Musical

Go to newest post
Niki

Niki

Administrator
Staff member
Musical (15)

Individual songs:
And All That Jazz WSS - Ebb-Kander
Cabaret - Kander-Ebb
Everything's Alright - Andrew Lloyd Webber - Tim Rice
Hello Young Lovers - Richard Rogers
If I Were a Rich Man - Jerry Bock
Memory (Cats) - Andrew Lloyd Webber - Trevor Nunn
My Conviction (Hair) - MacDermot- Rado-Ragni
My Favorite Things - Richard Rodgers
On The Street Where You Live 310 - Lerner-Loewe
Spiderman - Webster - Harris
Sunrise Sunset (Fiddler on the Roof) - Jerry Bock - Sheldon Harnick
Surrey With The Fringe On The Top - Richard Rodgers
They Call The Wind Mariah - Lerner-Loewe
Tomorrow - Charles Strouse
Whole New World, A - Menken-Rice

We collected the chord charts you have posted.
Please keep posting songs from Musicals into this thread and we will merge them with this playlist.
Thank you for all the collaborators for sharing them!

Somewhere That's Green by Alan Menken
Posted by Steve

Maybe This Time by Cabaret

This isn't a great version, but there is no other one on the forums. The chords are quite complex, so I sometimes left out changes in the bass. It looks very ugly! At some points I've done slightly odd things to try to get the right feel.

"I Dreamed a Dream [From Les Miserables]"
Composed by Alain Boublil / Claude-Michel Schönberg / Herbert Kretzmer / Jean-Marc Natel
I Dreamed A Dream - Unknown Composer

Here is the chord chart for a jazz choir arrangement of ALL THAT JAZZ
:))BOB
And All That Jazz WSS - Ebb-Kander

From Paint Your Wagon
They Call The Wind Mariah - Lerner-Loewe
:))BOB
 
Last edited:
Try To Remember - Jones-Schmidt (The Fantastics)

"Try To Remember" is a beautiful and simple waltz from the musical The Fantastics by Jones and Schmidt. It premiered in 1960 and was first sung by Jerry Orbach (of later Broadway and Law & Order fame) in the original cast. It is in AABA form. I have included melody cue notes in text fields above some of the chords.

A lead sheet for "Try To Remember" can be found in The Ultimate Fake Book, The Ultimate Broadway Fake Book, and The Original Musician's Legal Fake Book.

This is not really a jazz tune, but I think it belongs here rather than in Pop, Rock & Blues.

Try To Remember - Jones and Schmidt
 
Last edited by a moderator:
Hello Nimbleswitch.
A great collection!! Thanks.
A few pointers:
- the 7 in ø, o, and ∆ chords is redundant. You can omit it (as in normal music charts) since the player will recognize them anyway. Saves space, too. ;-)
- having the author field different with the page numbers is a good idea, but will show as many different authors in the "authors" list. I suggest giving identical authorship (and just Bock is necessary for economical rights assignments, at least in Italy) in order to have all the songs under the same author (and you could perhaps edit your post to reflect changes, rather than repost).
- page numbers could be indicated as text in the chart itself

Thanks again for the work done, and yes, would be nice to have invisible-chord-with-bass-note play autonomously... :)

A question: why the underscore at the end of the chart names?

Cheers,
David
 
Hi, David. Thanks for taking all that time and thought with your responses.

-I added the "_" after each tune name because a few of the songs were already in iRP and, although they were very different arrangements, iRP does not permit you to have two versions of a song with identical names.

-All of your comments are good ones.

-Regarding ∆ being equal to ∆7, etc., I knew about that but I thought that those who didn't know would see the 7s in the book and might think I had made errors by leaving them off and distrust my charts. I'd sure like to save that space in a few places, though. So maybe I'll make that change anyway, at least where space is a problem. (E.g., in "Rich Man" I had changed some of the Gm7♭5 chords to Gø7 to avoid overcrowding, but I felt I needed to insert a text note saying they were the same. I'll knock the 7 off those for sure. You may have noticed that iRP won't let us omit the 7 from a m∆7 chord, though.)

-Regarding the authors' names, I've always felt that lyricists were under-recognized. And I don't quite yet see why the same tune showing up under various "Author" searches is a particular problem. Perhaps you could expound on that?

-Yes, page numbers could be anywhere in the text, but some of my charts already are crowded into 13 lines (systems), so finding a consistent location, tune to tune, for page numbers in the text, isn't always easy. (See, e.g., "Rich Man.")

-Thanks again for your comments, they are very good ones that I will consider.

Perhaps I should have sent this to you by PM, I dunno. If admin prefers that I change that, I certainly will.
 
Last edited:
Porgy and Bess songbook.

Here are detailed backing tracks for a specific Porgy and Bess piano/vocal songbook distributed by Hal Leonard for Alfred: HL00322142 (2009), currently available from Amazon. I did my best to get iRP to Playback the 12 very detailed song arrangements as closely as possible to the book's charts.

[REVISED 2015-01-21]

Porgy and Bess (HL00322142) (13)

Individual songs:
Brief Notes re This Porgy and Bess Songbook_ - Geo. & Ira Gershwin-Dubois & Dorothy Heyward
Summertime_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.17
Woman Is a Sometime Thing_, A - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.20
My Man's Gone Now_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.24
Leavin' Fo' De Promis' Lan'_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.30
It Take A Long Pull To Get There_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.36
I Got Plenty O' Nuttin'_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.40
Bess, You Is My Woman_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.44
It Ain't Necessarily So_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.53
What You Want Wid Bess?_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.59
I Loves You, Porgy_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.64
Red Headed Woman_, A - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.71
There's a Boat Dat's Leavin' Soon for New York_ - G. & I. Gershwin-D. & D. Heyward (HL00322142) p.76
 
Last edited:
Hi, David-
I'm a bit gunshy now regarding the Keys I've indicated. My usual, albeit primative, procedure is to note the key signature and figure, e.g., "Two flats, so it's either B flat major or G minor," then I look to see if the final note or chord is one or the other of those, and go with that. So, if you find reason to consider the key of any of my postings as something else, please correct me, okay.

Jack
 
nimbleswitch said:
Hi, David-
I'm a bit gunshy now regarding the Keys I've indicated.
Click to expand...
Don't be - nobody's been shot for setting a chart key wrongly... Yet... ;-D

My usual, albeit primative, procedure is to note the key signature and figure, e.g., "Two flats, so it's either B flat major or G minor," then I look to see if the final note or chord is one or the other of those, and go with that.
Click to expand...
Exactly how it's done. A general review of chord sequence will then confirm or contradict that indication.

So, if you find reason to consider the key of any of my postings as something else, please correct me, okay.
Click to expand...
Since you mentioned it, I went to look over what keys you set in the "Fiddler" and "Porgy" songbooks, and found nothing amiss in the "Fiddler" one - its music is pretty straightforward.
In the Gershwin opera, however, the harmonic sequences are often very "irregular", and so it *is* difficult to determine a definite key for some songs.
Some indications in how to determine key from chords follow:

- IT TAKE A LONG PULL: song begins in G major, moves to G minor. Melody would help, in this case, to decide, but it's definitely G ;-) . I find nothing wrong in saying it's in Gm (I would prefer G because it's beginning key, but without seeing melody Gm is fine)
- BESS, YOU IS: song begins in Bb, moves to D, then F# (probably 2 flats in key signature that change en route?). Bb is ok because it's the starting key of a multi-key song
- RED-HEADED: the song is in Bb (you set C). There's Bbs all over, F7s before them, and C7s which are secondary dominants. A give-away is Gb7, which is flatted VI of Bb. Song also begins and ends in Bb (not counting Intro). No flats in chart? Bad choice by publishers... ;-D
 
Interesting! You nailed it, David.

In this particular P&G songbook. Including repeats:

"It Take A Long Pull" is charted with 9 bars in 1 sharp, followed by 10 in 2 flats, 8 in 1 sharp, and 10 in two flats, all sung by a single character (Jake). No unsung intro. I changed it to G.

"Bess" is charted with a three bar intro in one flat, then Porgy sings 20 bars in 2 flats, then Bess sings 22 in 2 sharps, then Porgy 6 in 2 sharps, Then both sing out 37 measures in 2 sharps. Would you set it in D, then, since it's there most of the time, including the end?

In "Redheaded" Crown sings only the first 7 bars in no sharps or flats, then it shifts to 2 flats for the rest of it. I should have changed that to Bb for sure, just flat missed changing it.

Thanks, once again!
 
Last edited:
nimbleswitch said:
"Bess" is charted with a three bar intro in one flat, then Porgy sings 20 bars in 2 flats, then Bess sings 22 in 2 sharps, then Porgy 6 in 2 sharps, Then both sing out 37 measures in 2 sharps. Would you set it in D, then, since it's there most of the time, including the end?
Click to expand...

No, I would leave it in Bb because it starts out that way. Whatever changes come later in a song I would disregard, since - for iReal charts key-setting purposes - we must choose one key, and it would be easier to think of it in terms of the initial key, rather than a subsequent one.

In "Redheaded" Crown sings only the first 7 bars in no sharps or flats, then it shifts to 2 flats for the rest of it. I should have changed that to Bb for sure, just flat missed changing it
Click to expand...

That last pun was fantastic! Well done!!!
 
Kalokagathon said:
easier to think of it in terms of the initial key, rather than a subsequent one.
Click to expand...

I agree. Lots of tunes have actual key changes (either integral or arranged). Mack The Knife and Fever come to mind. Set the key where it starts. If desired, add a text note "KEY CHANGE- up -3rd” or some such.
If you state an actual key in text, eg. Eb, it won't transpose along with the chart.
You might add "KEY CHANGE TO" in text, raise it above the line, then add the new key as an alternate chord, that would permit easy transposition of the chart.

If the song starts with a ii-V-I, don't label the key as ii. It still should be I. Remember, some tunes may start on the IV.
Some tunes start way out in left field and then wander all around taking the long way home. In that case, I'd select "home" as the chart's key. That would help my "gps" when playing it.
.
In sheet music the key signature is necessary to facilitate reading/playing the notation.
In iRp the song's set-key should be an easy way to get everyone on the same page rather than an exercise in musical correctness.
That said, when the pianist signals "two fingers down" I'm gonna be ready for Bb/G-.
Please take care when signaling G/E-....
:))BOB
 
Last edited:
pdxdjazz said:
. . .
If you state an actual key in text, eg. Eb, it won't transpose along with the chart. You might add "KEY CHANGE TO" in text, raise it above the line, then add the new key as an alternate chord, that would permit easy transposition of the chart. . . . BOB
Click to expand...

Another good tip! I've used this with practice charts but did not think of using it in conjunction with Gershwin's key changes. Yet another re-write coming!
 
And when we say "initial key" we are disregarding whatever measures of truly Intro material may be there, right? As in the opening few bars of "Bess" or "Leavin'" or "Red Headed," right?
 
Musicals (32)

1. Somewhere - West Side Story
2. Tonight - West Side Story
3. On The Street Where You Live - My Fair Lady
4. Wouldn't It Be Loverly - My Fair Lady
5. I Could Have Danced All Night - Frederick Loewe
6. I've Grown Accustomed To Her Face - Frederick Loewe
7. My Favorite Things - Richard Rodgers
8. But Not For Me - George Gershwin
9. Embraceable You - George Gershwin
10. I Got Rhythm - George Gershwin
11. Nice Work If You Can Get It - George Gershwin
12. Someone To Watch Over Me - George Gershwin
13. Summertime - George Gershwin
14. They Can't Take That Away From Me - George Gershwin
15. Matchmaker Matchmaker - Fiddler On The Roof
16. If I Were A Rich Man - Unknown Composer
17. King Of New York - Newsies
18. Santa Fe - Newsies
19. Seize The Day - Newsies
20. I Dreamed A Dream - Les Miserables
21. Oh, What A Beautiful Mornin' - Richard Rodgers
22. Surrey With The Fringe On The Top - Oklahoma!
23. Some Enchanted Evening - South Pacific
24. Till There Was You - Music Man
25. All I Ask Of You - Phantom Of The Opera
26. Wishing You Were Some How Here Again - Phantom Of The Opera
27. Memory - Cats
28. Man Of La Mancha - Unknown Composer
29. I Get A Kick Out Of You - Cole Porter
30. Anything Goes - Cole Porter
31. You're The Top - Cole Porter
32. It's De-lovely - Cole Porter

Revised

Memory (Cats ) - Andrew Lloyd Webber - Trevor Nunn
 
Summer in Ohio - The Last 5 Years

I'd been looking for the chords to this song forever and finally got around to transcribing them by ear, thought I'd share in case anyone else wants them: Summer in Ohio from The Last 5 Years

Summer In Ohio - Jason Robert Brown
 
Last edited by a moderator:
You must log in or register to reply here.

Similar threads

S
SaiLovesVinyl charts
Replies
1
Views
444
pdxdjazz
pdxdjazz
A
Adrian Perger charts
Replies
3
Views
467
pdxdjazz
pdxdjazz
DaveBuergerOnBass
  • Locked
DaveBuergerOnBass list
Replies
0
Views
694
DaveBuergerOnBass
DaveBuergerOnBass
L
I Don't Know How to Love Him - Andrew Lloyd Webber
Replies
1
Views
6K
pdxdjazz
pdxdjazz
Niki
  • Sticky
Jazz 1460 Standards - Individual Songs
Replies
1
Views
302K
Niki
Niki
Back
Top Bottom