i P¥ IQ_

#
3 3E

m
To

if
me

j
it's

j i
clear

„?,
i ^
^ ^f-
FT
That

dim.
he'll ap - fear.

irirm
poco rail.

? #^#
^SF^
^r — jjiE

T-r t or

REFRAIN
p Slow
"HJ^f rpTp'i' |r T r
P P' P
|

P P" p P"P
Some-day he'll come a -long, The man I love; And he'll be big and strong,

s r3±
-o-
1
§=^3^ 331
E^
jp molto semplice e dolce
f f
IS _o
;o 5E ^O-

ft v iip-
The man
>j I
v } p
Andwhen
• J
he comes
p
-

>f
my way,
I
r J' J>-

do
ft
my
p3
best to
I love; I'll

i> L v i
r
^f?~i
'*>
ri d ^
lor
W^E
 ^

67

t6 ike him
-o
stay.
J
i>

M" M'
iife'// Zoofe a£ me
F
<md smile,

S -o ^— —
T
i^£ ^^t S
fro
S 2
P
_Q_

3^ ^^ "(IP P P' P
*
ife^
P^P
Vll un-der-stand; And in a lit - tie while He'll take my handj

^,jr/nU gp5 f
JTTTS^
PS =1
pfe
r
j

f egf BBS
_CL
55 ? , g tO- BI

>'l, 7- }
f
J> p- > f
|
7-
J>£^
And though it seems ab - surd, I know we both won't say

^wr J J- IB£fc3
s ^
r ^T 'm^r
s i 7" J"J- 3

tDorcJ.
' I J>JJy
May -be I shall meet him Sun- day,
rpT'r^i
May -be Mon-day, may -be.

Pi rajo
i «
poco espress.
» J
fibi
I
F
^ ^ jjj^

r-
r
poco rit.
 PIANO SOLO 69
Slow and in si nging style

73 k

l 4 +-»*:
A i
•
j
l-frtl i
*
f£? »-• »-• :»:>
:j: :f

BE
{IP
4 3

ias P
5 4

±£

39 3zs

(fa)

<&&. F

4 5 4

m i&i ilt g j
1—2 a -2 1-

b*b*
3—2
1—1
*
3

#- * #-
rigx #g£
&m m\)i
i
W* i 2 ir 12 f 3
5
70

mm ^±m
^PP
d&z 3S1

& ^ Hm
wW-. -m

R.H.

3 1 _2 3 4 2 3
J

m^ ^3^ L.H.
«r jti
_ > 4* ^86
<&&. <£& <£*.
%&.
 un poco rit.

{^}fU

mi 1-2_5
R.H.° 1.
2 5
^BgiSg
PS
ft
1
m 9
?' vi
7 L.H.
4
to.

^ to.
to. to. #
72

CLAP TO' HANDS

WORDS BY IRA GERSHWIN

Moderato P
VOICE P=&
mm ±

m« %
Come on, you chil - dren,

^^&i i i ^i i^
PIANO /:
?
F
^
F^*
«1 f
i i=yl 4 J
4

^EEE$
gath - er a - round,
^^
Gath-er a - round, you chil - dren,
h ji

And we
j>. in
will

P\tir~i w ^Pp Tn fm
m*
¥ f- W W^^
nJ i J I i .J i J

lose that e - vil spir - it called the Voo doo.

^ J J ,J s
fe5
^51
* if *
»f

Copyright 1926 by Harms, Incorporated. International Copyright Secured

 73

P
J J |
J' J Ji

.Ncrt/i - tV but trou - ble if he has found,

fc^E I « ^1 ^ =1
mif
T*
P
* * * w
•-,:
i. i , j j
marcato
ji ;> ^g ^ ^ ^ r

fe J'

I/"
J
he
J>
has found you, chil -
_
dren,
j,_ J,
But you
J>.
Ji

can
| i
J
chase
e^ the Hoo - doo

I 'ii U4 a:
5 *~*
-Ml
s "jb.-
iJ j
J j

m^ 4 J
4

^r^ with the

p ^
dance that you
>/
do
<?

J.I J £=
* Y f #—?»
W^
^ ^ m £
marcato
^^
*
Wj»

^ ^
»
-©-
Let me lead the way} Ju - hi - lee to - day.

7WJ9
f?f
-e*-

Ite"- * »r * H VfTT
^^T '
i '
m
 y
74

REFRAIN
P-f

r r p- p p
£ f
i £ £
lu - yah! Ev - 'ry - bod -
y come a - long and join the ju - bi

$ f
^^ S J
rfT J JmH

m f- —¥^
m m-

leel.
^
P

Clap - a yo }
22

hand!

fr
X J
J
"J J
J? v J S =iR?
If T*7
See^ -J *
o
 75

M J,
r r i

j J>J J J)
jl
T-r p- pp-^

m
Slap - a yo' thigh! Don't you lose time, don't you lose time, Come a -long, t'f's

-i

r=r ^ J J =^
.

fT s
m
?

^ m
>

'^ES£

shake yo'
^
shoes
i
time now for
i $
you and

,^
rfT^f
i J J

r^
J»» N ^i-
^ ^
^ -
r
^
'
t " i
"O"
i

IN «p On f/ie sands of time

p-
you
p
are
"p-

on -
p
ly a

i 5i
t p-

^>eb - ble;
p r
Re -
p
mem - her, trou - ble must be

J^L^l J J J^J mm
^ ^ r
"O
r
o
r-^^ T
76

/
F p p p p
p~^
treat - ed just like a re - bel, — Setid him to the deb - ble!

P r^T^r
'J
.
J 4
n ;# : -f-
> V= V
> J-
=-
J-
>

^^ 3 f ss ^
p
p^£
C7«/> - a yo* hand! Slaf
^ - a
p
yo 1
thigh!
p^
Hal - le -
*
In -
*
yah! Hal
^ - le -

i
fTr % r=f
5±
^ 3Z^

^ 1

*=f
i # ^#
£ &

m
3
r
iit

_*
-
r
^;a/i/

0-
r
jEo

tesc
-

^ Pf^T
p
Vy -
p
bod - y come

3
a -
^
long

i
and join

r
the ju

fefe
-
p
bi

"irr

<v I _2i_

lee. Zee.

g§ ^ ** tils ; v
i ZBZ
K 1

!^
sfz
»/
9- tt i^ £
'to. *
 PIANO SOLO
Spirited (but sustained)

J 2
J

wm
* 4
, 3

t
2-3

^ ite i
s

r
^^t ^

jgLj
^
<
^ ^f ^
7 7
J7JU -J

»/
r »r^r ^^
»* ^T 7 jrTp p^i s^
j i
i
ij i»;

m
sf

r
# '
el g^g^
4r

^^
*-• '-»
.

:
^ U1 =:
1«— ia
^^i ft

f
* w*

r
^^t
i, -. .
Vf t*j
^^ d
'
Hih^
^^
rsr
^
*
fr '
f3fr
»# % 1 ^^P ^ s i Ji
r
*
V *
78

fe
p
i^l^f :^3
BW f
E^

m
f-

t»-^i
4
>i
1
*
i-
•M^-.. t
Al^. ^T-£ V
' 2

*to. <to. <to. 'to. 'to. <to. "to.

gt
^ *"

m te=
5!
}.
fei"
i sJt^
» S3.

f
].3 ^J J J> I,
j J- E^fc

'to.
'to. 'to. 'to. 'to. 'to. 'to.

-.:»

J^-^ ^m
m
>chk l>
:
-i
^ r r^r p

a
iml- ib
^ "
1 p ^-= — p« :

*
* F
b
r=- 4 5

*
b ^ —^ «r
P* ^
tf
15
»
t
^ tp:

« f
l

f
" 5
3 12 3 2 »^V
"to. *
 f
79

DO DO DO
WORDS BY IRA GERSHWIN

VOICE
i S Moderato grazioso P
i
^P^P £ mem

Min
Jimmy-. J re .- - her the

un poco rit.
Ka y : ^weets Wve tas - ted be

PIANO

m^ bliss
±
Of
r
that
r
won
p
der-ful
-
^
"
p i

kiss.
^
I
$
knew that a

mH^T fore, Can - not stand an en - core. You know that a

j m j j i=*=^
i—f-r=f ^T^T ^-r^ f
^'i. r i J i ; j ) ^
s
fco^> Could
P
nev -
B
*er
J'

have more
J>
r
joy
r
From
p
an - y
^^ lit - tie miss,
miss Who al - ways gives a kiss Would soon be - come a bore.

;p
i^-^ j nr
^t — H^7 j -
*

.3? E3 w^
Copyright 1926 ky Harms, Incorporated. International Copyright Secured
^^
80
poco cresc.

fell
W^f^ r- m HH

m^r
* m
/
Kay-.
Jimmy-. /

n
t-f=r=r
re -

can't see
mem-ber

J
that at
it quite,
all

f^-r
f
'Twas a

j n
won
True love nev

j
^~f~^T ^=f
j

poco cresc.
-

-
der-ful
er should
night I
fall.

^o_

' > r ? j t j > r >

* r i r

w,
*/ p un poco rit.

i& 3
fc

Jimmy-. Oft, ftozu I'd a

PP
dore it}
r
If
r
you would en
r r
- core it.
f
Oh,

n
Kay: J, ti>as ott - ly teas - ing What you did was fleas -ing. Oh,

m !'
, J,
J J'J J 5^ j j
« #
f f=^ T
S
: . 1 >
,
^
*»;

9- te & 4>

P
un poco rit.

REFRAIN
p-fdi tempo

^«i: f
r
r
p- j* i j
r
<io, <io ; *io w/iai you've done, done, done be - fore,

i 6 input ix*:

P0?
a tempo
-T ^
jp-f i ?
m f P^f j

#£ r r r r p
j

«fr i
J
r
J
j ' »
ba - by. Do, io; do what I do, do, do a - dore,

W o -
;l z9-
i rr r f
l
|3
frf
!
-

RFF
sn ^Fi=f
P^i J
f
 r
81
poco espressivo

S r r t p p^P p^p i

Se
ba - by.

js:
Let's

t
S
try a - gain, Sigh

fefe
—
a - gain, 2<7jy

±E^
a - gain

ff
to

sBe p^p
J
poco espressivo
J J J
r-

j
PSF
j j j
^
r

r t=f
<•/

i
ee
Zieao - en. Ba -
^P^
by, see, It's A,
p
B,
r
C,
i

f
I love you and

*^hk
m *=s m ^=^ W
^
F F l|* * rr rf
m]
f rr deciso

Mm if

£^£

S
you
^
love me.
Jimmy:
P
r
I
You
'
r
dear,
i

know, know, know

dear,
r
dear
p
what
lit -
a
tie
I
beau,
dear,
f
bean,
dear,
beau,
dear,
should
come

fc
W=5r

v I,
»
r
rrrr i
#
U l^li i / ?
f J: "
'

iS do, ba -
r
by.
r
So
' r
don't,
'^p^p
don't, don't say it
here snap -
Py And see, see, see lit - tie

I& xs=k
f f-fj* ''f"
w w
^^
82

f
n
m r
o 1
won't, won't, won't come true, ba - by. My
me, me, me make you hap - py. Kay-. My

^m
,^H rj i -o-
-t-
f f-Jf- %fr i
& ^--h-i: P^ s;

* * 1 -o-
i
P dum
heart be - gins to hum-, Dum de - - de
heart be - gins to sigh Di de - di - de

K i
J- .J' £
-i

ryTT r^p
i

r=r ^T
i m- r
{
f
$ i

./>

iW

dum dum - - dum,

p^fep
So do, do, do
f
what
fg^
you've done,
p^3
done, done be
di - di - di, So do, do, do what you've done, done, done be

*&
A J . j j A

P% r r r
 ¥ b r
PIANO SOLO

s
83
In a swinging manner
i 3 i
} i
s a
2 i 2 4 1 2

w
.'i

te^ !>

rnf

m=m 4
— s^ f
;a)ii

P*t
4 1 2 3

iS sUa ^
4 8

p-ttf p 7 }
Jt|J J ti^tir5 ^ S
«^P£ f-*f- f=f=f
f

.K~^
s ȣj*iiJ -'iJ r 1>j j-jj.j^fic
.,
p P 7 t 'l"f

ii E^jf pjf
& — f i4
f

P^ j*7 ^F^f mm .2 2 1

^
* 7 j>7
&=£
r-Pr^-P
marcato

^W 'f
V V* jg
3=f F*F¥
4 5
^4 ^2H 1

s
1

*
m zsz
7 ?Jf i .

-tk-1
gg^ :
¥—
?
i=fc:
f=^*f
84 4.
,
1 3

i fo *
'"
Sgag 1
fflHr-^fci "f *p r

^^r- ^- ^*^f
f
i> "S?-

pSe £
i ZZ2

l>f 3 4 2

Se ^^5^ J^iiM^
IS ^.
^§
/
f j -Pi

si 4i uLQ fe

iJrT^ir-r4
S ij fT w -.
EE
IP"
z: **
^
L^l
playfully

3Sgfe
&
IpB 3
5
1
2
s
ii 3 5

s
k=£:
-I nil E-Fr^p f 4
£ p <^£i
— p
ftpftefr
P-t
P !PEn 5 t 5
3
 85

MY ONE AND ONLY

WORDS BY IRA GERSHWIN

Moderato p
VOICE /k frlfr i . '
Jimmy: To show
June-. IVs lime

PIANO m b¥*
*
I

^^ f
s
3==£3
i
f r r J
rit. i? atempo

f=Pf
f

i
9
l>
} J I
j
.

af -fee - Hon
j i
S^
J
.

In your
JU
di - rec -
J
Hon
I m
¥^f J
You know
£ i
Pm
P^
fit and
you woke up }
It's time you sfoke up, My praise you've nev - er

P^t S^ r ^f
<iif *
£
PP S
* r r^rr
(iif j

^f ^1 P^ ^
* ^ a - hie.,
5^3
I more
JJ JlnJ
3^f
than mere - ly love you
chant. ed.- Though we're not stran-girs you see

fe
? f ^Pf^f
fe^
1
^^ W f
S
f* »r
j. j H

f
j.
f
S*
^^
* r

Copyright H)2f by Xew World Music Corporation, N.Y. International Copyright Secured
 86

^# sin - cere
the
-

dan-gers
ly,
mJWjy

Of
cards
tak
£
are
ing me for
on the
Pia -

grant -ed..
ble.
^
i^tJi ?^3 ^B
i^i^i
*
i
r^fTT i v.

n l
^^ ppp s
r

m There must be
And if
V mm
=^^
lots
i
of oth
you cared you should- have
j
-
'F
er
'

men you hyP - no

told me long a
p r
%
-

-
tize.
go,—
i

P
J
^i WW
^EEE? ^m
P^i
All of
Dear, oth
J

-
a
N

er-wise
i }>S>\} p
sud -den Vve.
how in _
be
the
-
i

gun
world was I
p
to
r
re -
mmm
al
to
- ize
know?
as
]\m-.Oh,
fol
rail.

lis
^
10WS:
ten-.

mm w s
s
¥#?
f %1
rail.

PT&m
REFRAIN
P-tnf-d tempo i
g i

i^l ^^^ i fe^

Jimmy: My one anrf on -
a
ly,
#=H
What am I
P P
gon-na do if you
P r if
turn me down,.
—
-
F~~

Bjj n.^^ *>

-n-*±-* j=£K
p-mfa. tempo Off?
. S * =F^=F 2
 87

if
1

'
'

When
i

Ptn
i

so era - zy
m
o - ver
-t>

yot
F

J J J>J. «ua 1^ ±±VSv» bs

t-nj-H espress.
*6 o
»/
krj r^-^ pi^s
^ I
3 '

J J> J> J I

p P P p P r
'
r r r p p
J'd fee so Zone - ly} Where am I gon-na go if you turn me down?—

* n j>j $ m m
m
f , ,
Wff
-©-

zs:
d?t
35 T=i=r

p^pw Why black - en all my

£
skies of blue?-
i?
T
r
I
r
tell you

J J J>J * rJ-^ 7
j
f » >J i i
^p p f
lm
P7 r r

E zs ^M=£
»/

$ /'mi ko< a si - trig"

r
^
p
Mtt -
p
ra- cle$
r
7
pt^~p
It can be done!
-^ 9-

*
It

m
PS
l^Ei^l
i £jf^"

<s —
rn ^
7 7
1
88

M-r~p fee done!

p
J
p
know a
P
cler -
gy - -man who will
p^pp
grow ly - ri - cal

INS E=i^^^3 1^I Cjf^ -

m
i>

T7-i^=F^ l
p p ''P
And make us one,
f
i-p p
and make us
p r
one.
r
So
" r
my
(^ i
one and on - ly, There

^ JT i
j. J'
7
^ KQ r
^ -*4-j-j- i ^
^ « — S
i>

F=F =F

PPPP
o

P P r
I

is-nH a reason why you

p
^^
should turn me down
¥ P^
espressivo

When Vm so era - zy
£
o - ver

)> mn ^ Q?f
m sa )> j
espressivo _
j
*r^
j j>j

J J i
^^ 351
P

rr
O ?
)Ott/ jou/-
£
|J> ^i
:

JEmugf^ i-

nf

2^ f
J
tt
1 i
 * R
Lively strong rhythm)
PIANO SOLO
J P 89

^^^^
(in

i:
£=$=?
I^S 1 ^—
/
3S iz5
=*
* 4p
4^> *^f { m

simile

£e
— ;i=s rtff #4^^^i
,^ *i w £~f £ t 4*

Very rhythmic
«
# t^F^
«/' /
^Pi
i=^ !*

,V
£
4^-vf
'
-HH ^ iMr
'-v^rTl ) i i

f \>* ,«-
» » ^<P
$>
f r ffjf
.ttftr
—• « • m —
t>n

m -^
A>'4 -_. ._- ._ ._ .0-

J
\dJu &
l>

liHiF ^=it*
S
?

.^=1
te
Dun, 3 J
rr r
^,
k£I
 —
90 br oadly
^
£_* *~£b*>-
3± i*=r
b
P T
W«? staccato
f 7
j
/ fc* W:
ifc

? # I f

±=*5
«:te:- e * * * s * * *-* b*
£jf * »•
Ei
H:
J^ h-
5^ # I t*

5
3
1
5
4
^bl »A
J> „.bf t
atf
« fc^
':>*.

J£
, bi
fc&fe * * E^M£ ^

P-
Wj9 staccato

* • M •!"
1 *»?
9* tea
:
• • -
fc
^ 5
^
4 4

* 3

^
# fTZt y***
nrrtrfr t ^m
U i 7
i 7 *^=§
«
^ t53>8?
^
r
y j?
*r
^^ r

5 5

£ l»* * ft* 4 3

El 3E?
^lUff w/"
^

#i> i
t5 f=f f
 §

91

'S WONDERFUL
WORDS BY IRA GERSHWIN

Moderate
VOICE :0

PIANO
p\Q
mf
t
f~^ i »—i—

^T«fJ J J j ww
p
ft J J J J
3H --O-
r r r r
Peter: Lt/e fias jusi 6e - gun. Jack has found his JM)
mind my hum

^
Frankie: Don't tell - ing y ou f In - ble fas h,

fm tTtj
j j j ;
rr*~?
?4v f i
f^ ¥ i~ri m
m
Don't
That you
^
know what you've
thrill me
ITU

done }
through,
But I'm
With a
all
ten -
a
der
- thrill.
pash.

j j j j-
ft-J
s
r-f—M7
J J ,
J
r
f i ^
f * r *
,

'f rr^
PS
& 'Y-r-^t
Copyright 1927 by New World Music Corporation, N.Y. International Copyright Secured
 peal?
Your di - vine af -

ex press ™osh;
How can words -
>Mag-ine my e -

said you care,

When you

All the love I /eei "

er guess de vosh.
You can nev -
Per-ma-nent -

and there
I swore then

un poco rit.
 .

REFRAIN 93

p -mfa. tempo
V'
<>
P^ -o^

^
'Swon - der -fid!. 'S mar - ve - lous!.

Sdfi fefe ^

^s
F,
p-tnja tempo

^^ ^
r—-r
i
r-

^ ^
S F^ # -ot
F^
^
You should care for 'Saw

^
-Jill nice.L

J>

fm fFT
Vl, J:
f T^f r-

^ ^ 3
f
F=pf
^f ^f *=t=F
^f g

&o
d?^
^ ^
m ^
'Spar - a - dise!. 'Swhat I love. to

Si8 i

^"i ,
r—-f
j j
^
r

^T 3
B^i
SfCJf

^f ^ ^z^r
i
T-ii

^f
te ^Q
i
Ybw'ce made ro_y Jiye so
dear. t'^'s Jour -leaf

ffi r> 3^ i j j J-
*
f * r rr?
w/
1 r r r r
*
# e IE
 —
94
cresc.

fe -o-

glam - o - rous.. You canH blame me for feel - ing

do - ver time*. From now on my work -ing
heart's

-©- 4- J J J J J J J
fe^
f
E
N^ XF"
^P
pf r r r

S 3B
fj r
cresc.

^
s p r r r i

r -o-

«
'
p

^
mor- ows..
Oh! }
S won - der -full.
per time.

w
ifc

f
— T
4*
r -r

s f=g
Pi^ » 5^

^t ^i I

TTiaf

b
P
i
3>ou should
^
care. /or

a 7 =. J ife
*g:
a
FFTf

s ~o-
mel.

phr^ i
j-J
v >.7 j I • a

p==r
w/ -£.

kfc^Kf~h# g^ 1=1 "*J

^
a=za
m d
— a:
a: J j t
f
to. ' *
 PIANO SOLO
Liltingly

§ I :8

m•/
•
t l ; $
,v,
^i : i
j -^-H
^m ^ ft£
fei
2
5

1 2 >
4
1
2
•

m
3
1

5=*==E!=i
*=
^^ lT^2
r

p ssi£ ft* ^
p3 » r! 3
*

IS ?
3
I

Ilfcf
2
1

i 2
1
2
1

M
(t>)

>/
777

m c£f
f wy ^ i^ ^
;y|
f

&
r fj v f ii jj ipgp i ap

[gpf Mf H=
T j |J if ^
I/-"? i
+k=^ ;

I gpg t i r^j^J i iS=

Si ^=* I i ^
] *
5
4 5

$a.
 — V

96

4ft. J:

fep fffff
/

ai
^£
s ~» v —v —#—v— ^o-

5 2 1

fe" -*- £-.*-.£- M.M-*. ^M. il. I*. ,

£_ I Jt • £_

£ I
IZ = ezr K= = 5=^^
#,r
£ b
* V
s * £
TTfrfTf 4*^
S tt
2 3

A ^
J) -fi- 3

:Z2
t#^
GH * I5

u
decresc.
nf

S .4
I*
%*
#^^f
3 3
tty£-

I -2
tiz
fe feini
tt^i 7
(»SJ8^ e: i

1 M
jjfir't*
<4? ?i 1SS^ L.H.

5^Be SeeS EfeIz5=f

2"
1 t|* f
•&&.

3=1==
1 2
£ • UiX)0
•

1^^
fi

P •' J

-OTTaT rit.e dim.

i> i>
:

Be
r^ir^ f
p ^
tUtJt
v 2 v 2
g

«&&.
^ *
•to.
&a.
 97

STRIKE UP THE BAND

WORDS BY IRA GERSHWIN

f
VOICE S In slow march time n

We
A A A A A
±=^ AAA
''J J^J f=f 1 b» f f 1
kf—Sf
PIANO -/*
A AAA A AAA «e

as l >
f CTe
FFHiP
• •

I r r
fought in nine
r
- teen
r '
r
sev -
##
en - teen, Rum-ta
s -
*
ta -turn -turn
•
- turn! And

^tj ^N#^ l i±
pHe
w/ pesante
rrw r r
yd '
"J J
PP
I
mm§^ S3

f
drove
f
the
f
ty - rant
f '
f
from
^^
the scene, Rum -
S
ta - ta- turn - turn -
«-=-

turn!
P
We're

* * J J J fe* Sr ^=^
-»-

FT f

^ ^^
f f f f
^H-J H i
Copyright ig2f by New World Music Corporation, N.Y. International Copyright Secured
98

P tw a fei^ - ^er,
r
fee* -
r
ter war
r t
For your
b I
J
pa - tri
r =J
ot -

^^
- it

J J J J
y ? ^ j =jp I
* Jr^fi
f f-f i 4—
.S i- J 2
>

*as - time.
P
We donH know what we're fight
r
-
r
ing
r
for,
p-
But

3
=•= * .1 -^J
J
n; j j
m
j nj
m *
^T^"?
(|
i
<
b* f

3? 9

^
did -
P
n't know the last
:s:

time! So
^^^^^^
load the can -non! Draw the blade!

m ; (l>).
m^m ^N^
rfff
AAA molto marcato

^^ w ^g
^^
A

^T

^^=^ Rum - ta - ta - turn - turn -

r
turn! Come
rail.

f-^7^-^JH
on and join the "Big Pa -
/?s

radel"

f
^m m
i #---#=#=#
rfTr r?
rail. r^

3| r.
'«. ^ "=:
i b- = : '
J k
 *
99

Rum -
a
ta - ta- turn -turn, Rum -
s
ta -
< *
ta -turn -turn, Rum -
^
ta - ta- turn -turn - tuml^

ff^fc J J J Q •f n J 'J- n j r— ri
*—
•t

^ 9-^ aza ^^ 55

REFRAIN
Very marked (Spoken) (Boom, boom, boom!) (imitation of Trpt.) (Ta - ta

^rdH A A A ,__^__^ A A

^
I i

it

t + 6t J J J>.J
V
I J lJ I
Let the drums roll out!. Let the trum-pet call!.

&m d t *
'
% if
f
i

mm i ¥ W^ ^^

ni
ra - ta-ta-ta-ta! (Shouted) (Hoo - ray!)
A A A A

* jpm
f
J

AJ.U .,j jo j -o-

While the feo - pie shout!. Strike up the band!.

fej «l i,U
'J
.. >) JJ J> -o-

rrfry *f y T^T
m
*

p'-V' ^f n
J i ,J j *
f
=F=Fr

AAA
S
(Spoken) (Tszing-tszing-tszing!) (TVytf.) (Ta-ta-
A A
±^i £^
.#===
r- r
Hear
l

the
J |

r
cym-bals
r r
ring!-
p f 23
CaJi - ing one and all.

feu
^r^
i
wn ^EM
^r
t ii
^ t j i
Y >
 right'.)
100 ra . ta-ta-ta-la! (Shouted) (Left,

Strike up the band!-

the mar - tial swing
To

done! There's a
done,
There ts w ork to be
oo, We'll come
Doo-dle-oo, Doo-dle
Yan - kee Doo,

son of a
son of a
be won Come, you Doo-dle
to be won, to
red, white and blue,
For the
Doo-dle oo,
through, Doo-dle-oo, -
 — . .

101

'

?==^ P i
A^ ~+ o-

gun! Take your stand! Fall in line, yea bo!

oo. Lend a hand!.. With our flag un - furled,

^
\
-m-

r T
j=± AAA AAA
"nffi ±i± r* r-f-ry
^
AAA A

hH f
2
£ P^ i=J

-6*-=-
2 A^^
Come a - long, leVs go!.
(S^-5-

//ie^, lead-er!
P
t

Strike up the
We can lick the world!. Hey, lead - er! Strike up the

S
^T
&W J.

F
3 ==k
^ 4=4
TT
i
izrf?

t^ flj j j
* s
^ i
^ P

/ irr

band!
>
JV
Let the
:
II

band!.
^^
-V\V

1
1
i
fei
$mm rrif
-J
a «M i
L.H. A A

?r~H A
=- -ry
A A
r.h:

i n i i

*
 1

102 PIANO SOLO

In spirited march tempo |

V V VV ®& V V v i

4 5
5 4, 3 2 4
fl 3 1

_±_

S *l gl i
.
=
* b*^ 1*
marcato &
Pg^# "
i i^ 4 ft

Vg/ijil i> €7 1 *
i
J 5

lilt \>%\tii
B
P 1 *-* 3—
"2
1
L 5~-3
32"
2 1
\ \~*
I

SS i
PF #=p ^^f5^
J
t^^I Pi^pf
^ggf'T s
i
—— 5
3 4

feN^i ^
1
s

*i
1

59=p /•
#
£*=*=*=*
L—J
f»

L
a*=£
marcato

n Mr
y<»ty
J
v
>.
ij ^~^~u~v
i=g Imm 13 2 1 2
2
 1 j j

103
piquantly
i*
IZ I i £: £:

I^e

%? iAU 11
4 4
2 3 1 2
V
_2_ jn.ffl , fli, j7i

^> v
f

^^ 7^ii,,7l^?l-
1
f 4 4,1*3-1 4
m
^7^ ,
7^ 4L
-f- i

-1
—— -

f ff:
_ w TS-1,5

pe iTi *
P^W'i#P 8 5 4
J

5 4
^F*
& I '
*
V V vv
K ^

5 2
-- 3 1 4
1

wm P*i
1

i 5t=it
V
i?1#-
Vj
-^-^- >-

/
»
^ f-fH^ f&=f
w^% TM
2 r m 56

...

^1 ^= 8 PS #^P
si fcEf

fe ^N# # ppp3f
j^j f i tf
S
^. #
104

LIZA
WORDS BY IRA GERSHWIN AND GUS KAHN

Moderato
VOICE 3EBS

mk=^
sp^
/
±e3
F^E j
f
3t Aj
r Ait
fpoco
PIANO

^ i
.;
rail

S ^P
St=J
Moon

^
^^ ^F^ ^^
jt? a tempo
P
s&in -
P P
in? on
P
f/ie
I

f
rtt? - er Come a

l^^l
- long, my

f
Li

f
f~.n!

=£
if f
v i > J
i

s= (^

Breeze
p (i
p
sing - in) through the
p i

r
tree - tops Come a -
r
long, my Li
^ ~nt

nk=A

&^
9\K
rr^f^
i
^=^L

J
m ^m mm i
^ f
&p-p
"
;

Copyright /919 by New World Music Corporation, N.Y. International Copyright Secured
 105

^. Some
J' J'-

might
a
y
p-
sweet
p
I
P'
want
Pi P"
whis
p
fer
p
sweet
-
b
p
and
r
low.

m
- f/it'n' - to -

d *

mA fa* X M l
.

si
#
T/iaf ^iou
}j>.
•
ought to
U
<rf

know,
. >
my
^
Li - zal
^#£ F^p
I get lone - some, hon - ey }
S
When Pm

^m an a
^^
lone so long.
2
DonH
r
make
p
me wait;
r.

fe=5
i W^f
f=f f

m m
v-
&

^^
§ E2 DonH hes i - tate;
rail.

mg:

^m fe^ *>—
rail.
fry
fr

S^
w, c c
^?
!s:
106 REFRAIN
f\ i
p-tnfa tempo -»-
*wt r r ' r r
Li - za, Li - zc skies are gray,

& a?:
is * Sg
i s*

PM^ ^
77"

^& PH p-tnfa tempo

n h *r .

P*
SE=E
i?it£
P i ty you'll smile on
f me
? g
-
> J\
All the clouds -11
J> j^
roll
1
a - way.

ff^f M **f *M *
F ^f
1- 6 p—
PB
rcf

S ?=£ -o-

Lt Li don't de lay,

|*g b?:
a =«= s sK &S=
ffr-o-

jjSgi f^r : f^_

0m
FF=y
Come, keep
f
J
me com -fa
r
- ny,
>
?r-
And
^ a
the clouds -11
J> ^
roll a - way.

^m feti **
fr
pa j- j

FF ff
i..

J
*ft i : i
^
 107
nf

See
3=1
the
^m
hon-ey moon a -
P
shin - in 1
-«v

down;
o
We

h r^ p-
p p
=^ *
J
T r
should make a date with Par son Brown. So, Li

]U
c
y f=HT2^ fP
s 3?:

j j
p Se * t

Pfi Pi
f r

-o
i=p=^
p

m
nante

<i*V+
fir.nr
1
the

w&
Ho
day

^h,
m
m m
When you

1=?=^
be

(to J- '
i|

&
m Jong -
to me
i n- i'J).
And the clouds -11
J) h
roll
i
a - way.
^ way.
^m kk

s P*^r iB i nil
*"*^*i.
i tip

S 2-
-**-

f-^p-^ p
<&&.
x«:
i*
 —
PIANO SOLO

^^
to
Languidly 3

i-Wl
tb
T
3

poco a poco cresc.

2

b fe
-fi- ..
yz
2

fag
E t;
r .

tn]
*f

^S T ^ 4
^.
J^J,
1^
<&o.
r
^^
<&o.
T 1

<£&.
4
X
r
l
'

X
"SB.

rrTTTl •&>.

^
to 7W
I
TO^T r
l|b
#
A $ gf
f bb
r Pjg
l|l>

PS
B|
=i
T
poco a poco

«&.
cresc.

h.
•&>.
r
frj^j.
<£&.
r
^J- ^>-^lf J^J-
r r T
^
afl, J >a
^^ *!/
to
t

M~p

^
^
7
f ^^EP £g?Hj
L.H.

^m ~J.

#
 T c c ; ri 2 1 -—-
3
3

1
2

2
2

.b

& O

simile
fag- ««-[> lib:
,.|| gt g:lA*:bf f
3S=i
HS le t
4 5 5 5 5 4 5 4 5

*r
*>:!># .b
•=^==E IEE r* II fes
4 5 5 5 5 5

^bfte=fe:
"b" 2
zac

poco a poco cresc.

gP
feg=lfep m .\\i

I ^
*
f>J. f J^ -J. ^^J- ftJ>-
^t -P mrm
it
ass j. *e
4 5 ^7 *&&.
r <&>.
r

F*ta&
b*
tW r Ijb
w- l.,P^7 ^ ^3
1 :=
=
^ s g g g T« m «*
~E
grill- ,
-l

'1.
i^^LX&kA
s
r f
is
L.H.
v

^ ^ w
110 5 J
ii a

m
3 1

sm ad
fcfc *$?=¥*
3^
?
^ PPV*

^ B£
f
Hi
rTTT
^v |v^I
3 ?

Very marked
poco a poco cresc. _

A*
EfF* i *{
f
rtw r^ IW
f& | 7 ^

M^ '£a.
'f
R.H.

9
*/

Qr^^ "t^r ^r
5a. *£a 2 <£a. 5a.

5 9
3
>•
JL
5^
fci
* tep" Tfto
£ !H< J5^-^m^t;
m
1

</ 4
V, L.H.
$ b £l*r

^T ^ aJ.JL-i:
^
<Sa. '5a.
5a
4 2
5, t

^ i ,i i i^
SSi>=E=*
^ m\
if
;
If lf_=p ^ ->
wt=
> =*r

te
m
PS ^ ^TV T T
4
T
poco a poco cresc.

%
5 3
J
r
2 I.
+ 3.

ttr
k
7
tr ^rv\*

n,\
n
-

f —dim. -

f
/ R.H.

m
W L ^-
^i

5a.
to
ife#Aid:
£1 ^*
3E?
_^ ^ > >r figgjF
marcato

^m^^ ^-4t
r r c c
f
^g-ffl-i

4 5 4 3 5
legato 5 4

^ nr~m 1
2 j % 5 1

'to. 'to. 'to. '&15.

3 4

^
J- 2-
P

2-
^ 2

jygggF
1 L
=ty=»r

l-fe.
g
3ffi
@S§=
r / N^N^-| t IP
'to. 'to. 'to, 'to.
 i ,i i fa.
'h-vf ''p g-^ 3EE}E
^
f >* i? #p
'T *l
-fe

FT T^ fas. *£a. *
 113

/ GOT RHYTHM
WORDS BY IRA GERSHWIN

Lively P
VOICE &k r
1J r ' r r
^

a
Days can be sun-ny With

PIANO

«& cs
U-ris-zt^
ff=p
/
1

I
l^p
«tx^
i
#=4^
P
m *=£

ZS5Z
f

i\y " r * r * r * r *

^ £^?
«er> - er a
^o-

si£-k;
^^
DonH need what mon - ejy
£
can

b
1
'
J J J ^=M
r^r Pf^f * k* i
r
^m £*_

* i i
j
-©-;
j
-©-
u
r * r r r

o- ^-^- J !

r r
i

r f
Birds in the tree sing Their

#^^
;¥
P
r^ n^
Si¥
r^T
isfc
f=f
r
^
i*

r ^ r »
jCE

r »r»
Copyright /pjo £y Mtp World Music Corporation, N.Y. International Copyright Secured
 » # J

114

# f»

P^=? F -
day -fid of song, Why should - n't we sing- a

*^=i=i i i J-4 i
rP^f
^^ r
r
*
t^F

r *
tzm

t
==
* ^=
f
j
-o-
--
— zz;
3^
f

^ ^¥
long?- I'm chip - per all the day,

p w pps ^
r> fc

^F *— i
/
s
r»
tt-
^=^1

s5E ift-f
^^ §^ ^ f

>-©-
ys *PI
3fc
7/a^> -
£y wif/i
£
mjy Zo£. J/oj f/o J get that
C^
way?

S3^ TV"
1
^*o
lj5=«:
n?
^= JBZ S^g P ^^^¥ f-

m Look at what
r
I've
o
got:

"(•— ^ *>

/ ^P
kJ«» «« o
I' TT n

m •|."
O
=«: ^^ M "£
? 1.!
^
 REFRAIN (with abandon) 115
p-tnf
n-n=i J_jrj. 17-77 CT= r i
J - j ii
gof r/iy - thm,. got wilt - sic,

i=r i * p
1*^
f
p-tnf

m^
£ 7
$
g-of
r pp
myman WTio
1
p
could ask for
PPT
an -y -thing
7more?

,#^PPl HlTT A J=*

J p^f
•
,:
l,"
IP J I
J j ^ H w
v r
\ J
m
7
—mh 4-

go£
^P dais - ies
P^¥
7» green fas
E=5
- tures,
\ J
I
J^J-
got

r hi\ i ^
YJ
m
'
f W*3

^ 5=p^ =
?=^ *^ 3=s

f==—» *
# r
my
pp
man Who
1
p
could ask for
p*
an -y -thing more? Old Man

ps^^T^
116

p^r^ Troub- le,—

^^ I don't mind
m a
him,
'

You — won't find hit

&w mm k
s^Pi P ^^5"
?±w ^~^^Fi&
ftS p=f| m k

§5
^PP^ ^^ #^ i
f^ r^ff 1

i^pp 'Round my
JOl

door.
^^ I
5
^of
r pr
star - light,
l
!
r p p
got

^ !'
i.l~JU *S^
izz

•»"•
*
S3
i *# I f
k^=
w.

t>:.
3p . W
^^^ :
F=F=r :
F=^ ^
*i p?
sweet
*'
dreams,
c *
I got
r pp
myman Who
'
p
could ask for an -y -thing

¥ 1rwr
~l\ J—**: I ^M P H-P-h
m—: |> m.

^ w^ tr.^21

IT

$
ii p

mora,
-

mF
Who could ask for
p^
an -y -thing more?
m
more?
 :

PIANO SOLO
117
Very marked
f\

3
^ £
4 2 5 4
R.H. I
£ - 5 3
4
b-.

mm T"t t !j V •
*
I
iJll

f
S
V •Sa>. *Sa.
*
<&&. *Sa. <Sa. ^. «

te
i^iklia a h*
IP m =s
— ^^=^;rr—
m
<&&. *

^^
y-r
7
to. *
f
s
^ <to.
*

M
B£ ^ £
p
^S£
.
b-.
fefi
^r-J- t
£-?
y
S |
•=£
£^
S
J"
5

a*
iffc

if £ *£_£
Slf
^S TBI:
;Ej=feE;3£

»
/.

ff
i£
rt £ 7 ^r 2^ 1 2
*
1
CT=
12 4
^
J!?

*
as
,-/"
_LX >J3- mi 3 _
•2

UkTI
-.

3p
p
f
5EE5==
*=M
PPP
s <£&.
Pife
<&>.
id
<£&. *Sa.
 T

±* ^ W I
*
AM> m * &
ll^fe
T~
Jri •=»
43 ifefl
T~T
a
8

5 +

m
2 3

M
ftl^Jfr
T r%IPf tJ
"T5:
5

S*
B£
^^ * 1 1
IS
to
ei

k
kb. * *&>• * *&a. * "to. * "to. * k
&>. *
 # "fca.
# '$&.
* && * k
x&. # '&2>.

3 4

W^
-Sa.

^
^ ife =£
13

^ l^ t^ ^

^ -^ ^
1 2

=£
m :*

mf

m$- y
w ¥
^. '&>. 5 *sa. •Sa. •m
 : *

120

jy—f f I
ft
ji i te
J f d «f
5

•Sa. 'to. 'to.

'to. 'to.

o
5
4
5
2
L

S^@*
1

^ ^ =3;
a
m rj.i |

1
i
'i p>y
cresc.

i>* l>*
m *tJ »iLf
:

I
'to.
3

'to.
'to
'£e!>.
7B)
P <to. #

m
5
- Martellato

/ R.H. 1 * 2 *
I

Pi ^feS
^ 2

"to. »
'to. * 'to. * 'to. * 'to. * 'to. * 5
2
#

•
'to. 1

PFP g^g
^X
-J^g- s*^
!i=gE?
& = =5:

*
*
'f 'to. -to.
'to. * «3a. $ 'to. * 'to. *
'to. *
4
5
3
*

P
2,
4
5—3"
5

^Tf?
3
3
2

5§=3
3 2

^
up
ET
4 4

=$e
«/

n ~*
2
ri
1

>
L 3E
m.
« —
3
=»

3
*
a 2

'to. 'to.
4
to. 'to. # $& <to. •to. -to. -to. -to. 'to. *
 121

WHO CARES?
WORDS BY IRA GERSHWIN

VOICE
m
Moderate- Brightly

^fl^ j^M^
S f^
Im
- g* j- j*
^
«
poco cresc.
PIANO f
n
_jO_
£

^>

^^
^ ^V

X
3&Z
Z,e£

P
it

mm m rr *§*
rain and
£
\>f l

thun-der!

%
,J.

at ,
Ibf
Let
I, J
a
f ^
mil- lion

m -©-
3E £H 35T

r *
r *
Trrr

fTff ^^
firms
i<

go
^ un - der!.
m I
r
am
r
not con
r
-
i
h
t>r
r
cerned with
l
»«

J.-. -U
i-i-i-lfi-* tO-

fFTT »• •»-

g^3 J» J» t
J
O
J
f I f I
f I
fi
r * r * T~7TT
Copyright /pj/ by New World Music Corpora/ion, N.Y. International Copyright Secured
 *

122

# fr
p >' *

Stocks and bonds that

f1
.
2
Pve
i
been
Jl
burned with.
U I
^
love
J
you and
*^

^m i
^=g wm
CfpT %
AIPFf
^^
^W ^ ±++i
3p^^
P
'±±+ti
f * p>
rrr
f

I£ ^Ott /owe me Ami that's

^*
how it will
3^=^
f
al-ways be } And
^^
noth-ing
±
else can ev - er
£
mean a

1 ± i i
tijr^-H
r r r r r *f r Sf
:J

i s ^^# P^£ zz:

nr Who
r r
what
t>P
£
I ; .

mm
thing.. cares the -pub - lie chat- ters?-

$
*>

t- T i T
^o-

* T * T
*2=tEi2
*-<*
&
TT^f
i-^-j rJ
o
p «>
«>
r
I ra f
< r
r *

ii- m Love's the on - ly

^P
r
thing
\>e

that mat
s
-
«?•

ters.
j i

Who

*>
mm 3
m»S=tr£=
»
f
i-

f *
poco
f
rail.
Tf
cv-

") \,t
o zs <y
o»

r * r t
 J *

123

^
REFRAIN
p-mf(\n a lilting manner)

Im
J o
*v

If the sky
I
['

cares
f^
to

1 ii^H
p-ntf
melody well pronounced
^^e ^
S o

f~T~§~I
J J-^J
T * r *
•J

r « r *
f i
f

« >// tn //re
<»._
sea?_
^ Wfco

i
£ l

^ i 1 nI i ' i
)P
:

s -J J — =1

^T^ r=T7T r»r* r * r

-«u

cares What banks.

£
Jail Yon kers?_

i 1F=** j i*i j ^ i
I,*
* ? f
9 -9-

^^ ^ j a i ^ f
5^21 VZ21

Long
f
as yoxCve. got kiss that con - quers,

$ =i=*i
I
S 5k^ fe^

?J I J f £^ :h
^
 .

124
mp

WTry
-o-
^
should
i -o:

Ii/o
¥
io: 5^
m 'f f ^ P<= ^
7/M? ben cantando

S ¥ ¥
^ ^
w^
or
r #

owe long- hi - lee.

^ l»

So long
p
as I
p

^P
S ^=zi S
fr^^ *f ^
zzz:

^±

^ *»
M ~r*~
^ £ -J.

If I * l .
mf

2nd time
optional
-^ 1

> jyou Anrf you /o*-

I 2

ff * :f
f #P-T
z
^^ ^?
iry
^=^3 *^
i: ^ WTio
W^
i 1
'? >r W
i i
 PIANO SOLO
125
Rather slow

2 ^^3 3

** * to. "
^ to. ** (
*> ^ # to. to. to.

f ijc J-ii^
'
f
ijs
«: S:
ff
^ P^^
to. (*) to. *
^ ^^ to. *
r

to. # to. to.

t^ iP^^
PFprU
3
UL/'pUJ | J.
3
!fW \, A
3 4
P^
2 3^
to. to. to. to. to. to. to. to.

'5
K.H.
Jg ^^ ^ U

sFT7 ^ S?
!©
3t£:
2 3 1

p#
2
to.
L.H.

s
R.H L.H.

to.
to.

PI I g i i
eh

pTP frjp '

r J /

si p^ ? 3= ^= 3^
3 2
1 3 J

2" 5
3T
3- 2
to. to. to. to to.
to.
to.
 T

126

£
ft

»/
^fS^f f
4 3 2 j
¥
y=f=5^ 1 3 =-
q^

*to. ^ 'to. * %&. ^. &!>. ('S^.)

2
1 1

i>-

p S ^
gj
1 '

' i
'

f
^^
f »
i
p <"UJtU
i
"

*s^
*>> :
t M i

-&&. * 'to. 'to. *to- 'to.

'to. * 'to.

*
=£<5 3E W=W
P i us ^!
Bir f
«. L.H.
•^ -o-

'to. Cto.)
'to. 'to.
'to. 'to.
'to.

ipw
mfmelody ben r-
m* *pi ^^ IT
f? «r^
i i fj*

f
j. r^i
r
^ marcato

^ j i
H ^$m pp^p
'to. # 'to. $ 'to.* 'to. # 'to. * 'to. $

5 3
3 2 1

i*** ppi
z^mm
"to. *
-r

'to. $
r
^= i
"to
If
'to.
w
P

f*) 'to. (*> '&>

V

'to. #
k-«.'
t - ••.*
 0. Tubule 7o

GEORGE GERSHWIN'S
SONG ROOR
"The real gold of the book is to be found in the in-

imitable treatments of his best songs, his uncanny

mastery of the piano, especially in matters of rhythm

and modern color, all of which have evolved into

a brilliant and radically individual style which at

once becomes identified with Gershwin and with

no one else. In these pages any pianist of average

ability will find several evenings of entertainment

for himself and his friends."

— The New York Times

B^bHHBBIRiM^HVBBHIl