I FREDERICK LOEWE ALAN JAY LERNER

Mwi by

FREDERICK LOEWE

Bmk and L ~ U J by

ALAN JAY LERNER

ADAPTED FROM BERNARD SHAW'S "WGMALION" PRODUCED ON THE SCREEN BY GABRIEL PASCAL

Vial h e Revised Edition - 1969

Applications for performance of this work, whether legitimate, stock, amateur, or foreign, should be addressed to:

TAMS-WITMARK 560 Lexington Avenue New York, N.Y., 10022

chappelllintersong 8 music group-usa

For A l l Works Contained Herein: International Copyright Secured A L L RIGHTS RESERVED Printed on U.S.A.

Unauthorized copying, arranging, adapting, recarding or publ ic performance i s an infringement af copyright. Infringers are l iab le under the law.

Produced by HERMAN LEVIN. First performance March 15, 1956 at the Mark Hellinger Theatre, New York

Staged by MOSS HART

Choreography and Musical Numbers by HANYA HOLM Production Designed by OLIVER SMITH Costumer Designed by CECIL BEATON

Lighting by FEDER Musical Direction by FRANZ ALLERS

Orchestrations by ROBERT RUSSELL BENNETT and PHIL J. LANG Dance Music ~ r r a n ~ e d by TRUDE RTTMAN

CbSt of Charzten (In order of appearance)

BUSKERS ................ Imelda De Martin, Carl Jeffrey, Joe Rocco MRS. EYNSFORD-HILL ............................ Viola Roache

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELIZA DOOLITTLE Julie Andrews ...................... FREDDY EYNSFORD-HILL John Michael King

COLONEL PICKERING ............................ Robert Coote ............................. A BYSTANDER Christopher Hewett

................................ HENRY HIGGINS Rex Harrison ................................ SELSEY MAN Gordon Dilworth

................................ HOXTON MAN David Thomas .......................... ANOTHER BYSTANDER Rod McLennan

................................ FIRST COCKNEY Reid Shelton ............................... SECOND COCKNEY Glenn Kezer

................................ THIRD COCKNEY James Morris .............................. FOURTH COCKNEY Herb Surface

.................................. BARTENDER David Thomas .................................... HARRY Gordon Dilworth ...................................... JAMIE Rod McLennan

. . . . . . . . . . . . . . . . . . . . . . . . ALFRED P. DOOLITTLE Stanley Holloway ................................ MRS. PEARCE Philippa Bevans ............................ MRS. HOPKINS Olive Reeves-Smith

...................................... BUTLER Reid Shelton .................... SERVANTS Rosemary Gaines, Colleen Q'Connor

Muriel Shaw, Gloria Van Dorpe, Glenn Kezer ............................... MRS. HIGGINS Cathleen Nesbitt

................................. CHAUFFEUR Barton Mumaw ....................... FOOTMEN Gordon Ewing, William Krach

............................ LORD BOXMGTON Gordon Dilworth .......................... LADY BOXINGTON Olive Reeves-Smith

.................................. CONSTABLE BartonMumaw ................................. FLOWER GIRL Cathy Conklin

........................ ZOLTAN KARPATHY Christopher Hewet ...................................... FLUNKEY Paul Brown

.................... QUEEN OF TRANSYLVANIA Maribel Hammer ................................ AMBASSADOR Rod McLennan

.................................... BARTENDER Paul Brown .......................... MRS. HICCINS' MAID Judith Williams

Synopsis of Scenes

The place is London, the time is 1912.

ACT I

OUTSIDE THE OPERA HOUSE, COVENT GARDEN. A cold March night. A TENEMENT SECTION - TOTTENHAM COURT ROAD. Immediately following. HIGGINS' STUDY. The following morning. TENEMENT SECTION - TOTTENHAM COURT ROAD. Three days later. HIGGINS' STUDY. Later that day. NEAR THE RACE MEETING, ASCOT. A July afternoon. INSIDE A CLUB TENT, ASCOT. Immediately following. OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Later that afternoon. HIGGINS' STUDY. Six weeks later. THE PROMENADE OF THE EMBASSY. Later that night. THE BALLROOM OF THE EMBASSY. Immediately following.

ACT I1

SCENE 1. HIGGINS' STUDY. 3:00 the following morning.

SCENE 2 . OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Immediately following.

SCENE 3. FLOWER MARKET OF COVENT GARDEN. 5 :00 that morning.

SCENE 4. UPSTAIRS HALL OF HIGGINS' HOUSE. 11 :00 that morning.

SCENE 5. THE CONSERVATORY OF MRS. HIGGINS' HOUSE. Later that day.

SCENE 6. OUTSIDE HIGGINS' HOUSE, WIMPOLE STREET. Immediately following.

SCENE 7. HIGGINS' STUDY. Immediately following.

MUSICAL PROGRAM

ACT I

. . . . 1 OVERTURE h~ OPENING SCENE . . . . . . 2 WHY CAN'T THE ENGLISH? . . . . . . 3 WOULDN'T ITBE LOVERLY?

. . . . . 4 W r r ~ A L ~ ~ L E Brr OF LUCK 4A . CHANGE OF SCENE . . . . . . .

. . . . . . 5: I'M AN ORDINARY hCm

. . . . . . . . SA . CHANGE OF SCENE 6 . REPWE: W m A Lrrna Brr OF Luac .

. . . . . . . . . 6A WGE OF SCENE . . . . . . . . . . 7 JumYou W m

. . . . . . . 8 THE SERVANTS' CHORUS

. . . . . . . . 9 THE RAIN IN SPAIN lo . I COULD I - ~ v E DANCED h~ NIGHT . .

. . . . . . . . . 10A CHANGE OF SCENE . . . . . . . . . . 11 ASCOT GAVOTTE

12. END OF GAVOTTE AND BLACKOUT Musrc 13 . ON THE STREET WHERE YOU L ~ E . .

. . . . . . . . . 14 E m ' s ENTRANCE . . . . 15 INTRODUCTION TO P~~OMENADE

16 . PROMENADE . . . . . . . . . . . . . . . . . . 17 . E M B ~ WALZ

Page . . . . . . . . . . . . 5

. . . . . . . . . . . . 14

. . . . . . . . . . . 24

. . . . . . . . . . . . 36

. . . . . . . . . . . . 46

. . . . . . . . . . . . 47

. . . . . . . . . . . . 64

. . . . . . . . . . . . 65

. . . . . . . . . . . . 74

. . . . . . . . . . . . 75

. . . . . . . . . . . . 83

. . . . . . . . . . . . 90

. . . . . . . . . . . . %

. . . . . . . . . . . . 107

. . . . . . . . . . . . 108

. . . . . . . . . . . . 118

. . . . . . . . . . . . 120

. . . . . . . . . . . . 128

. . . . . . . . . . . . 130

. . . . . . . . . . . . 131

. . . . . . . . . . . . 135

ACT II

18 . ENTR'A~E . . . . . . . . . . . . . . . . . . . . . . 143

19 . You Dm IT . . . . . . . . . . . . . . . . . . . . . . 151

20 . REPWE: Jum You W m . . . . . . . . . . . . . . . . . 173

. . . . . . . . . . . 20 A REPWE: ON THE STREET WHERE YOU IlVH 174

~OB.SHOVME . . . . . . . . . . . . . . . . . . . . . . . 176 . . . . . . . . . . . . . . . . . . . . 21 THE FLOWERMARKET 182

. . . . . . . . . . . . . . . 22 GET ME TO THE CHURCH ON TIME 189

. . . . . . . . . . . . . . . . . . . . . 23 CKAWGE OF SCENE 213

. . . . . . . . . . . . . . . . . . . . 24 . A H Y ~ TOW 214

24A . CWGE OF SCENE . . . . . . . . . . . . . . . . . . . . 225

25 . W ~ ~ H O U T You . . . . . . . . . . . . . . . . . . . . . 226

26 . I'VE GROVN ACCUSTOMED TO HER FACE . . . . . . . . . . . . 232

27 . Musrc Foa C ~ R T M CALLS . . . . . . . . . . . . . . . . 247

28 . Exrr MUSIC . . . . . . . . . . . . . . . . . . . . . . 249

Instrumentation: 1 Flute and Piccolo. 1 Oboe and w h Hom, 2 Bb Clarinets. 1 Bassoon, 2 French Horns. 3 Trumpets. 2 Trombones. I Pacussion. Harp. Violins A & B. Violas. Glli. Bas (and Tuba) .

Rchasal numbers circled on this score correspond to those in the orchestra parts . Thae m y not be amsccutive due to minor changes during the tyout period .

MY FAIR LADY Music by

FREDERICK LOEWE Lyrics by

ALAN JAY LERNER NO. I. Overture Presto

> > > >

Piano

CopyrightQ1956 by Alan Jay Lerner ond Frederick Loewe

Choppell (L Co., Inc., publishar ond owner of a l l ied rights throughout the world

International Copyright Securad A L L RIGHTS RESERVED Printed in U. 5. A.

Unauthorized capying, artonging, adapting, recording or public parformanca i s on infringeman9 o f copyright. Infringers ora l iable under the law.

(Trpts., Trbnssust.) 1 I

0 Tempo giusto, brillante

1 Bsn.)

Opening Scene

Piano

12 Three s lrcst ~ L O L C L - T S t'tlte~tai71 the crowd.

L'istesso tempo

(W.W., Vlns.pizz.) A I

@ Tempo di Soft Shoe

/ I I I ( T u t t i ) I I I

U tenr)vo I (Rim ff - I A shot) I (W.W., Has,

ELIZA: . Aoooooooow!

1

Why Can't The English?

Cue: dIGGI?iS: A wjniali who utters such depressing and disgusting sounds has no r ight t o be anywhere-no r igh t tu live. Remember that you are a human being with a sou1 and the divine g i f t of ar t iculate speech: tha t your native lallguage

vroll. is the language of Shnkespeare and Milton and the Bible, and don't sit there crooning like a bilious p i , .

Allegro (FI., Bsn. colzu v o t e )

Piano 1 (No Bs .)

('iyoken) For the cold-blooded n u d e r LIZA: A-o-o-o-w! HIGGINS: Aoooow! Heavens,

I of the A i g l i s h tongue! what a noise. , I fu 1 I I I I -- I

# # 4 1 A I I

I - h u n g

,W POCO meno mosso

This is \vhat the Brit-ish yoy - u - la-tion calls an el - e - nlcn- t'ry ed - u -

PICKERIKC: Come, sir, 1 t h i n k you picked HICGINS: n a poor example. Did I? I

@ vivo ' A ,

I - Hear themdown i n So - ho Square, drop - ping aitch - es ' ev - 'ry - where,

Speak - ing Eng - l ish an - y way they

I

COCKNEY:

1 You, sir, did 3ou go to . school? . What - j a tike ~ i i c

A , HIGGINS:

one taught h i m

1

choir- sing - ing flat! Chiclr - ens caclr - ling

HIGGINS: G a p ! I a sk you,sir ,ahat

ELIZA: sor t of word i s t h a t ?

in a barn, Just like this one, Garn! It's

"AOOOW" and "Garn" that keep her in her

A ~iXesso tempo

I * Y Why can't the Eng - lish teach their chi1 - dren how to

an - tique.

I - she does, sir, in - stead of the way you bo,

(Str. arco) I L

I I ' I I -

A P I C K E R I N G : I bcg your pardon! HIGGINS:

might be sell- ing flow - e r s too. An

I - .- (Str.)

I - fies him. The mo - ment he talks he makes some 0th - e r Eng- l ish-man de -

spise him. , One com - mon 1;n - guage I'm a - fraid we'll nev - er

h , why can't the

I set a good ex - an1 - ple t o peo - ple whose Eng - "lish is

leave you close to I

fSpuke,tl: 111 America, they haven't used

can't the Ene: - lish teach their chi1 - dren how to

I speak? Nor - we - gians learn Nor - we - gian; the Greeks are taught their

France ev -

(Syokr~t): The French never care what they do, actually, a s long a s they pronounce

n Y I I I \ L

I C I I I I A I I I

I - r "Zed" A -

- r a - bi - ans learn A - ra - b h n with the speed of sum - mer I n (Ob.,Cello)

I " - -

light - ning; The He - brews learn it back - wards, which is

g a r d - e d as a freak. why can't the 1 - Eng - lish

I learn speak?

Wouldn't It Be Loverly?

Cur: HIGGINS: Ah. The Church. A rernindcr.(;rh?otc.i,,g som~e ~ . o i ~ l s 1,110 Eliza's 6aske.t.) Indian dia lects have a lways fascinated me. I have records of over f i f ty .

PICKERIKG: Have you, now? Did you know there xre over two hundred? ELIZA: Aooow!

Piano I ELIZA: Aooow! Aoooow! Aooooow!

FIRST COCKKEY: Shouldn't you s t a n d up, gcntlenien? ~ e ' v e got a bloonlin' heiress in our m i d s t .

Moderato

I ( C e I l o a r c o )

SECOKD COCKKEY: Would you be lookin' for a good butler, Eliza? ELIZA: YOU won't do.

@ Quasi recitativo J 3rd COCKNEY ( ~ a r i t o n e ) A

11 ( C u e d i n C e l l o ) h

Thc

r i ~ t h - er dul l in t":rn; I think 1'11 take rile t u Pit - rcc. ll111111l -

, A 1st COCKNEY enor or)

11 CI 3rd COCKNEY ( ~ a r i t o n e )

1) mis - sus wants to o - pen up the eas - t le in Ca - pri. I I 2nd COCKNEY ass) A

A Cued in Vln. B

Moderato

Would - n't it be lov - er - ly?

THIRD COCKNEY: Where're ya bound this spring, E l iza - Biarr i tz?

A l l I want is a room some -where

I lov-er - lv? U Lots of choc-late for me to eat ; Lots of coal ma-kin'

- lots of heat; Warm face,warm hands,warrn feet, oh, would - . n't it be

I lute - ly still! I would nev - er budge 'ti1

1 o - ver me win - der - sill. ( ~ p . )

I on mv knee: warm and ten- der a s he can be.

I A l l I want is a Far a - way f rani t'he

ccld night air. With one e - nor - nious chair;

=L

Lots of choc-'llate Y me - eat ; -

I Ah, - dots of choc -'late me - eat; -

Lots of coal mak - in' lots of heat. Warn1 face, warm

Lots of coal m i k e lots - heat. - War111 face, warln

I I I SOLO TESOR:

lov - er - ly sit - tin' ab - so-bloom - in' - lu te - 1y

-

(V1n.A arco, div.)

1 4:: , I I - I \

1 I C I 0 I 4 I - I -

I h I r A 4 V I I I \ I I

hands, warm feet.

* m -

n e v - er budge 'ti1 Spririg crept

o - vcr nleThin-der-$ill .

I 0 -ver ]lie win - der, Ah,

(E .H. c o l l n v o c e

Who takes good care of me; Oh, - I I

--

A h , - Who takes good care of me,

\Varm and tcn-dcr s she can be, Who takes good care of me, (F1.8uu,

C l . )

I - would - n't i t be lov- er-ly'? Lov-er-ly !

Ah, -

7 1 \+ w. w. 0 -3- -

I ) I I ? . I t 4 L.

L B ~ Y - - , -I *r I I - C

n 1 A', I r I r 0 1 . - I I I)* r I ir.'

Oh, would - it be lov- cr - l y ?

Lov - er - ly! Lov - er - ly!

( T h e scetre chatrgrs.)

I

(Thew i s cmtlplete sile?~ce. Wi th ?lerveless f ~ c e s t h e spectatom

PP watch the progress of the race. When it is Gver, they s i r g : ) A

L I1 h I1 # I1 I I I1 A I I

\ m , - It gun!

I

gun!

I I fren- zied mo - ment that was! Did - n't they main - tain an ex - haust - ing

I fren- zied mu - ment that was! Did - n't they main - tain a n 'ex - haust - ing

115

thr i l l - ing, ab - so - lute - 1y

I I y ace? 'T~vas a thyill - ing, ab - so - lute - ly

V.

chill - ing run - ning of the As - cot op - 'ning race!

chill - ing run- ning of the As - cot op - 'ning race!

II - chill - ing run- ning o f t h e As - cot op - 'ning race!

chil l - ing run- ning of the I

As - cot op - 'ning race!

I ' ' I . . - I

Va., Cello,Hp.)

Izs End Of Gavotte And Blackout Music No. I 2 Cue: ELIZA: Have I s a i d any th ing I oughtn't?

MRS. HIGGINS: Not a t all, my dear. ELIZA: Well , that 's a mercy, anyhow. W h a t I a l w a y s s a y i s ... PICKERING: I do<t suppose there\ enough t ime be fo re the nex t r a c e to p l ace a b e t ?

7

Piano I FREDDY: I have a bet on iiumber seven. I should be s o happy if you would take i t . ~ o u ) l I enjoy the race ever so much more.

ELIZA: That's v e r y k i n d of you. FREDDIE: His name is Dover .

SOPRANO:

I( aLTo: ~ h e r e ' t h e ~ are a- gain. Lin- ing up to run. h u mv cresc.

Now they're hold-ingstead- y; they are L

1) TENOR: ~ h e r e ' t h e ~ are a- gain, ~ i n - ' i n ~ up t o run. Now they're hold-ing stezd- y ; they are

I (Rsn. . Hn.,Ttbn., Cello)

Again co,~l~plete sile7~ ce. The one I X C C ~ L Z ' O I L i s E l i z a . E L I Z A : Come on, come on ,Dover .... Come 011,

Dover!!! Move y o u r bloomin' arse!!!!

read - y for i t - - - Look! I t has be - gun!

read- y for i t - - - Look! I t has be - gun!

read- y for i t - - - Lbok! I t has be - &in!

A I n

I I I:

T I L L .

read- y for it- - - Look! It has be - gun!

12 0

S o . 13 On The Street Where You Live Cue: FREDDY: Officer, I know t h i s i s Wimpole St reet , but could you t e l l me where 27-A i s ?

POLICEMAN: Right t he re , s i r . FREDDY: Thank you .... Are those for s a l e ? FLOWER GIRL: Yes , s i r . A s h i l l i n g .

FREDDIE: Here. FLOWER GIRL: T h a n k you kindly, s i r . F R E D D I E : Isn't it

Piano

a heavenly day?

V

Sj;POOnr She c b ~ n - y lete - ly done me in . And my I (R..

I -- heart went 'on a jour - ney to the 1110on, )\'hen she

I " n e v - er saw a more en - chant - ing farce, Than t'hc

MRS. PEARCE:

FREDDY: Is Miss Doolitile a t MRS. PEARCE: Whom s h a l l I FKEDDY: Freddy Eyiisford Hill . I i shc home? say i s ca l l ing? doeslit renlen~ber me, tell h c ~ .

\ I - I I 1 - I V

( No Bs.) I

1h the chap who was sniggerillg a t her. MRS. PEARCE:Yes,Sir. FREDDY And would you give her thesc?

i @ MRS. PEAFiCE: Ycs.rir. FREDDY: You lieedlit rush.1 want t o drink in this s t reet where she lives. MRS. PEARCE: Yes,sir.

I of - ten walked -

I p con tc)ldcrczz

I - B u t the yaie-laent al-ways stayed be- neath nly feet be- fore. - A l l at

Are there l i - lac trees

i

I heart of to;? Can you hear a lark i n

part of town? -

I * I I

ev - 'ry door? I I I I

No, it's just on the street where you

I I I I I I

1 ive. And the tow - er - ing

I " feel - itlg - Just t o know some-how you are near!

V . - I -4 . The , - ' vbr - p&- er - ing fie1 - ing - That an - y

I see- ond you n n y sud - den - lg ay - year! Peo-yle s t op and stare.-

u I - They don't both- er me, - For there's no-where else on earth that I would

Let the time go by; -

oco m e s c

MRS.PEARCE: Mr. Eynsford Hill? FREDDY: Yes. MRS. PEARCE: I'm ter r ib ly sorry , sir . Miss Dool i t t le s a y s she doesn't want to see anyone eve r aga in .

FREDDY: But why? She MRS. PEARCE: Magnificent? Do you have FREDDY: Of course. Tel l MRS. PEARCE: But i t w a s magnificent! the r ight address, s i r ? A her I'll wai t .

m i g h t be days , s i r . Even weeks! FREDDY: Bu t don't you s e e ? I'l l be h a p p i e r he re .

Peo - yle s top and s t a r e . They don't both - e r me. -

I " For there's no - where else on ear th that I would

rath - er be. Let the time g o by, I won't

Eliza's Entrance Clit.: PICKERISG: ... W h a t of t h e g i r l ? You a c t 3 5 i f bhe doesn' t m a t t e r a t a l l .

H J G G I S S : R u b b i s h , P i c k e r i n g . Of c o u r s e s h e m a t t c r s . W h a t do you t h i n k 1)ve been d o i n g a l l t h e s e m o n t h s ? W h a t could p o s s i b l y m a t t e r more t h a n to t a k e a h u m a ~ ~ b e i n g and c h a n g e her i l l to a di f fe ren t h u m a n b e i n g by c r e a t i n g a new speech for her? w h y , it's f i l l i ~ ~ g up the deepes t gulf tha t s e p a r a t e s c l a s s from c l a s s and soul from 5 0 ~ 1 . S h e m a t t e r s immense ly .

Piano

@ PICKBRISG: Miss Dooli t t le , )-ou look b e a u t i f u l . E L I Z A : T h a n k y o u , Colonel P i c k e r i n g .

HIGGINS: ' s? N o t b a d . Not b a d a t a l l .

. - ( I (W.W.sust.) C'7-BSC. I a I poco I

pours a g lass of por t . . . . 7 t

130

No. 15 Introduction To Promenade

Piano

Promenade

Piano

i + (S t r . cued in Br.)

FOOThIXN: Sir Reginald and Lady Tarrington.

FOOTMAN: P r o f e s s o r Z o l t a n

I a Karpa lhy .

Trpt . I ) - - / 1 I I - / I

POOT?rlAN: C o l o n e l Hugh P i c k c r i ~ ~ g .

I I - L " I 1 I R . 1 - -

P' r

@ PICKERIKG: Mrs. Higgins! MRS. H I G G I K S : Excuse me.

PICKERIKG: Mrs. Higgins,do you think Eliza will make i t? ,?II<S. I I IGGISF: O h , I hopc so! l've grow^^ tcrriblp fvlld of that girl.

(So lo

KAHPATHY: Ah, Matstro, hlacbtro!

FOOT31AN: Professor H c ~ i r y H I K K ~ I I ~ , ( ~ ! u l o ~ ~ t r e

NO. 17 Embassy Waltz Czct!: 31RS. HIGGINS: Henry , do you th ink i t w i s e t o s t a y ?

HIGGISS: S t a y ? W h y n o t ? FOOThIAN: Miss E l i z a Dool i t t le . KARPATHY: Ah, P ro fe s so r , you must

introduce me...

Piano

Maestoso

> T ~ ~ u ~ t ~ s y L v a . ? ~ z ' a en ter . They pass E L i z a .

I

A la Viennoise

Ancora ben tenuto

i I

i

(Str. E .H. Bsn.

I

@ Xu.,yalhy gets c loser a.xd c loser t o Elizcl.

(+Br. sust.)

(141\) wul t zes w i t h h ' ~ , as t h e c./o.urd w h i ~ l s about the s l a ~ e .

Entr'acte

Piano

Str. 11! JV. HIIS. aa before!

i

I I (W. w.. I

S o . 10 You Did It

Moderato tranquillo

Piano

(Bsn. , staccalo Bs.) , Y I Y etc .

@ PICKERIKG: H i g g i n s , i t w a s a n immense a c h i e v e m e n t . HIGGINS: A s i I l y notion. If I hadn) t b a c k e d V

-- . ( V l n . A 1,. c e ~ o ~ ~ i ; z . , 7 h 7 f,, $-k Y

r -1, 4

I - I I .I& 1

I r I 4' Ir I I I I 1

myself t o d o i t , I should have c h u c k e d the whole t h i n g up two months ago. PICKERING: Absolutely h n t a s t i c .

@ HIGGINS: A Lot of tomfoolery. PICKERISG: Higgins, I sa lu te you. HIGGINS: Nossense, t h e si l ly people d o ~ ; t

I poco cresc. (Bsn.,Va.)

do i t , And i n - deed

did. YOU should get ' a med - a l , Or be e - ven made a

A HIGGINS:

- I knight. I t was noth - ing

a m - I -

,411 a - lone you h u r - d l e d e v - ' r y ob - s ta - cle in

i A HIGGINS: .

I sight . Now, wait! Now, wait! Give cred - it where it's (HD.)

I I L. - - I 4 * urn 4 * 4 t - rn m u .'

C I I 4tm urn - - - ,

due: A lot of the glo - ry goes to you. ( ~ p . 1

stur - dy as Gib - ra sec - ond did you

A1 - ter, There's 'no doubt a - bout it, You

A Meno mosso

I -A\ did it! " I

8 . . Soft Shoe t e m ~ o

I - NCV - er was there a mo - men- t a r - l u l l . -

a t once we'd eas - 'ly win, And

U.S. $50.00

I S B N 0 - B B L B B - 0 3 6 - 1 chappelllintersong 8

music group-usa

7777 W. BLUEMOUND RD. P.O.BOX 13819 MILWAUKEE, W153213