Download - Charlie Chaplin the Songs of Charlie Chaplin

THESONGS

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THE SONGS OF

C~af{Qie C~apQiVlThis collectors' edition, which has never been available

before, is comprised of songs written by Charlie Chaplin.All are derived from the music he composed for his films.

1 SMILE (from MODERN TIMES) 2

2 SING A SONG (from THE GOLD RUSH). . . . . . 4

3 NOW THAT IT'S ENDED (from A KING IN NEW YORK) 8

4 WEEPING WILLOWS (from A KING IN NEW YORK) 10

5 MANDOLIN SERENADE (from A KING IN NEW YORK) 12

6 FALLING STAR (from THE GREAT DICTATOR) 14

7 WITHOUT YOU (from A KING IN NEW YORK) 20

8 YOU ARE THE SONG (from THE GENTLEMAN TRAMP) 25

9 BEAUTIFUL, WONDERFUL EYES ( from CITY LIGHTS) 28

10 THE SPRING SONG (from A KING IN NEW YORK) 30

11 ETERNALLY (from LIMELIGHT) . . . . . . . . . . 32

12 THE TERRY THEME-piano solo (from LIMELIGHT) 34

BOURNE CO./ New YorkCopyright ©l992 by Bourne Co., New York

International Copyright Secured. All Rights ReservedPrinted in U.S.A.

Cover photo copyright Roy Export Company Establishment

2

SMILEfrom MODERN TIMES

Lyric byJOHN TURNER and

GEOFFREY PARSONS

Moderately, with great warmth

Music byCHARLIE CHAPLIN

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, .. .. .*SMILE, tho' your heart is ach - ing, SMILE, e - ven tho' it's break-ing,

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cl~ds you'll1

When there are in the sky, get by, If you

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~SMILE through your fear a'nd sor - row, SMILE and may - be to - mor - row,- I I 1 ~ I --- j I 1-""'"

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• You'll slee the s'un come shin - ing thru f~r you.~ I -,~ ....... ..

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~ Copyright 1954 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

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@; .. .. +Light up your face with glad-ness, Hide ev - 'ry trace of sad ness.-

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That'sAl - tho' a tear may be ev - er so near, the~

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@}time you must keep ~n try - ing, SMILE, what's the use ~f cry - ing,

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.~ You'll rind that life is still worth while, if you'll just- .l! ~-- ~ - ..

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• SMILE. SMILE.

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4

SING A SONGfrom THE GOLD RUSH Lyric and Music by

CHARLES CHAPLINABE LYMAN andGUS ARNHEIM

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t • I I I -Most all our world - ly trou- bles, AreVamp Just turn your tears to laugh-ter, And

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t - - I Ion - ly drift - lUg bub - bles~ Most all our cares and

joy will fol - low af - ter. If May days you'll re -fJJJ,

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I I·· -- --- .. ....@Copyright 1925 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.Printed in U.S.A.

D7 G D7/AfJ ~ I I I

- I .. .. I ..don't yousor - rows, Are gone with our to - mor - rows; So let them

mem-ber, You'll soon for - get De - cern - ber; In - stead of ask - ing

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• I -fret you, Or some day they will get you, Whenpit - y, Just say you're sit - ting pret - ty Then

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Cm/A GID Em A7 D7 G~ ~ I

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skies are gray, stop work and play, And laugh your cares a - way:you will see, that life will be, A wond-'rous mel - () - dy:

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D7REFRAIN G

~~§.~ L~4~Just smile and swing a-long The while you sing a song Your trou -bles

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fade a - way When you are gay If all your

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~~'i----~~~cares ap - pear As dark as night You'll find it

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~~~-_#~won't he long With just a song,_ They'll be all right, Andwhenyou're

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feeling blue And so un - hap-py too When all the

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S leS are gray And sha-dows fall Things are not

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I You'll find them just a dream If y~uwill s{ng awhat they seem songfJ .IJ, r- I I ~I I I I I ,....

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41 .. ---Swing a -long, too Just smile and too ::>

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8

NOW THAT IT'S ENDEDfrom A KING IN NEW YORK

by CHARLES CHAPLIN

Valse Lente) I

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··, .. .. .. - Ii .. ---Now That It's End - ed, the ro -mance is ov - er, The pas - sion's gone_

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- Like the wind and the rain, Gone are the joys of our

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@ Copyright 1957 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

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. .· ·• "l c;.i'. .. -mad - ness, But the sad - ness goes on and on Goes on and

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I. · · ·, I /" r I I -" -11 "on, goes on and on, Gone are the joys of our mad -

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- ness, but the sad- ness goes on, like an old -fash-ioned song, When I dream, When I

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think of you. you.

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10

WEEPING WILLOWSfrom A KING IN NEW YORK

by CHARLES CHAPLIN

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I've g-ot the weel'ingwil'lowb and I'm step-ping thro' platt: win-dows, on ac . count of you_

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Oh my Lord what6hall I do? What shall I do? I low you 150_ and yet I

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know you can't be true, If I on - ly had the will to get a . way, But you

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©Copyright 1957 by Bourne Co" New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

DmIB DmlB~ DmIADmlCDmC7Dm DmlC DmIB~ . . .. . . .. . .

f • • .nhaw me in a bpdl bothni~htand day_ Youhavtl mtlin yourpow-er, tlv-'ry moment,tlv-'ryhour Leaveme

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f '"now or ld me go, whY,oh why torment me so?

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~ . . · .. . . ... •• • - • • • - - - -I de.,-pise you, i - dol-h;tl you, a-dore you, I im-plortl you, Let me btl free from

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this tyr-an-ny of love __ I'm bttlp-pingthro'1'Iattlwindow6 ov - er you. I~e you.

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12

MANDOLIN SERENADEfrom A KING IN NEW YORK

Music byCHARLES CHAPLIN

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Lyric byGEOFFREY PARSONS and

JOHN TURNER

Slowly, with expression

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~ · ..Ev - 'ry timtl you're near, mU6-ic bturts, and I hear man-do . lins,

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Play-ing on the strings of my heart, whenyou'rtl ntlar, man-do - liDS

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~ ... ... ..Bring-ing me a mem1ry of the joy whenlirbt I found you,

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I©Copyright 1957 by Bourne Co., New York. Copyright Renewed.


13

G7Cfl

, .. .. , ..Likll a Ser· en· adtl tiO gllnt·ly playlld it't> all a . round yuu

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50ft and swett, oneil a-gain, it btt· gins, _- ~ ~ ........

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ntV- tJr hear a song-bird, ntlV - er htlar thtl charms of Ii thous-and vi • 0 - lins, I shall

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.. y'al-way~ht:arthtlmusic whenyou'rtl in my arms, of' thOStl lovtl-ly man - do - lins. -lins._

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14

FALLING STARfrom THE GREAT DIeTATOR

Slowly with expression

Lyric and Music byCHARLES CHAPLIN

MEREDITH WILLSONEDDIE DeLANGE

VERSEF Gm7/C Gdim/C CIF Cdim7 F

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All my life Ive been a lone - 11 loy - er I could - tit dis -

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COY - "r ro - mance.

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@Copyright 1941 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

GmJD CmJD D7 Gm D7/G Gm7~ .

41 .. 'll

Some - where love is hid - ing un - der cov - er. And to

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Dm7 G7 Dm7 G7 Gm7/C Bbm/c C7

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find it III take al - most an - y chance.

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REFRAINF C7/G F D+7-9 D7

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HI I 4 _____4- .. I I I

FALL - ING STAR_ you hea-ven-ly mes-sen-ger from a - bove.

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Find me the one to love, FALL- ING STAR.

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16

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Near or far I glad.; ly would fol - low your wel- come

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~ beams in to a land of dreams, my-~ ,....... '.--- 9. ! I -- I

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star I find this earth so sad and

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411 drear - y with out some love.-/'l .- ~

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•And for help __ I to you a - bove so

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FALL- ING STAR_ while search - ing for some - one who's lone - ly~ - .....- f .. , r .. 1 I f -:-....

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tJ too I'n ride/

long with FALL- INGa - you,

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·· .41 STAR. STAR....

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18

CHAPLIN&MUSICby David Robinson © 1989

Charles Chaplin remembered precisely themoment when, as he said, "music firstentered my soul." As a small boy, living inpoverty in Kennington, he heard a pair ofstreet musicians playing "The Honeysuckleand the Bee" on clarinet and harmonica atKennington Cross. "It was here that I firstdiscovered music, or where I first learned itsrare beauty, a beauty that has gladdened andhaunted me from that moment. "

His powerful response to music wasclosely linked to his comic pantomime,

which was from the start marked by a strongrhythmical, balletic character. Music playedan important part in the presentations of theKamo comedy sketch company with whomyoung Chaplin toured the vaudeville circuitsbefore going into pictures. He recalled thatKamo would achieve comic contrast byaccompanying the grossest slapstick withdelicate 18th century airs.

As soon as he was able to affordinstruments, Chaplin taught himself to playthe violin and cello, and spent hoursimprovising on piano and organ. In 1916 hepublished three songs of his owncomposition. Later he wrote and publishedtheme songs for The Kid, The Idle Class andThe Gold Rush. In the silent period it wasusual to commission professional arrangersto compile suitable accompaniments for filmsfrom published music: these were thenperformed live by whatever instrumentalcombinations each cinema could afford.There is every indication however that asearly as A Woman of Paris (1923) Chaplinwas involving himself closely in the musicalpreparation.

For City Lights, his first picture withsynchronised sound, Chaplin announced thathe would compose the musical accompaniment himself. The orchestrater wasArthur Johnston. "I really didn't write itdown, " Chaplin said, in an excess ofmodesty; "I la-laed and Arthur Johnstonwrote it down, and I wish you would givehim credit, because he did a very good job.It is all simple music, you know, in keepingwith my character."

Chaplin had very clear ideas of what hewanted. He did not, for instance, want thearranger to make the music funny, like acartoon film. "I wanted no competition, Iwanted the music to be a counterpoint ofgrace and charm ... I trieP to compose

elegant and romantic music to frame m)comedies."

The recording was done under thldirection of Alfred Newman, United Artistsmusical director. Sheaves of notes evidentl)taken down at Chaplin's dictation during thlsessions reveal his concern with ever)phrase and note and instrument.

The recording techniques of the time coullnot do full justice to the music however; an(Chaplin was certainly disappointed with thlresult. His assistant Henry Bergmatcommented, "the terrible technicadeficiencies of the medium are too apparenlI don't think they will ever overcome themThirty-five of the very finest artists playe4the score for City Lights so beautifully OJ

the set. Through the mechanics of th

microphone it became something else."

More than half a century later, Carl Davisre-recorded some passages of the score foruse in Kevin Brownlow and David Gill'sUnknown Chaplin. They were all astonishedby the quality of the music, and concurredwith Bergman's view of the inadequaciesof the original recording. They suggestedto Lady Chaplin that the music might beentirely re-recorded. She felt that Chaplinhimself would have welcomed the possibility, and from then on generously supported the project.

At first it all looked quite easy, since theoriginal score and instrumental parts werepreserved - a few missing fragments of theconductor's score could be made up from theparts. When the written score was compared with the original recording however,considerable differences became apparent. Itwas clear that extensive revisions had takenplace in the recordings. Originally thecorrections would have been made on slipsstuck over the parts; but these had becomedetached and lost. Only by painstakingcomparison of the recording and the scorewas Chaplin's final approved versioneventually reconstituted.

"It was evident that Chaplin had constantlysought to simplify, to get rid of arrangements that were too complicated, " says Carl

I Davis; "In this way he was making the scoreI' stronger and also less distracting. It was ar process of intense simplification. " One of the

new arrangers commented sympathetically,"The man who did it must have wept. Hedid some wonderful arranging, but Chaplinpared it down. "

The musicians all listened to the originalrecording before performing each cue, andwould occasionally claim or disclaim noteson the strength of what they heard. Theywere impressed with the original perfor-

mances and worked to capture the instru- the idea of a series of live performances,mental styles of the period: it was essential before the release of the newly recordedto get the right sound as well as the right synchronised version. This is perhaps thenotes. Kenny Baker, who performs on first time that a score written for soundtrumpet, particularly admired the work ofhis synchronisation has been performed, with1931 counterpart: "Such a wet sound he the film, live before an audience. Theseachieved. " performances make exceptional demands on

As the work progressed, Davis, Gill, the conductor and his musicians, sinceBrownlow and the players were more and Chaplin matched his score so precisely to themore impressed by the quality of the original image, primarily intending it for recording inmusic. Even so, they did not anticipate the the studio, fragment by fragment.extent of the problems of fitting score tofilm, given the precision and subtlety of Everyone concerned in the project, how-Chaplin's counterpointing of his musical ever, agrees that they are more than re-themes. In the end several additional record- warded in the outcome, by their fuller re-ing sessions were needed to do justice to cognition of Chaplin's extraordinary musicalChaplin's conception. understanding, and by the chance to offer

this special birthday present for the cen-From the start Lady Chaplin had approved tenary of the cinema's greatest personality.--"""'!I!III_-

Photos copyright Roy Export Company Establishment

20

Lyric byIRVING GORDON

WITHOUT YOUfrom A KING IN NEW YORK

Music byCHARLES CHAPLIN

ModeratoI <1-: • -.........1 <1-- • -........... I --- --

.. T I ... ~mf

.-0 • L L.

1 I I ~

~Eb Edim Bb7/F Fm7 Bb7 Fm7

r

I 1

t.,. 061- 7Ji v 06- ..All a - lone on streets of gold as the mom - ing

~ ---------I" 1~ ~

--------t.J ,.

06- 7Ji v ,.- ~ r r ~ F ~06- r ..

mp ~ r ~ ~ t1 I I

q.. v' '" .~.

v'

Bb7 Bb7/Ab Eb/G Bb7/F Eb Ebdim Eb GbdimI

• I I I v ..light un - folds. With - out you, I walk a -

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.. .. ..~

..Fm7 Bb7 Eb/G

~ I I

, , v 7Ji I

round like an aim - less vag - a - bond.

--- ------/I I --t.J ~ f r ~ " :: F ~ r F

v - .." ~~~ I ~

v' 71. 71.<0 Copyright 1992 by Bourne Co" New York,

All Rights Reserved, International Copyright Secured.Printed in U.S.A.

21

Eb Edim Bb7/F Fm7 Bb7

r

,. I I I

t.J I -9 Y '",

- With - out you, the streets are cold. With - out you it's

I ,-..... ---------:- -- ~,,-,"II '. -9 - Y '" ,..- ~ r r ~ ~ ~

,f f~I r t ~ t

I I I

~ .. Q' Q'

~

Bb7/Ab C7/G C7 Fm Abm/F Eb/BbI

• " I Ijust fool's gold. An emp - ty dream that can't come true,

---... I .--- ---;----.." I .....--:- I I

tJ t r r ~ ~ ~ t 'f ~ r ~ T ~ r r:6t "'. "'.

II to INTERLUDE

r

EbBb7/1.Fm

I

, 'd ~h ---------no, dar - ling, not Wit - out you.

I ~ ----- II -I

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LJ ~ I J I I II mf

~. r' I

Fine

\2.Fm7 Bb7 Eb Ab Ab/Bb Eb

I

, I I

not with - out you.

----- I ----~ I I I I Fine

4) ~ i i ~ I I t- r r 'l;' I r I

(;I'

?;. -9' ::::;: i :!06 i

22

INTERLUDEDdim D~dim Ddim E~/G

" II ,........, I ,........, I 1--- I -

ItJ t I t 'f t I t r r ~ rmf

p.' ~p.. qp.. ~ --- ----I . -Eb/G Bb7/F Eb Fm7 Fm7/Bb

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-.J ~ r t f r-- IF ~...

~ r ~ r--- --- (jI'

B~7 E~ GmID emI --- ----- ---

-.J t r t f t r "'" r ,g'

t t r r~

.7). I

CmfBb Ddim Dbdim Ddim B~7/AbI - ,........, ,........,

• YJ I

Life _ with-out you is a cloud that will nev - er clear.

A I ~I roo--- I roo--- I ~

-.J

~r... .. t r t v'l t '1r ~ r rmp

.,------- 19- • L 19" • L. 19" --=--1"--_ •

I-

E~/G E~/G E~/G B~7/F E~ Fm7 A~mfF

23

II I - - I I

-.J I I I~.

.,;Mo - ments with - out you all seem like years; and the laugh - ter of chi! - dren turns

~ I I - I - I~ ~ --=-----~ ~ f ~ f t f r,-"f ~

-.J ~ r ~ T---- ---- - "'" (/'

B~7 E~ A~6/E~ E~II I

, -----in - to tears with - out your love.

II I -:--... ------ --- ~

t.J~ f ~ F ~ r r ~ , , ~ ~ ~ ~

~-.}

-===

71, ~' .g' .g' ..E~ GmfB~ E~ B~m6/D~

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, I I .. I IWith - out your love there's no rea - son

I .---:- I ~

Ilei > I I g.. I ~ 1;" r r j!) '. ~ ~

f~ ~>

~ - ~

<?'

-6'~.

.;5' In;,

C+7 C7 F7 B~ Bdim Cm F7" I

-.J , J"..ooooIto be liv - ing. I just drift like a lost Gyp-sy

-------I ---- ~

• ~ T T~ ~'r r ~ T ~ f ~ -r

dim.mf

~'Co • :;; Cfi ~ , '" '

24

Bb Gm CmjEb D7 G Bb7/F'" I I

• I I I ~ --song, my world is a world gone all wrong.

" I ~I ~ r--I

-.J ~ r ~ r ... ~ r ... .. '~ r ... .. ~. I I v:" . I If .-/ fcresco f f f

'" L.• '6' ~. :: co

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Eb GmfBb Eb Bbm6/DbI

• I I o- f IWith - out your love, there's no Christ - mas

" 1 ------- I ~

-.I > I I ~ I i ~. r r ~) '. t r~>

f f -",.

,'6' .;5'- tJ?;.

?;.

C+7 C7 F7 Bb7 Cm Fm7 Eb/GI I

• '" Io.oo-oi I ... .or Thanks - giv - ing. So come back, dar-ling, come back to me. Till you

----- -------I .---T ----- ~ I

• ~ T ," f q'f f ~~ f f ~ i ~ r .. .mf

dim.

I

:;'....

~. :;. too •

em FmfAb Ab7 G Bb7 D.S. alfine1

•come back to me a -All----be.I'll

"

r r---...

rI ........

•

Lyric byGLEN ANTHONY

With feeling

YOU ARE THE SONGfrom THE GENTLEMAN TRAMP Music by

CHARLES CHAPLIN

•

I I I ~ ~ I~

.. I I I I r r r r • I • I r rmp

CJ 7:f

F Grn/F C7/FII

U ... .. I

My love you are the song That sings in - side of

...-----;- ------I .. .. .. I

mp

... ... ... ... .. .. .. • .. .. .. ..,

F F7 Bb/F F ArniE Drn7 Grn GrnfF C7/E C7- •

41 3 I I

me. The song is aI-ways the same; __ It starts with love and ends with

----........ ----= .- ----• 3 I

... ... ~!: ~ ... .. .. .. ... ... ... ... .. .. .. •

I I I

Bbdirn/F F/C F Grn7/F C7

"U I ... ...

your name. The more that I love you There's

~ ~ ..----41 vr -9 ... .6J.__________... ?J. ...

I ... • ...• •

@ Copyright 1974 & 1978 by Bourne Co., New York. Copyright Renewed.This Arrangement © Copyright 1992 by Bourne Co., New York.


26

Gm7jF C7 F F7 BbjF

" •

~ I 3more in you to love; And yet I just don't know

" I I I .-

-.J "'-------. l..--J 3

.- ... ... .- ...• • •

Fm7 Bb73

C7Gm7jF3

F

" - - - I-~ 1 ."

how I could love you more than I do right now. They

---;---_31 3 ---==---- -- I" - - -

I-.J '" -------------. ~ b'r

,..mf

~ • .. I

• 1 • '" ~

Eb Cm Fm7 Bb7 Fm7 Bb7" I

~ ."say that love grows old, But our love turned to

I~ --- ~ ~

,t i - - r r ." r I rr r

""'""I I J061- • -- '-' :;t

Eb Eb7 Ab Adim7 EbjBb CmI

41- I I - 3- 1

gold. You kiss my sor-rows a - way; You warm my

I r-i ------I I ---- I I

I-.J --------r I vr I ---------- 3 r I r I r r

-, I I I I I-...----.---..- ... I I

Fm7 Bb7 AbdimjEb Eb Eb CmI

.. r I .."heart; What more can I say? Each day my life is

It I ~ I ------- --- =====-------I

t.J .." .. . ... q... ~ .." r r-I

..~

4" "*!- ---Fm7/Ab Bb7 Fm7 Bb7 Eb/G Eb7

It I

IJ .." I I

new, For God blessed me with you; And

~ ~ ~

I I

• r r r ..,; "1 r r: J r r I T! I J-- ... -- ..

l.- - r I r I l....-o ..-Ab Adim7 Eb/Bb Cm Fm7 Bb7

I

.. - ;- I

when my life is all through With-out a word You al- ways

" II r--1 I ~- ------

t.J ----- I ..J..-,.,j "1 r [..1 r-3

~ hl~ ~-

! I J

r I

Gm7-5 C7 raU. Fm7 Bb7 Eb Ab6 Eb6

r

I ...-.....

• I

knew That all of my life, _ my life was you.

I~~ - t:\- .- " .I .. T ~ raU. I I - I

= f - p

........-------.. -r J .[ - It:\

- """T I I

r I J........o -:J. .-------- - ..--------- -6 •-

28

BEAUTIFUL, WONDERFUL EYESfrom CITY LIGHTS

by CHARLES CHAPLIN

Moderato

"'.lJ, ~ ------ ~I i'I - 1 I

t.J r ~vr r ~T 11*"'::"mf

.------.. r-r-iI i ~" ---- •

... - ... - .. :;t I *-----'"

VERSEE E#dim B7/F# B7 E

.lJ, I1oס I

t I I

I can't for- get when first we met be-neath the star - ry skies.Through all the tears, through all the years, the vis - ion nev - er dies.

--------::::::'" .lJ, It r' I I - I - --

tJr r r ~ i ~ ... :::.." ... II'" r [ r

p

r-r-r1

* - .. ;t4 .. :;t :;t ...~

E#dim B7/F# B7 E7,..lJ, 01+

L '"

tJ IBut most of all I would re-call the mag-ic of your eyes.A - gain I see in mem-o - ry, the mag-ic of your eyes.

.lJ, ~---:::::::::.

I I IL '"

1'"'"""1 - I -I

t. r r r ~ i ~ ... :::.." ...~fU

..-

* - ... ~.. :;t ...

© Copyright 1929 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

REFRAINAm F7 Am

/I I

t .........Beau - ti - ful eyes, _ what have they seen to make them so beau - ti - ful?------- :::::::

~II ;;;::::; -.,---------

1\ I I I I I T

tJ r " I I ... I I r '~~ - ~

p-f~ ~ •

I • •

E7 Am

" -tJ ""'--ool

Won-der - ful eyes, _ what have they dreamed to make them so won - der - ful?------- ~I - ~I I I I I

t.r ~ I I u • ~ - ...

~ • ~ •

... - ... - I I

F ArniE F#dim F7-t .........

Sor - row - ful eyes, _ what have they lost to make them so sor - row - ful?

---------- ~I -- ~I

t -e- - -iI 11'- "'-"- - .,

--- --- ---- 0.. - .. ~ . +I- "'-"- '1-

E711.Am F7 E7

112.Am Dm A

r

- r..

t I

Beau - ti - ful, won - der - ful eyes. eyes.

~ r=-=------- --- ~j J I ~ J- I I -

• '1 __________ - +I- '1- r I - r I

r-1 I I b~ ~~ I f e .1:~

~ I ~

30

THE SPRING SONGfrom A KING IN NEW YORK

Moderato by CHARLES CHAPLIN

I .r-T I I I I )r--. ~. - I·• ··I 'I r - -

mf V-J ===----r"rit.)/' ..., -....... .., -

v

B~ D~dim em F7

..

,. I --, · .,Spring's the time for mak - ing love When the

,. I .· ,. .

i) • r· f '1r I r .r t - I r"-'v/-

I · r.; I I ...

F7 F7+ Fm/G FmID G7f\ I - . .i)

.... ./ •skies are blue a - hove. Spring. oh Spring. e -

L I

~d. .., ~1 ~ r~r

~ t r t ~ -or; • •~.

/ .-

COO' '" ~

~ ------ 71 I

Cm C7 Cm7/FI

~., . I I

ter - nal Spring. of thee I sing. For I'm in love,

A I. .....-.,

~llt .JiL' ... : .'1- .... "" IIr"V" -

) I 1 .J -." I ] J

I

-:j. .--/ .."

<0 Copyright 1957 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

..,1

F9 F-9 D~dim CmI .

t.> I

SO, Don't lose time but fall in love.

~ I I

~ .r~r ~ j' ~f ~ "T j r ~

:..r 1:"

~

...,. -- (7 I I - ~.-/

FmlG FmJDBbF7+F7(} I .i) - "- ...-""

While the skies are blue a - bove. Time flies

t1 l- I

. .i) I r: ~ ~f I r qr r .u. 1 r re:

"T

r;.- " (;7

~ .------ ... -rJ

G7 Cm Cm7 F7(} I -

• .• - I

by, don't live to sigh But fall in love, in

A I I

.i) ~v. • ... ... lP-"""=: 1---'" !" "!" "!" -r JJ'-I"::' :; - " \ I~I.-

- I~ • ~

112 B~F7Gb7/Db Cfl L. m .

1":'1

fl! I Ilove. love.

1":"\

~ I i:...--r - ...i) e;", ... ...

~ r I;;r-r • If - I

t:\

• I I Gi • =i

32

ETERNALLYfrom LIMELIGHT (The Terry Theme)

Lyric byGEOFFREY PARSONS

Music byCHARLIE CHAPLIN

Slowly, with great feelin~,.. I --- ;;;-... ~ J I

@) mfr-.. r- -P r I -- -

= ratl1- r--'I .~~. - ~ .. •.

I •l

Refrain Bb F7I

.@ I'll be

.rE TER -NAL - LY,loy - lIlg you --- I I I

@.

~tem~~I I 1- r ~ r 1= -====

TTIIp - m =·-

I - fJ·

F9 Bb,.. I

I@)'With ~ love that's true, E - TER - NAL - Ly. I

r. I -- I - I

@ # i : ~ r r 1- r #- r r: =-"". - "",.

F7ten1\ I - 1

@) • • rseems I~ve al - Jays known, The sun wouldFrom the start, with - in my heart, it

ten"l I -- I i i :;--""-1---- ...... -- ---

@. f' • P"- --~ ~ # -, -f # f..J ~. 71-- r--"\ ,J J ...·

I I 'J'

F7-9Cm7BbF+Cm7'\ I

@ \~ . ""'- _<J

shine, when you were mine nd mme a - lone.R1\ ,--..... - - .R I I

@ ~

~ r ~

r~'" r # 1---=-=vi r [I ==-=------. ~. ~ 6. ,,",,.

·<J'

© Copyright 1953 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

JJ

F71\ I

I~I'll hI'

-Tloy - ing you E - TER - NAL - LY,

1\ I ~ I I --- I

!J f. r = I I 1 r --,..- _r -,= =----

-- c;I.

F9I •

~There'll be

rfor

, Ino one ne\\', my dear, me.

f\ I I~ I 1 -- I

~I~ ~ r -= ~ r r ~ r ~ r r-=') --r -

'J' - 'J.

F7~ I

,'/II •

I ~ • • r ,~

Tho' the sky should fall, re - nwm - her I shall al - ways he For - (~V - ert~ /I

f\ I .--- 1 i~ -r--- -...

@) r- • p r t_f f 'I f--j. :;I --- r---r ..J J ... ..J

t I c;.

Cm7 F7 Cm7 F7-9

Bb6F7·9Cm7F7E~m6Bbdim'\ I -.~ LY. I 'LY. T

~j.i --....1 - ___ I--....1 I I

@ • I T rrz"t r-- - v-':';

.,.. b~ -- ;-..... f . ..J ..l- ;r ==---• I I

f\ I

I~true and loy - ing E TEH - NALyou - - -

f\ i ----..... - .- 1 ---!J ~I r ~ f f

~! --t-i---I.J J L J I

",. I t t J

34

Piano Solo

THE TERRY THEMEfrom LIMELIGHT ("Eternally")

Andante (rubato) by CHARLES CHAPLIN

m~J")-~ J .J Jl---.IJ-I~"l

, I I I J--

mp~ ~ .--y--... J..- --- .. -&--..

'c.. -- '- I r I f'~ I-

--------

~ ,

----------

1lII~f"':\. -:

""'I II I ~,~}.,

·-..- ...... .. -~·re

S· •• ~t·r~< :;-; ~ . accel. -= 7·Z~

......-..-"';------... I.p I --- ~1t9"

I · ·· ·~ ~ ~~ I ~

Tempo I

--.J.L~al ~ I~~"l .t

t I I 1

~<~ J.-- - .#" .~ -e-

t ··....- -- ............ I .... I ~ ~ I

-------------- ----

.--.... ,

1':\ ----p

©Copyright 1953 by Bourne Co., New York. Copyright Renewed.All Rights Reserved. International Copyright Secured.

Printed in U.S.A.

35

.>-~. --r" r r ~.

--- .>-

n=ft -- ---~

------ -: tell.

~ n lU--1 ~J

~

1"':\

L.R.

L.R...~ ... T I ..~$!- It ... - ~~II-:

I 4 r ---.-' ........ ~= = /p- f< = = C'.R.B.-- J.--.J -=--- '--:::::"1 n~lI 1 1 .... ~I

I- ... '-'

~. ~ ~.(7 '-'

~ II II

, 1"':\a ~ I I I ~

~~ I -

I4 - - --- - -r .,

~ 1 1- T 1'---"p :::::-- J 1':\~-;

rz't. e dim. ::::::::=--, I 1"':\I~'" ~~ --;

In'- """""'-.... ...

:;j~ I~~r

.

Photo copyright Roy Export Company Establishment

ROBERT DOW.NEY, Ir. as CHARLIE CHAPLINfrom the MOTION PICTURR~- -

Charlie Chaplin and The Little Tramp TM and Copyngm 1:1:1..!. DUOO1~S, me. ,:).1'\. 419351