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September 7, 2017 | Author: ROx Solano | Category: Walt Disney, Leisure, Entertainment (General)
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Seleccion de Canciones clásicos Disney! Piano, voz...

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The l\ew lllustrated Treasury of

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PIANO.VOCAL.GUITAR

The l\ew lllustrated Treasury of

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The following songs are the property of:

BOI]RI\E CO. Music Publishers 5 West 37th Street New York, NY 10018

Baby Mine Give A Little Whistle Heigh-Ho Hi-Diddle-Dee-Dee (Án Actor's Life For Me) I'm Wishing l've Got No Strings Some Day My Prince Will Come When lSee An Elephant Fly When You Wish Upon A Star Whistle WhileYou Work Who's Afraid Of The Big Bad Wolf? ISBN 0-7135-31t5-r{ Disney characters and artwork O Disney Enterprises, lnc. For all works contained herein: Unauthorized copying, arranging, adapting, recording or public peñormance is an infringement of copyright. lnfringers are liable under the law.

Walt Disney Music Company Wonderland Music Company, lnc.

Y.H"#.=t#,:-'*:sx' ln Australia Contact:

Hal Leonard Australia Pty. Ltd. 22 Taunton Drive PO. Box 5130 Cheltenham East, 3.192 Victoria, Australia Email: ausadmin @ halleonard.com V¡s¡t Hal Leonard Online at

www.halleonard.com Pr¡nted in Hong Kong

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MARY POPPINS, 1961

87 89

A Spoontul of Sus¡: Supercalifragilisticexpialidocior.rs

THE IUNGLE BOOK, 196:

DUMBO, 1911

93 96

53 Baby Mine 57 When I See an lrlephant Fly Minnie's Yoo-Hoo

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WHITE ANI)

THE SEVEII DWARFS, 1937

SONG OF THE SOUTH, 1946

63

Zip-A-Dee-Doo-Dah

SO DEAR TO MY HEART, 1949

65

38 30 34

Heigh-Ho

Some Day My Prince Will Come

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36

Whistle While You Work

CINDERELLA, 1950

44 17

Give a Little Whistle

50 17

I've Cot No Strings

Hi-Diddle-Dee-Dee (An Actor's Life for Me)

When You Wish Upon a Star

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\\-ait,:r: . THE MANY ADyE.\IL hN-i : 1O2

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68

A Dream Is a Wish Your Heart Makes

7O

Bibbidi-Bobbidi-Boo ('lhe Magic Song)

ALICE I¡J IVONDERLAI{D, 1951

72

I'm Late

PETER PAIJ, 1953

74 76

The Second Star to the Right You Can Flyl You Can Flyl You Can Flyl

LADY AIND THE TRAMP, 1955

80

Bella Notte (This ls the Night)

S¿EEZ¡\rG BEAUTY, 1959

82

Once Upon A Dream

101 DALMATIAI'IS, 1961

84

Cruella De Vil

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105 Winnie the 1,,. 107 The Wonderf¡"rl I:: '

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About Tiggers PETE'S

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Someone's

IX4¡ü¡ü18 THE POOÍL

Lavender Blue (Dilly Dilly)

l'm Wishing

PT{OCCHIO,7910

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THE RESCUERS, 197:

Big Bad Wolf?

S^"OI,Y

99

67 Little April Shower

Who's Afraid of the

''

Trust in lvle tThe l-,,:t--

THE ARISTOCATS, 1971'

BAMBI, 1942

24 27

The Bare \ecer:i:..:

109

DR,1GO\" 1q, Candle ol-r tl-rr',\-.,:

THE FOX AND THE HTIL \,. I

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Best

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ii':. .''' THE LITTLE MER-\Í.IID. ]-,¡,

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115

Part of Your \\'o¡1;

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Under the

Sea

BEAUTY Al'¡D IHE

BE.iSf

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724 Be Our Guest 128 Beauty and t]'re B¿:¡: ALADDII], 1992

133 Frlend Like \le 138 A Whole Nerv \\'or-: THE LIOI'¡ KING, 199-}

154 149

Can You Feel the L,

112

Hakuna Matata

Circle of Life

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AIDA,2OOO

2O7 Written in the Stars THE EMPEROR§ ¡IEW GROOVE,

212

2OOO

My Funny Friend and Me

AIlAlr¡T1S; THE LOST EMPIRE, 2001

218

Where the Dream Takes You

MONSIERT II'¡C.,2001

224

If I Didn't Have You

ULO & STITCH,

231

2OO2

Hawaiian Roller Coaster Ride

TREASURE PLAI]ET, 2OO2

235

I'm Still Here (fim's't'heme)

BROTHER BEAR, 2OO3

239

:ral-;

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Friend in Me

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OLD YELLER, 1957

215

Old Yeller

THE PAREI¡T TRAP, 1961

251

Let's Get Together

Castle in Spain

NEWSIES, 1992

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253

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BABES n\r TOY¿A¡\ID, 1961

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Look Thror,rgh My Eyes

Seize the Day

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DAVY CROCKETT

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Heart

258

The Ballad of Dary Crockett

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THE MICKEY MOUSE CLUI]

261

Mickey Mouse March

:rt.- Lor-ed Me

,:. 268 263

It's a Small World

27O

Yo Ho (A Pirate's Life for Me)

Promise

272 SONG INDEX

He once described his role this way:

My role? Well, you know I was stumped one day when a little boy asked, "Do you draw Mickey Mouse?" I had to admit I do not draw anymore. "Then you think up the jokes and ideas?" "No," I said, "I don't do that." Finally, he looked at me and said, "Mr. Disney, just what do you do?" "Well," I said, "sometimes I think of myself as a little bee. I go from one atea of the Studio to another and gather pollen and sort of stimulate everybody. I guess that's the job I do."

Of course, that doesn't explain Walt Disney's uncanny feel for what worked and what didn't, be it in music, films, or theme parks. Perhaps Eric Sevareid summed it up best in his tribúte to \\alt on the CBS Evening l/ews the day Disney died: "He was an original; not just an American original, but an original, period. He was a happy accident; one of the happiest this centurv has experienced... People are saying we'l1 ne\rer see his like again."

\favbe it was his Midwestern upbringing and mid-American, mainstream appreciation for music and movies, or maybe he was just "a happy accident," but Walt Disney aimed to create entertainment that he himself would enjoy. Could he help it if hundreds of millions of people around the world happened to agree with him?

So although he didn't write "When You Wish Upon a Star," "Zip-A-Dee-Doo-Dah," or any of the other hundreds of tunes that make up the Disney canon, his imprimatur is stamped onto every song and score. When you hear "Whistle While You Work," yott may not know that the words were written by Laruy Morey and the

music by Frank Churchill, but you certainly know it's a Disney song.

It didn't matter what

a composer's background was, whether he was a honky-tonk pianist from Los Angeles, a jingle writer from New york's Tin Pan Alley, or a pop star from England, when he

wrote for Walt Disney, he wrote in a style that was, consciously or not, immediately recognizable not as his own, but as Walt Disney's.

"No matter what I or anyone else in the music department wrote, people always recognized it as being the 'Disney sound,"' says Buddy Baker, a longtime Disney staff composer. "But if I was asked to define the Disney sound or how we got it, I would have to answer that I didn't know. It's not something I thought about while I was writing the music.

"I think a clue to the Disney sound, though, comes from the man himself," he adds. "Walt Disney had a wonderful concept of what the music should be, which is a great clue for the composer. For instance, if he wanted a big, symphonic scote, he'd tell you that and he'd even tell you what he'd want it to sound like."

Disney songs represent a style and'sprightliness *§ that makes them eminently hummable and l;i totally unforgettable. They were very much a reflection of their patron, who concentrated on melody

and didn't like anything that was too loud or high-pitched.

lrtsíc lightens a story session in :lte tnid 1930s as Walt Disney risits (from left) Webb Smith, feJ Seors. antl I'into Lolv¡5.

Even the "Disney" songs and scores being written toda1,', decades after Walt Disney's death,

reflect the spirit and influence of this man r,r.ho had a special ability to recognize what kind of music best fit a scene or situation and, more importantly (and more to the point), what was good. It was Walt's direction and influence that led his composers and musicians to pioneer musical concepts and technologies that influenced both the film and music industries for decades-and continue to do so to this day.

But the music did not start out as Disney's

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(ToP) Wdlt Disrrey's classic porb'ait with Mickey Mouse, tdken at tlrc Divtey Studios on Hyperion Avertue itt the 19ll0s. ¡Rigltt) ht 1938, Disrrcy pnrclnseLl wtdcvektped property in Burbank, tltich soon becctrne the pennanent hc¡rnc to the trctv Wolt Disnev Stutlit¡s.

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own. In the first several Mickey Mouse cartoons, produced in 7928 and 1929, the music was either borrowed or adapted. An example was Mickey's -,, very first cartoon, n, - i Steamboat Willie, reIeased in November, 7928, ar,d featuring the songs "Steamboat Bill" and "Türkey in the Straw" ¡

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members of Walt's staff, it was arranged in such a way that it sounded as if it just might have been. For instance, "Steamboat Bill," written in 7910, was whistled by the mouse himself during the opening moments of the cartoon.

NTRODUCTION

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n'Disneydidn'treadorwritemusic rn ract

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school in Kansas city.

And yet, his influence upon music was, and continues to be, so profound that the great American composei Jerome Kern was moved to say, "Disney has made us¿ of music as language. In the synchronization of humorous episodes with humorous music, he has unquestionably given us the outstanding contributicr: of our time."

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That's lofty praise, especially coming as it did fror:t ; musical legend like Kern. But what makes his r,r-ords -,.i the more amazing is the fact that he said them in 191,,. before the release of Snow White and the Seven Dy,,i"-' arguably one of Walt Disney's greatest mornents :t : only in animation, but music as well.

Still, the question remains: if Walt didn't r,r-rite ;:---, songs or compose any scores, how could he har e r -, * such a deep and lasting impact on music?

The answel simply enough, is the same wa\- irt r,,;--_--he had such a profound effect upon animation n.ith _- ,.: so much as drawing even one mouse or dwarf. Walt was the mover and shaker, the man of vision -".,'l: gathered around him some of the most talented i,;:-:ers, artists, composers, and musicians, who bou.qitt u-t his dreams and schemes and made them happen ,under his watchful eve. _

Walt and Roy Disncy wíth the specínl "Oscar" awctrded to Wdlt in 19-)2 fbr tlrc credtion of Mickey Mouse.

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urkey in the Straw," which dates as far back as 1834 and is arguably a sing-song classic in the tradition of "Camptown Races" and "My Darling Clementine," was not arranged for normal instruments, such as guitars, flutes, or pianos, but was instead configured to accommodate the variety of "instruments" Mickey plays during the cartoon, including a washboard, pots and pans, a cat, a duck, several suckling pigs, and a cow's teeth. ("Turkey in the Straw," by the way, was selected for Steamboat Willie because it was one of the only tunes a young assistant animator named Wilfred Jackson, the sole musician at the small Disney Studios, could play on the harmonica.)

It could be said that the Disney musical legacy actually did begin with Walt himself. In 1929, he teamed with his then-musical director Carl Stalling to write a song that would become an anthem of sorts for his already famous star, Mickey Mouse.

That song, "Minnie's Yoo Hoo," was first heard in the 7929 short "Mickey's Follies." It is the only song for which Walt Disney ever took a writing credit.

Mickey Mouse and the musical improvisation that made him famous in his debut /ilm, Steamboat Willie.

Stalling to fit the music to the action, while Stalling felt the action should fit the music. The Silly Symphonies were a compromise. In the Mickey cartoons, the music would continue to play second fiddle to the characters and the action, but in the Silly Symphonies the music would rule. Stalling stayed with the Studio less than two years, jumping from Silly Symphonies at Disney to Looney Tünes and Merrie Melodies at Warner

Brothers, where he created his own musical legacy, composing scores for the likes of Bugs Bunny, Daffy Duck, and Porky Pig.

But that doesn't mean Walt didn't play an active role in the creation of the music heard in all succeeding Disney Studio cartoon shorts and animated features. He simply entrusted it to lnore accomplished composers and arrangers, the first of which was Stalling, ?n old friend from Kansas City.

Despite Stalling's departure, the Silly Symphonies continued. In fact, they became so popular that Walt Disney began beefing up his music staff in the early '30s to handle the increased need for music for them.

It was Stalling who persuaded Walt to begin the Si1ly Symphony cartoon series, which grew out of disagreements the two had over the use of music in the Mickey Mouse shorts. Walt wanted

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Tlrc surprise hit song from Three Pigs spawned a range of merchdndise, includirrg (left to right) sheet music, a board game, and records. These rare 1933 items are treasured by collectors todav.

Little

One of the composers he hired was Frank Churchill, a young musician who had studied at UCLA and gained experience playing honkytonk piano in Mexico and performing on a Los Angeles radio station (as well as serving as a session player in recording sessions for Disney cartoons). This heretofore unsung musician would play an important role in Disney music over the next decade. And he started off with a bang, n-riting Disney's first big hit, a song that came out of the most famous of the Silly Symphonies, Tltree

Little

Pigs.

in

1933 during the depths

of

the l)epression, Three Little Pigs and its famous song, "Who's Afraid of the Big Bad Wolf?" proi ided hope and humor to a country that was radlr, in need of both. Released

\s rvith many Disney films, Three Little

Pigs

.omes from a children's story. But to Churchill, -t also represented real life. While growing up .n hls family's ranch in San Luis Obispo, California, he was given three little piglets to laise by his mother. All went well until a real Big Bad Wolf" killed one of them.

\s legend has it, when Churchill was asked to -,r'rite a song for

the cartoon, he recalled his horriir-ing childhood experience and penned '\\-l'ro's Afraid of the Big Bad Wolf?" in about -ir e rninutes, patterning the song loosely on Happy Birthday." When it was released as a singie and in sheet music, it featured additional -r rics by Ann Ronell.

With "Who's Afraid of the Big

Bad Wolf?" Walt

Disney and his staff had created their first singa-long classic. It certainly wasn't going to be their last.

In 1929,

the

Disney Studio's creatiye team included (;tanding from left) Iohrtrty Cdnnon,

Walt Disney, Bert Gillett, Ub Iwerks, Wilfred lackson, Les

Clark; (seated from left) Cdrl Stalling, lack Kbtg, and Ben

ñ,

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Shorpsteen.

ACOMNGOFAGE,

he next step for Walt Disney and his staff was the creation of the first fuIl-length animated feature. But Walt wasn't content to "just" create and produce a feature-length cartoon. He envi-

sioned something more. From its beginnings, Snow White and the Seven Dwarfs was planned around music. Howevet, early attempts at songs did not satisfy Walt. He complained that they were too much in the vein of so many Holll"wood musicals that introduced songs without regard to the story. "We shouid set a new pattern, a new way to use music," he told his staff. "Weave it into the story so somebody doesn't just burst into song." That last line, as simply stated as it is, has

been the guiding principle

lUaltAisneu's

in

Disney animated features from Snow White and Pinocchio all th-e

way through

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the

more recent efforts, including Beauty and the Beast, Aladdin,

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alrd The Lion King.

What Walt wanted with

White and the Seven Dwarfs was something closer to Broadway musical than Holly'wood motion picture. Sno14.,

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Frank Churchill and Larry Morey were assigned the task of writing the songs for Snow White. By the time all was said and sung, the pair had written 25 songs, only eight of which ended up in the film. But what an eight they were, each one a classic in its own right.

The

/irst originLtl moüon picture stttmdtrack record

album wds Snow White and the Seven Dwarfs, released by Victor Records in 1937.

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\\'alt Disney didn't write any songs for Snow I{hite, but he played an active role in defining the content of each song and how it would fit into the film,

as these notes from a story conference on "Whistle While You Work" demonstrate:

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memorable songs ever heard, including "When You Wish Upon a Star" from Pinocchio (7940), "Baby Mine" from Dumbo (1947), and "Little April Shower" from Bambi (1942).

World War

fit in more with Snow White's handing the animals Change words of a song so they

"lf you just hum a merry tune"...and they start humming.

brushes, etc. Snow White:

Then Snow White would start to tell them to "whistle while you work." She would start giving the animals things to do. By that time, she has sung, of course... Birds would come marching in. Tiy to affange to stay with the birds for a section of whistling. Orchestra n ould play with a whistling effect...get it in the woodwinds...like playing something instrumentally to sound like whistling... Get a way to finish the song that isn't just an end. Work in a shot trucking [moving] out of the house. Truck back and show animals shaking rugs out of the windows...little characters outside beating things out in the yard...

Truck out and the melody of "Whistle \Vhile You Work" gets quieter and quieter. Leave them all working. The last thing you see as you truck away is little birds hanging out clothes. Fade out on that and music would fade out. At the end, all you would hear is the flute-before fading into the "Dig Dig" song [which precedes the song "Heigh-Ho"] and the hammering rhythm.

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II brought an abrupt end to

the Golden Age. At the Disney Studios, the emphasis changed from creating animated features to

producing cartoon shorts and instructional films to aid the war effort. Even after the war was over, Walt Disney didn't immediately return to animated features. Instead, he concentrated on "package" pictures (movies that featured a series of animated shorts rolled into one motion picture) and films featuring both live action and animation.

But Disney's staff of composers continued to play a significant role in these efforts, writing such memorable tunes as the Latin-influenced "Saludos Amigos" and "You Belong to My Heart" from the two South American travelogstyle films Saluilos Amigos (1943) and The Three Caballeros (1945), "The Lord Is Good to Me" fuom Melody Time (7948), and one of the most popular Disney songs ever written, "Zip-A-Dee-

Doo-Dah," the irresistibly upbeat tune from Song of the South (7946).

in not only the Golden Age of Disney Animation in the late 1930s and early 1940s, but the Golden .\ge of Disney Music as well. While Disney's

Snow White and the Seven Dwarfs ushered

animators were creating some of the most beautiful screen images ever seen, the studio's composers were producing some of the most

Composer Frank Churchill (left) and seLluence director/lyricist Larry Morey in tLrc mid 1930s creating songs for Snow White and the Seven Dwarfs.

SONGS FROM TN PAI.üALLE,Y

The creotion

oftlrc

Walt Divtey Music Compony and Disneyland Recc¡rds enabled the Disney Studios to release its owtt music, rather than rely on other companies. Shown here, a 1959 Disneylantl recr¡rd album and 1950 slrcet music for Cinderella.

n

1950, Walt Disney returned to animated features with the release of Cinderella, but instead of relying on his music staff for the film's song score, he turned to writers from New York's Tin Pan Alley, something he would continue to do for his animated features

throughout the

1950s.

Originally 28th Street in Manhattan, Tin Pan Alley was home to many of the largest song publishers in the United States. Each publisher employed an army of songwriters who worked out of small offices furnished with nothing more than pianos and music stands. During the summer, the writers would open their windows in a futile effort to get some relief from the stifling New York heat (the buildings weten't air conditioned). The noise of the pianos echoing through the street gave one the impression of people banging on tin pans, hence the name "Tin Pan Alley." Walt didn't consciously set out to use Tin Pan Alley writers for Cinderella. While in New York on business prior to the start of production, he kept hearing on the radio a catchy novelty song, "Chi-Baba Chi-Baba," written by the team of Mack David, Jerry Livingston, and Al Hoffman. He was so taken with the song that he ended up hiring the trio to write the songs for Cinderella. Perhaps it's no surprise, then, that one of the songs, "Bibbidi Bobbidi Boo," is in the same vein as "Chi-Baba."

Walt again turned to Tin Pan Alley for Alice ht Wonderland (7951), primarily because he felt the film would need an abundance of noveltrsongs, something the Tin Pan Alley gang \\ras quite adept at producing. In all, 14 songs were written for Alice, including "I'm Late," one of nine tunes written for the film by Bob Hilliard and Sammy Fain, and "The Unbirthday Song'' contributed by the Cinderella trio of David, Hoffman, and Livingston. The renaissance in Disney animation continued through the 1950s and early 1960s with the release of such animated features as Peter Patt

(1953), Lady and the Tramp (1955), Sleephtg Beauty (1959), and 101 Dalmatians (1961). The bulk of the songs continued to be written by Tin Pan Alley tunesmiths, such as Sammy Cahn, Sammy Fain, and Jack Lawrence. The notable exception was Lady and the Tramp, which featured songs by Peggy Lee and Sonny Burke.

The increasing reliance on outside writers for songs for the animated features presented no danger to the jobs of Disney's crack staff of composers and arrangers. At least they didn't seem worried by it, perhaps because they were so busy.

"

[The 1950s were] a hectic time at the Studio," recalls Buddy Baker, who joined the Disney music staff following a career in big bands and radio. "We had the weekly series lDisneyland, rrhich later became The Wonderful World of Divrcy, among other titles] to write music for, plus the daily show lThe Mickey Mouse Clubl. This was in addition to the feature films the Studio was producing. And Walt demanded quality, whether it was music for a multi-million dollar animated feature or a television show." \\-ait's staff of composers was so busy writing the music they often turned to anyone who was readr', willing, and able to write the lyrics, be :her- animators, scriptwdters, story editors, or, in ihe case of "Old Yeller," Studio nurses (the lyrics :or that song are credited to Gil George, who was -n fact Disney Studio nurse Hazel George).

Tom Blackburn, the scriptwriter for tine Davy Crockett series, had never before written a song, but that didn't stop him from adding the lyrics, 120lines of them (the completed version has 20 stanzas of six lines each). Even before the television series went on the air, "The Ballad of Dar,y Crockett" took the country by storm. Bruns and Blackburn's little "throwaway" tune became a national sensation, much as coonskin caps would when the show premiered.

"lt certainly took everybody

at the Studio by surpdse," said Bruns. "The irony of it was that most people thought it was an authentic folk song that we had uncovered and updated. Usually when you have a hit song, there are always lawsuits claiming prior authorship. In the case of 'Datry Crockett,' not a single suit was filed."

Disnev staffers at the time included music direc-

:or Oiiver Wallace ("Old Yeller" and "Pretty Irish Girl"), Jimmie Dodd ("The Mickey Mouse \farch"), and George Bruns ("Zorro" and "The Ballad of Dar,y Crockett"). Bruns's experience writing "The Ballad of Dar,1z Crockett" for the Davy Crockeúf series of TV shorvs was §pical of the way songs were written :or \\hlt Disney in the harried '50s, though.the :esults were far from typical.

\\alt needed what I call a little 'throwaway' tune that would bridge the time gaps in the storr- of Davy Crockett," recalled Bruns. "He needed a song that would carry the story from one sequence to another. I threw together the nrelody line and chorus, 'Da*,t¡, Darry Crockett, ñng of the Wild Frontier,' in about 30 minutes."

Composer George Bruns created a diverse range of music for Disney, from the atuardwiruúng score f'or Sleeping Beauty to the hit song "The Ballsd of Davy Crockett."

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THE SHE,RMAT{S MARCH THROUGH DISNEY

f the 1950s were characterized by Walt Disney's reliance on Tin Pan Alley songwriters, the trend in the 1960s could be summed up in two words: Sherman Brothers. Hired by Walt Disney in 7961as staff songwriters, Richard M. and Robert B. Sherman proved versatile and prolific during their almost decade-long association with Disney, writing more than 200 songs, many of which have trecome timeless classics.

The pair penned songs for animated features (The Sword and the Stone 17963), The lungle Book

11967l, The Aristocats l197Ol) and featurettes (Winníe the Pooh and the Honey Tree 119661), liveaction musicais (Summer Magic [1963], The Happiest Millionaire 179671), live-action nonmusicals (The Parent Trap [7967), In Search of the Castaways 11962), The Monkey's Uncle [1965], That Darn Cat 17965)), musicals combining liveaction and animation (Bedknobs and Broomsticks Room 17971)), theme parks (The Enchanted Tiki Fair 17963)), and even the New York World's (Carousel of Progress, It's a Small World [1964))'

Songwriters Richortl Shcrmttn (left)

mtl

Robert

Shennan (right) reúcw tlrc music /br Mary Poppins with the fthn's co-prodtrcer and writer,

Bill

Wctlsh (ccttter).

Perhaps

the greatest achievement út

ii--:

Sherman Brothers' Disney career came in 1:r= with the release of Mary Poppins, for rvhich ti:. ' wrote 74 songs and earned trt'o Aca.1t::-" Awards, one for Best Song ("Cl-itm-Cll--:-Cheree") and the other for Best Song Score

"Writing songs for Mary Poppins \ras a s,l:l!writet's dream. Each song we did had a purl'- :: a reason for being," says Robert Shermatl. =¡l- - ing the long-held philosophy of \\-alt Drsr-.'" about music in motion Pictures.

Typical of their experiences composill§ r-ir--:¡ for Mary Poppins was the inspiration L'rll - -one of the most popular and memoralrle :.;::.: in the film, "supercalifragilisticexpialidoci¡ .^: "When we were little boys in summer

call:

the Catskill Mountains in the mid 1v-r

.-l )

explains Richard Sherman, "we heatd tl-tis ','.'- :: Not the exact word, but a word verr- sitrl-,:i: 'supercal.' It was a word that was longer -l---.--

'antidisestablishmentatianism,' and it S31 c --: .''l-kids a word that no adult had. It n'as ollr

special wotd, and we wanted the Banks chilc;= to have that same feeling."

§ lt:

i §i

17

1.:,;.ñ Plpplns also proved

to be the crowning ,¡i:rer-ement of Walt Disney's long and storied :i:eer. Combining live-action, animation, and ,:¿ Sherman Brothers song score, it was -:¿ cuhnination of everything he'd ::rn rvorking toward in his ::--¡re than 40 years in the film :-

"lsiness.

-t, rÜ

-,r

hen Walt Disney passed j',\'a\- on December 15, 966, there was concern

::rat his studio would not be -':ie to survive without him. l -rt Walt had confidence it ',,,',:uld. "I think by this time my s:aff...[is] convinced that Walt is

--qht, that quality will win out," he :nce said. "And so I think they're going to stay :r-ith that policy because it's proved that it's a

good business policy... I think they're convinced and I think they'll hang on, as you say, after Disney."

'-";;:

'il

Throughout the 7970s and 1980s the Disney Studios continued § 1$M. producing animated and liveaction features, but all of k them, with the exceptions ffi

ffi

';,,:::';,

#:,::,;;?ii,"::l

non-musicals. That didn't

mean there weren't any songs ::1i-::

in Disney movies. Such

animated features

as

The

(1977) and The Fox and the Hound (1981) did feature songs, but these songs were usually performed during the opening or closing credits and were not essential to the storv. Rescuers

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\J

iI]I{VSStVNIiT TY]ISNNIY

Before his death in March of 7997, Ashman had written lyrics for three songs in the next big Disner. animated feature, Aladdin, including Friend Like Me." Once again, the composer was i,an \fenken. For the rest of the score, Menken ¡,,-¡llaborated with lyricist Tim Rice, a theatre veti:Arl rrho, earlier in his career, wrote Evita arrd ,r:.ilj Clríst Superstar with Andrew Lloyd r,rebber. Menken, Rice, and the film were hon-:¿d n'ith an Academy Award for Best Song for r \\-hole New World."

l-sner-'s live-action musical tradition contin-

.";cd

rr-ith the 7992 release of Newsles, a full-scale :-r-,.1uction about the organization of newsboys

.:r \err York early in the 20th century. The ).-:i, br. Alan Menken and Jack Feldman,

-:,¡-udes the boys' inspirational anthem, ,,Seize ,:-: Dar." -">

::e 1990s continued, Disney

definitely reafas the world's best producer of :.-:'.rrliu1 and successful animated films. The next j:--.:lated musical, released in 7994, was the uni.":::rlir beloved The Lion King, the allegorical :: n oi the love between a lion cub and his :,:lcr. Tim fuce was signed first to write the -.,:-cs. "The studio asked me if I had any s-iggestions as to who i;-r'úld n-rite the music. Tl-ier said, 'Choose :nr bodv in the

--::r-¡i its place

i,;-r¡16l

and choose

::e best.' I

said, e11, Elton John ',-"'ould be fantastic."' The producers were ',r,

:: first hesitant to a'rproach the legcndarv rock star, but

The songwriting tearn of Howard Ashman (left) and Alan Menken Awanls for their work on The Little Mermaid a¡ll

receiyed Academy

Beauty and the Beast.

as it turned out, he was anxious to come on board. "I actually jumped at the chance," John confessed, "because I knew that Disney was a class act and I liked the story line and the people immediately." Has there ever been a musical number on film, live or animated, that surpasses the emotional beauty of the opening number, "Circle of Life"? Rice, who first wrote the words for the song, was amazed at the speed with which Elton John composed. "I gave him the lyrics at the beginning of the session at ..1{,\l: ll about two in the afternoon. t/ ?l By half-past three, he'd fin,lr \\ ished writing and recording a stunning demo." Disney added another Academy Award to its collection when "Can You Feel the Love Tonight?" was cited t,

as Best Song.

20

the first Disney animated feature inspired by factual history. It brought another major theatre talent into the Disney Studios in Stephen Schwartz, who wrote the Iyrics for the score, with music once again by Alan Menken. Schwartz knew success at a young age on Broadway as the composer and lyricist of Godspell and Pippin. The combined talents of Menken and Schwartz produced yet another Academy Award for Best Song for "Colors of the Wind," a chart-topping hit for Pocahontas was

singer Vanessa Williams.

Alan Menken's sixth score for Disney lr-as another collaboration with Stephen Schwartzthe adaptation of the classic 19th century Victor Hugo novel The Hunchback of Notre Dame.This

was an incredibly ambitious undertaking in every regard. Just the task of adapting a screenplay from the sprawling novel is difficult enough, but creating a satisfying animated musical from this complicated story was a monumental task. The resulting critically acclaimed film is evidence of just how splendidly all those involved succeeded. The score contains an

il

;l

il

Toy Story, the first full-length feature film ani mated entirely on computers, takes place among the magical lives of a six-year-old's collection of toys. A special film like this needed a unique

extensive, expressive collection of songs borron ing influences from gypsy music, French musrc, and traditional liturgical music. The richly emotional songs include "God Help the Outcasts," which, beyond the film score was recorded brBette Midler, and "Someday," which became a hit ior the vocal group All-4-One.

kind of song, and Disney found that in singer-songwriter Randy Newman. "You've Got a Friend in Me" is the chummy song that expresses the easy goodwill of the enchanting

story of Woody, and Andy.

Brtzz,

Fot Hercules, Disney turned to a new source for a

story: ancient Greek mythology. But this was no dull classroom textbook topic as realized br Disney Studios. The film is a marvelously entertaining tale of the triumph of a true hero. enlivened by new songs, once again by §an Menken, with lyrics by Daüd Zippel, a Tonr-' Award winner for his work on the Broadway musicalCity of Angels. Rock singer Michael Bolton had a hit single with the expansive, soaring "Go the Distance," certainly an anthem

befitting the mighty son of Zeus.

That same year, Disney released two hugely suc_ cessful animated features: Tarzan^', an adapta_ tion of the Edgar Rice Burroughs classic, and, Toy Story 2, a follow-up to the 1994landmark com_ puter-animated blockbuster. Scored by pop_ rocker and longtime Genesis member phil Collins, the Tarzan'" soundtrack included the lr-orld beat infused "Two Worlds,,, and the No. 1

Adult Contemporary hit ,,you,ll Be in My Heart," which beat out Randy Newman,s Toy

Story 2 nominated song ,,When She Loved Me,,

to win the 1999 Grammf for Best Original Song from a

Motion picture.

ne\ / century came new Disney escapades-including 2000's original animated feature, The Emperor's New Groove, the story of Kttzco, a young, self-absorbed Incan emperor. He vexes a scorned sorceress who, botching a plan to poison him, turns him into a talking llama instead. Scored byJohn Debney, the film also features songs by composer David Hartley and lyri_

With the

cist/performer Sting, who earned a 2OOO Grammf nomination for Best Original Song for their collaboration on "My Funny Friend and Me." Other notable artists who lent their voices to this madcap Disney offering were Tom Jones, Eartha Kitt, and Shawn Colvin.

.-.::::r.3

Yd

¡,**frf§'

Producing its first 70mm format cartoon since 1985's The Black Caulclron, Disney released Atlantis: The Lost Empire in the summer of 2OOl. In a story more reminiscent of a Jules Verne adventure than its typically meffy fare, Disney dispensed with the cute creatures and sing-along pop songs for their telling of the legendary myth. With a score by renowned composer James Newton Howard, and the hit song ,,Where the Dream Tákes You," performed by Grammf-winning R&B artist Mya, the critically acclaimed Atlantis was nonetheless shut out as an Oscar nominee for the 2001 debut of the Best Animated

by

Feature category fellow Disney release Monsters, Inc.-one of the top-grossing films of 2OOl. Like the t-tvo Toy Súory films and, A Bug,s Life Disney closed the final year of the twentieth cen_ turv in its customary grand style with a Walt Disney World-Epcot Center event featuring origi_ nal songs performed by the incomparable London Svmphony Orchestra. Haüng successfully encap_ sulated the zeitgeist of the dar.vning millennium, conductor Gaün Greenway,s uplifting yet dynamic composiüons of goodwill and camaraderie were recorded and released on 1999,s Millennium Celebration Album, including the single ,,ptomise.,,

before it, Monsters, Inc.-the fourth creation by computer-animation giant pixar-featured the latest in computer animation technology. The film is about two monsters who, as employees of a scream-inducing factory called Monsters, Inc., make sure that their menacing brethren are sufficiently lurking in closets and under beds for the purpose of frightening children. Although losing the Oscar for Best Animated Feature that year, Monsters Inc. did garner a Gramm;p for Best

Original Song for composer/lyricist Randy

Newman's "lf I Didn't Have you.,,

the Best Animated Feature of 2002. Also featured is the rocker

frontman of the Goo Goo Dolls, John Rzeznik, whose original

song

"l'm Still Here (Jim's

Theme)" hit No. 10 on Billboard's Adult Top 40 chart.

:

,.

orphaned Hawaiian

girl adopts

a

- :-:-:,r it-rg, genetically engineered pet in - ::-,.rcclriog tale of misfit friendship, Lilo anrl --':::reknor,r,nst to Lilo, her new friend :r¡ possesses a high intelligence and --r -.1n strength, escaped to Earth after * - :-r-id bv an extraterrestrial mad scientist ,:-,'.rtrrr. The Lilo and Stitch soundtrack, -:-:t:.r€s Elrris Presley's "BIue Hawaii,,, and . -.,:r 'Har,r,aiian Roller Coaster Ride,,, hit .-- :, )lbon tl's Soundtrack chart, and went as .: l'._-. 11on theBilLboard2OO.

--

,ris Stevenson meets the Jetsons in : : -'r.z_§t//.e Plctnet, released in November of --, :]1s adaptation of the classic yafn, a ':. rrrlr€dJim longs for the swashbuckling -:-.:.s of plrates and the high seas. Atter - ,r--. upon a map charting the course to ': --I l-reasure Planet-notorious for the ,. : spracspirate booty it stores-Jim joins :',", --,1 a space-faring ship in search of this - :',,¡rld. Once again, the compositional - -, ,Tames Newton Howard is heard .-:-.,'.1t the Treasure Planet score, which -- : _- rlin the film an Oscar nomination as

Disney turned again to Tarzatfn' singer/songwriter Phil Collins for 2003's Brother Bear, the story of a young Native American boy named Kenoia intent on avenging his father, who was killed by a mother bear protecting her cubs. While on his quest, Kenoia is himself transformed into a bear, which gives him a new and profound perspective. A charming and lesson-inspiring story, Brother Bear eatned an Oscar nomination for Best Animated Feature in 2003. The film made its mark on a number of Billboard charts as well, as Collins's soundtrack reached No. 2 on the Soundtrack chart in 2004, and the single "Look Through Mv Eyes,, went to No. 5 on the Adult Contemporary chart.

it was Walt Disney himself who summed up best the reasons for the important role and the incredible success music has enjoyed in Disney animated features, live-action motion pictures, Perhaps

and theme parks: "Music has always had a prominent part in all our products from the early cartoon days. So much so, in fact, that I cannot think of the pictorial story

without thinking about the complementary music that will fulfill it... I have had no formal musical training. But by long experience and by strong personal leaning, I've selected musical themes, original or adapted, that were guided to wide audience acceptance.

"But credit for the memoraLrle songs and scores must, of course, go to the brilliant composers and musicians who have been associated with me through the years."

From Walt Disney's Mickey's Follies

Words by WALT DISNEY and CARL STr Music by CARL STl

- ie bu - sy

sweet

down bttzz

hors

es

whin - ny

wills

a

sing - in'

in

of

the chick - en house, the bum - ble bee,

my they

neith - er eve

tle Min - nie mean much to

O 1930 Walt Disney Music ComPanY Coovrisht Renewed

fat - ning bells

nor a

25

C7

C7

feed heart

ing

time

for

is

down

tn

the an - i -mals, the chick - en house,

G]

Adim

I just and I'll

can - ni-bals,

Ifin -

nie mouse

and they howl where I long

D7

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turn

my

meet

her

heel, there,

C

the hen that frag -

to mid

and

to

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growl be

like with

the

my

A

A

house

steal,

rance

rare,

and sing

you

to

A

^

Bb

hear me sing her this mel -

this o

song.f

'dv.l

A

Bb

oId

oh

the

G7

hount

dog

with

his

bow,

old

tom

cat

with his meow,

meow, meow,

C7

wow,

wow,

the crows caw,

caw,

and

the

26

mule's hee -

what a rack - et

haw

lis - tened to the Koo - koo kook his koo -

nie,s

and I've heard

koo,

With the cows and

my lit - tle Min -

like

the chick

-

ens,

the roost - er

cock his

doo

all sound like the dick - ens, when

27

Who,s

Affg-¿m$s-§ ri,tru"

ffkue

Beg* §$m#" &,w*m,áii['P From Walt Disney's Three Little Pigs

Words and Music by FRANK CHURCHILL Additional Lyric by ANN RONELL

Who's

a-

fraid of

big

the

bad wolf?

Who's

a-

fraid of

the

I I

G

bad woll?

Tra

la

D+

G

Who's

la.

a

- fraid of the big bad wolt

To CodaS

e i,g

lb

bad wolf,

big

bad wolf?

Who's a - fraid of the big bad wolf?

(oplriF,\l6 ¡oitbr Bo¡rr, Cop¡ right Renerved

Co.

Tra

la

la

28

f Long

I

Came

go, there were three

a

day when

the

fate

did

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big

lit - tle hand-some piC - gy the wolf blew in - to

-

frown

and

For

the

With

a

-

y

A1

y big, Yer- y bad_wolf they_ did - n't give pufPt he puffed just e-nough and the hay house fell three right

bad, ver-

gruff,ttpuff,

wigs. town.

figs. down"

Num -

ber one was

One and Two were

ver

scared to

D/F# D#dim7

gay-death

and he built his house with of the big bad wolf - ie,s

hay.

breath.

With 66By

a

the

hey - hey

toot, he blew on his flute and he

hair of your chin-ny-chin, I'Il

blow

you inr" and

the

-

played a-round all

day.

twig house an-swered yes.

Num

No

- ber two was one left but

fond num

of jigs

and

ber Three to

so he built his saYe the pig - tet

twigs. - i - ly.

house with

fam

three said, ttNix on

all were

safe ln

Heigh did-dle did-dle, When they knocked,

playedon his fid-dle and fast un - locked and

I will buitd my

tricks, side

he he

-

and the bricks

house with

hurt wolf - ie's

danced

with la - dy in with

saidrttCome

bricks."

Num -ber

Now

they

had no

chance to slid down the chim-'ney and,

He

So,

pride.

pigs. me!tt

he

-

D/Ff

D#dim7 A7

no chord

sing and- dance 'cause- work and play don't mix! oh, by- Jim-'ney, in the fi - re he was fried.

Ha Ha

ha ha

ha! The ha! The

two lit-tle, do lit-tle lit-tle, free lit-tle

three

CODA

pigs just winked.ánd laughed,ha ha! piCs re - joiced and

laughed,

ha

ha!

From Walt Disney's Snow White And The Seven Dwarfs

Words by LARRY MOREY Music by FRANK CHURCHILL

Slowly Bb/G

BbE

o

Gm

lor rg

dtsl'

it

ü

mf

C7

- ing

for

some - one

o

Bbm/Db

Bb/D

s

F6

you

nev _

)

C'7

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er

)n

r

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t)

r

)t

r

)a

r

]r"k.

l[i-l

rove

mg

Dm7/G

n'on't you grant

wish - ing

this

fa -

vor

well.

With your mag -

ic

won't you tell my loved one what

to

do?

-t1

.i:

W W [email protected]

**&^Á!,

From Walt Disney's Snow rMhite And The Seven Dwarfs

Words by LARRY MO Music by FRANK CHURCI-

Rather fast

U

F

A

Some Some

da v da v

e'e

rt

mo - ment will mo - ment we

DTIA

Bb

ml

rll

¡rince

will

come,

find

my

love,

tF

¿;fir

'l

l#P

I

when

the

prince

for

my

heart

Copyright O 1 937 bv Bourne Co. Copyright Renewecl lnternationaJ Copyright Secured All Rights Reserec

of will

my

start

I

dreams comes skip - ping

to a

36

Whistle While You Work From Walt Disney's Snow White And The Seven Dwarfs

Words by LARR\ ' Music by FRANK CHL

:

whis - tle loud and sing your - self a

long.

Just

é' song.

Copyright O 1 937 by Bourne Co. Copyright Renewed lntern¡liñn?l

Cnnvrioht §e¡,rrprl

All pi.hl.

8...^,-¡

35

-

whis day

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things

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to

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§{ue"r;í8"'§á{} The Dwarfs' Marching Song From Walt DisneY's Snow White And The Seven Dwarfs ';:t

l:::7¡:r,

Words by LARRY MOREY Music by FRANK CHURCHILL

March tempo

We

dig dig

Am7

dig dig

dig dü

dig diC

dig dig diC dig

dig dig

in our

and we

Copyrí8ht @ 1937 bY Bourne Co. CoPr right Reneu cd

lnternational Copyright3ecured All Right: Re'errecl

mine trY

the whole day

to do

our

39

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srng, scale

for

as

when we

all

B7

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there ain't a bet - ter thing i.rg down the trail

dig march

D7

MLDE. 1,,:,ng.

than a right a -

can to the

you

tune,

long,

D- F,

whis

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rhy

thm

B1

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croon. !(]n9.

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home

your from

trou work

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just (Whistle)

keep

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heigh heigh -

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feel enina

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6'Heigh

(An Actor's Life For Me) From Walt DisneY's Pinocchio

Words by NED WASHINCTON Music by LEICH HARLINE Cm7b5 F7

FdimT

b-v Bourne Co. CoPYriSht Renewed

Copyrlght O 1 9.10

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could

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na - ture was - n't

and

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did-dle-dee -

high

silk hat

and

sil

_--/ dee,

an

ver

cang,

act - or's

life

of gold with

mer_

dia -

mond chain.

44

flá§vq: r,L §,§ §e§* eVh

Éi;tr§r-

From Walt Disney's Pinocchio

Words by NED WASHINCTC Music by LEICH HARLII Moderately fast Eb

'-----'

(Whistle)-

Copyright O 1 940 by Bourne Co. Copyright Renewed

45

Fdim/Ab

AdimT

tle

squeak,

whis - tle's weak,

Gm

puck - er

Eb/G

D7/F* CmílF}

blow.

your

the straight and

Iit -

(Whistle)-

tle

Wkrewa Yffir.',

{Jpffir:l

'i'"

,.'rt ,-'rr

From Walt Disney's Pinocchio

Words by NED WASHINCTON Music by LEICH HARLINE

Copyright o 1 940 bv Bourne Co. Copyright Reneu'cd lnternational Copyright Secured Ail Riqhts Reserved

48

G9 Gdim7 G7

r rrr the sweet ful

IF

-

fill - ment of

their

se

-

cre

49

G7*s(b9)

long

aJ To L-

'

rng.

rtr

G7

Like

a

bolt

out

2t

. ,, 1990s Disney developed an anir*r--r ir-r Orlando, Walt Disney , -.-..::r¡tion Florida. Mulan is the .. -.r¡ filn-r largely created -.. :-.llazlng state-of-the-art --.¡¡-sted animation. This .'- - - -.1 tale is of a coura--:-: C}-rinese woman who : -rrrlY disguised as a man

:-:: ailing father can be

-, - -:.:r-

serr'lce. Technology

- -11r'\ralTlic camera

:r

before possible -:i. - l rr-ith especially . : --.',d scenes and the attack of the . -.: :,-¡r-tSS, b1, Matthew Wilder and - - . -:=- rnclude "Reflection" and "Honor .-,

ative musicals ever to open on The Great White Way. The stage adaptation from the animated film opened on Broadway on November L3, 1997, and contains additional songs by Elton John and Tim Rice, as well as songs by Hans Zimmet, Lebo M, Mark Mancina, Julie Táymor, and Jay Rifkin. The stunning production was also directed and co-designed by cutting-edge talent Julie Táymor. The musical won the 1998 Tonf Award for Best Musical, and is the biggest hit New York has seen in many years, with sold-out houses booked many months in advance, On the heels of its Broadway success wlthThe Lion Klng Disney triumphed once again

with another EltonJohn/Tim

:,r iltost exciting developments

at : - -:: :reer-i the expansion of the com.-.:-:eSS to include Broadway musicals. - -- -;:¿ Beost was adapted for the stage - -:::.on, lvith additional songs by Alan , ; -. :rrJ Tirn Rice. The show opened on - :'" -l \pril 18,7994, andatthiswriting - ,, :.l¿brated its tenth annivetsary and

: :::¿ sirth longest-running

"

-:

show in :-, iriston.. A touring company of the .-,-,s

been a smash success on the road.

: : -i::r'r-r to a piece of Broadway became .- : :.1r1gible with the acquisition and ren- :re \ew Amsterdam Theatre. Built in - -- r.stored to its original splendor, it is

: - r rrerstone in the major redevelopment . - - : \:-eet in New York. The New Amsterdam r-: . -

Tlte Lion King, one of the most

innov-

Rice

collaboration, 1999's Aida. Inspired by the Verdi opera of the same name, Aida is t]:le

story of Egyptian prince and war-hero Radames, who, although betrothed to Princess Amneris, enters into a forbidden romance with the war-captured Aida, herself also, but secretly, of royal bloodlines. The play captured four Ton;f Awards in 2000, including Best Original Musical Score, and a Grammf that same year for Best Musical Show Album. A single of one of the show's most beloved songs, "Written in the Stars," as recorded by EltonJohn and LeAnn Rimes, reached No. 2 on Billboard's Adult Contemporary Charts andNo. 4inCatada.

O Disnef originaL Dutch Cast, photos by f)ccn van N'feer

50

From Walt Disnev's Pinocchio

Words by NED WASHINCTOI Music by LEICH HARLIN

Moderately G

but-ter fly's wing?

D]

What's

Fdim D7

the rea - son

the

of a trou ba r__- j _____r

smile

C-opyright @ 1 940 bv Bournt Co. Copyright Reneu,ed lntcrnational Copyright Secured All Rights Res-"rved

dour?

D+

Whl does a breeze hare

a

bar

-

rel

fun?

of

en the hee who's

Ev

a

son-of- a -

gun,

or make me

frown.

\ I

r=-J

be -

cause theY're

string - less

free,

the

same

r--J-____t

DTsus

DTsus

D7fl s

I've

got

no strings

strings

but

now

fret

DTsus D]

DTsus

had

to make me

hold me down.

['m

free,

there

are

strings

it's

I'm as hap-py

as

noth-ing ev - er wor - ries

have

fun,

atatf

¿'

GJJ

üüJ

How I

love

my lib - er - ty,

there

are no strings on

['ve

'1;-n

; ii9 , .:

'*. §- ?

;:,t-r'

From Walt Disney's Dumbo

Words by NED WASHINCTON Music by FRANK CHURCHILL Moderatelv- slow

Eh

Cm/Bb

Bb/D

¡

Abm6

/ -------.l

Abm6/Bb

Bb7

-4

don't you

mine

cry.

t_-..-.---r______t

-

rrtr

*fl',1

Abm6

dry

,-

to

my

heart,

neY

3 --------t,

o

r-

,-3-----,

1941 l¡v Walt Disnei' Productions CoP¡'rlght Renerlecl world Riehts Controllecl I» Bourne Co. lnternational Co"pvright Securecl A I Ri¡,hts Rcserved Copyright

Bb7

your

r-3-----1 close

Abm6/Bb

- er

to

part,

3 -----1

ba-by f-3-,

of

Cm/Bb

r..-.?--*¡

one-

whenyou

,

Abm6/Bb Bb7

,-----

Cm/Bb

Abm6/Bb Bb7

r.----.?----

mind-

don't

what they

say.

r_.7_____

r-l------1 spar-

,-

r

r

kle and 3 ---.._-1,

--8---.-..1, shine,

nev-er .-l----.-'

a

.-í----1

tear,

ba-by f-l----1

of

,-l----

DmllG

they'd

Yoü,

lov -

up

end

ing

you

a-3------t

ar

hf

r o

o Dm7/G

Cm/Eb

Cm

G7

Au

too.

those

r-l

-----1

Gm

peo-

ple who

scold

--c. tr § x §. §,,*B Lq; From Walt Disney's Alice

Brightly

In Wonderland

IE m

--aF Itm

Ia tE,

for

Irm

a

Yer-y im-

O 1949 Walt Disney Music Company All B;-hi.

Copyright Renewed

B---.,

a.l

I .-¡

h. P^.-i-.i,,-

por -

tant

date.

it - ,ll

mag

do

- ic

be -

or

lieve it

,7

bib-bi-di

not,

- di -

boo.

,,

F3

G7 J

Dm7

Bhm

3

Sa-la- ga-doo- Ia

but

men-chic-ka boo - le-roo,

the

thing-a-ma-bob that does thejob is g

Gm7 g

bib - bi - di- bob-bi - di - boo"

I

Sa-la-ga-doo-la

men-chic-ka

boo

Ia

bib- bi - di - bob-bi - di - boo

3

put 'em to-geth-er and what have you got ,?

bib-bi-di

-bob-bi-di bib-bi-di-bob-bi-di

bib-bi-di - bob-bi-di - boo. 3

73

whis -

kers

hop, hop,

too much

took

hop, I

wish that I

run

time

could

fly.

and

dare to stoP

There's dan - ger if

and

D7

herets

the

rea - son

why,

rab - bit

Itm

(you see) I'm

G7

Cantt e - ven say good ' bye, hel ' lo, I'm

late, I'm late, Itm

late.

74

'F&xr* %i**r-x'xxxñ %,*-xx. §. "{{-§-§*, .§,.1L§-& *.§ il&&.§. :,-l*-"r

""§&.-&*-&'-§

.*

e . $rr ,-:§11* f &q+' 1,J1l. ff{X('r?}$ il,\.3 # $&,S;i{r-il -&-§.

From Walt Disney's Peter Pan

Words by SAMMY C,\: Music by SAMMY Fr Moderately slow with expression

Eb

G]

The

sec

- ond

star to the right

E|IG

C9

to tell you that the dreams you plan

star to

the right

real

-

ly

shines

in the night for

Ab/Bb

Ab9 EblG

can

shines with

O.1951 Walt Disney Music Company Copyright Renewed

come

true.

Fm7

BbTlF

Eb

Land you

Eb

AbiBb Bb9

Fm7

need, it's light will lead you

so I'll

Bb9

one who

where

know

loves

Bb+ me.

you

And when

gleam-ing

EbIG

lit ' tle

you

in

skies

the

bring him mY way'

Fm7

c'7b9

star that shines

the

star

G7b9tD

Ab

are'

lit - tle

a - bove,

lead

Eb

BbTtAb

we'll thank the

Twin-kle, twin- kle

there'

Eb9

BbmT

BbmT

Fm7 F*dim EblG

each

time we say "Good- nightr"

Ab/Bb Bb7+s(b9)

sec' ond

from

the

right.

me to

the

76

.\(1

tia, t-t.,* *l:r. ta .!.,,r.t,r..§_-.r-

: a.r § r1 fli t.t a il * i!

a:

,.-

, ..

,1

, ¿

_t_'9* tiól * t{ , 1l

f,

From Walt Disney,s peter pan

Words by SAMM\ ¿,Music by SAMI\1) :¿

Moderately slow Eb

Think of the pres-ents you,re brought,

rein-deer in the

an

sky.

-y

mer-ry lit - tle thoughL

You can

O 1951 Walt Disney Music Cornpany Copyright Renewed ed I l.o.'] h,

All Riphlc R-.en

p^.-,.. i^^

You

can

77

Fm7

Eb-

Bb7

You

can

fly!

Think of the hap-pi-est things,

r

r

Bb7

that's the way to

r

get

Now you

wings.

can - dy

own

r

Bb7

Look! You're

your

Eb

Eb

ris -

ing

Ab

the floor. Don't

Bb7

You

won

-

Eb

can

flv!

You

can

der

why.

Fm7

Bb7

flv!

You

can

fly¡-

store.

78

Soon

ifr

you'll zoom all a - round the room, atl it

faith

and

F

But the thing that's a pos - i - tive

When therets

takes is

a smile in vour heart

must

rsa

lit - tle bit of Pix -

ie

79

B: 1

Bl7

f = --l t

It' s

sim - ple plan.

Yer-y

You

can

what bird -

ies

AI

--+ = least

Bb7

it's

worth

You

try.

Fm 7

Bb7

Eb

Eb

I

--+

2 You can

Hb-

=

fly !

. You

can

fly =I

fly!

can

80

Bella l{otte (This Is The Night) From Walt Disney's Lady And The Tramp

Words and Music by PECCY and SONNY BUF Slowly, with expression

GI

is the

This

night

-

a beau - ti - ful night-

-

and

we

call

it

bel

I

AmTlD I at

Look

3

lr

r

ly

the

they

skies,

-

have

in their eyes-

stars

-

on this

I

r

g bel

love

of your

I

¿t

'l

+

ir

8l

a

-

bout

star

--

when

You

make

DTbe(f s)

this_

is the

and

night

-

the

heav-

ens are right-

3

on this

t

82

#sacm &Jpexxa ,& KSremxxa From Walt Disney's Sleeping Beauty

Words and Music by SAMMY

F

and JACK LAWREI Adapted From A Theme By Tchaiko,

O 1952 Walt Disney Music Compan¡, Copyright Renewed

CdimT

it,s

true

vis -

G#dim7

ions are

FIA

D7

a

you'Il love me

dream.

at

they

know what you'Il

Gm

way you did

dom

Gm

YoUt

^ do;

sel -

D7

if

E]/G*

Gm

once

dream.

Gm7/C

up-on

-8--!, 1*' 'v e § § * "{,'-1 * x' *rl, § &t"it * i* .,,.,f & § &".;r 1§,' .* § ,r l'_ I i ft , '1{ # 11

From Walt Disney's LO1 Dalmatians

Words and Music MEL LE\ Bb9

O 1959 Walt Disney Music Company op¡ right Reneu ed^

in her

like

stare;

in -

-

a spi - der wait '

no - cent

dren

had bet - ter

be

'

first

you

the shock,

think Cru'el ' la is

the

dev

'

ware. -

Cru ' el ' la

Look out for

ing for

af - ter time haswore a-way

chil -

De-

il,

you come to

re

-

a - lize

youtve

-

86

seen her

kindof

eyes_

Yam

- pire-

neY

- er re - leased.-

bat,

-

watch -ing

in -

The world

you fromun - der-neath

hu-man beast,-

was

such a

a

she ought to be locked- up

whole-someplace un

87

A Spoonful Of Sugar From Walt DisneY's Mary PoPPins

Words and Music by RICHARD M. SHERMAN and ROBERT B' SHERMAN

Brightly

In

ev

job

-'ry

feath bees

thatmust be done there is an - er - ing his nest has ver - Y that fetchthe nec - tar from the

of to

el - e-ment

lit-tle

time

flow - ers to

You while

fun.

the

rest comb

nev - er

Bbdim7 D9

fun and er-ing his

ñnd gath

tire

the

snap

ofev-er

bits buzz

the job's

a

of twine and - ing to and

suit,

be he has a

niP, from

ev-'ry

-

comes

mer flow

-'rY Though quite in

twig.

Be

fro.

a piece of ry tune to er that they

-

Am7

A7

G

take

And

game.

A

Iark!

toot.

He

knows

sip.

And

hence,

cake.

I

O 1963 Wonderland Music Company, lnc' Coovrisht Renew ed {ll Righr< Re'enpd U'"d br Pernr'"ion

eY

cause theY

-

task

tent take

Bbdim7

D7

A spree! a song they find

youun - der in his pur a lit - tle

DdimT

It's will their

tt8

ver - y clear to

see.

job a - long. task is not a grind.

move the

That For For

med- i - cine

a

a a

-

ful

-

wown,

Bbdim7 D7lA

sug -

ar

med- i - cine

helps the med - i - cine

Just

a

89

Words and Music by RICHARD M. SHERMAN and ROBERT B. SHERMAN

Brightly

C#dim7

C

Mary Poppins:

-

Sup-er-cal-i

though

the

ex-pr

frag

some -

sound

thing

O 1963 Wonderiand ,\1usic Companr', lnc

All

CoPi'right Reneu'ecl Rights Rescrved Usecl l¡r,Pernrissior¡

quite

G7

90

- frag-il

-is

-tic

- ex -pi

-al

- i

-

do

C

Pearlies:

Um

did - dle did - dle did - dle, um

did -

Bert: Be dle ay! Mary lU" Poppins: lSo

I

was

eY -'ry

just

-where

no need

to

a he dis -

lad, went Dayr

did -

dle

cause I trav - eled when the

me he'd just

did -

ay!

wa§

all

-

cat

fa use

sum

ther gaYe his word - mon up

fraid round got

me

and

this

dle

did -

dle

to speak the world your tongue,

did - dle

when and therets

nose a tweak and all would say, '6There word and then you've

9t

told pes got

saved

I

me

a

clev

lot

a

me

-

was

bad.

er

gent!"

to

say.

ach

time

of

day

it

can

change

el' - er teard and mord and then they to me girl and

-

then one day I But . I When dukes and ma - 'a Derr: i Rrrt bet - ter use it

this ask no\ü

big -

Bertand I fne I I

in' with your

learned a word - ra - jas pas§ care - ful - ly

gest

Mary Poppins:

Pearlie:

is 'ow it me out to me girl's me

*,:T'

One

Ar:

wife. All:

word

spe said

that the

or

you cial

it

Sup

i

She's

- er - cal ' 3.Sup-er-cal'i

cious! cious!

E - Yen though Sup-er-cal-i

the

3Xl

I

1.,2.

C*dim7

fr"¿: il - is ft'-¿¡ il - is -

tic tic

- ex -pi - ex -pi

- al - i - al - i

92

sound of it is frag - il - is -tic

If you say Sup-er-cal-i

some - thing quite a - ex - pi - al - i

loud e-noughryoutll al - ways sound frag -il - is - tic -ex-pi-al-i

Sup-er-cat'i

pre

Sup-er-cal-i

mru frag -il frag -il

-is -is

-tic -tic

-pi -pi

-aI -al

-i -i

-do

it

93

é,[email protected] .\-¡¡

d

:l

;:

ii-1,

rt:'-ti.i

ii.,;...,..r;

_,.,,,. ,, ir

...r

.r ,

I

i.,

From Walt Disney's The lungle Book

Words and Music by TERRY GILKYSON

Bright tempo (with spirit)

Look for

BbmajT

F]

ne ne -

1.,3. bare

the

2. bare

ces ces

SI

ties, the ties, the

si - ties;si - ties;-

for for -

a-bout a-bout

get get

wor wor -

your your

sim sim -

Ple bare ple bare

ne ne

G7

D7

Bb7

ces ces

§r

ries ries

and and

your your

strife. strife.

br

mean mean

Bb

F1

c7*5

the the

bare bare

ne-ces-sl ne-ces-§l

-

O 1964 Wonderland Music Conrllanr', lnc CoPYright Renetr

pi,,Á!- p-.-.'

orl

ecl

I ., ¡ hr Pprrn .. nn

ties, ties,

-

Moth - er or that's why a

Na ' bear

ture's can

,

v

re - ci-pes_ rest at ease_

F

that bring the bare with just the bare

ne

ne

ces - si - ties ces - si - ties -

of of

life. life.

ev-er I or pric-kl - y in my back

roam, pear,

-

no chord

Wher-ey-erlwan

Whenyou- pick a 3. So just try to re -

I could - n't be you- prick a if you act like that

and

wher-

paw lax

fond

raw bee

¡Oh yeah!)

paw..acts-

r rr

?a

The t¡ees Don't pick

are the

Don't spend your

of my next time

big be you're work-in, too

home. ware.

hard.

tr

in' in the tree to make some ly pear by paw, when you pick a time just look- in' a - round for some-thing you bazz prick -

yard,

hon

- ey just try to use that canlt

pear, want

for the be

Dm7

look un-der the need to .When you find out you can

me.

But

cIaw.

found.

Gm

D7

G7

You

you don't

C7

C

Gm

plants and take a glance use the claw when you pick a pear go a-long Iive with - out it and

ants, then big paw - pawr -have I think-in' a - bout- it I'll

may giY

tell

be try en you

a a

you some-thing

few. clue?

not

life

The bare

Dm

will come

Gm

C7

they'll come to

to

F6

A 2.,3.

Look for

the

you!

A

7r f

ne

true.

C7

of

the the

D7

fan - cy

ces-si-ties

at of

rocks and

(The Python's Song) From Walt Disney's The lungle Book

Words and Music by RICHARD M. SHER,V and ROBERT B. SHER/V

Moderately

O

1966 Wonderland Music Company, lnc

97

r-.7------r Slip in É,

to

sail on a r-'7 ------¡

ber,

slum

t¿

Bb7

r_./

Slow tol

-__-__.l

-------t

,-3

ty and sure 'lY a

3

Your

"----1

r_J|______r

sen -

r--.-.? ------l

ses will cease to

r-l--___¡

re

r--.?-----¡

-

Dm6

no chord

-

lax,

tt

r

\7

99

Ev'rybody Wants To Be A Cat From Walt Disney's The Arístocats

Words by FLOYD HUDDLESTON Music by AL RINKER

With a beat

lai7

Em

D7

Em(maj7)

3

hows

where

'cause ev

it's

at!

_

-'ry-thing else is

Ev - 'ry-bod

ob

- so - lete.

- y pick-in' up on

ware

O

of a

1968 Walt Disney r!1usic Cornpanl, fnnwriohi Pp..,.,..1

square-

the

beat,

-

whenhe of-fers to share- his

100

milk ,b ,tn--

If it

I've

has-n't been tried,

heard some

-

I

sug - gest you pro - vide

-

corn-y birds who tried to

Em7

Em6

tv

cat's the on-ly

cat

who knows how

I

But ev -'ry-bod - y wants to

to swing!-

t

I Em

Bm7 Em

be

a cat!-

purr

be-tween two

Am

fur - ry

friends may

Ib ,r""'t rt."in I ,

Bi

I

llpm

be

old hat,

-

101

F#m7

Come on, scat

EmajT

gli

turn me on,

AmajT

-

I'll

take my horn and my best tone, _ then

Gm7

EmajT

C7s

Let's take it to an-oth-er

FmajT

take

Gm7

a

few

ad

libs

C]

B7

-Í-

-

B7

F#m

blow a lit - tle soul

in

-

to

the

Gm7

key,

-

FmajT

mod

-

u-late, then wait

for

me,

-

I'il

AhmT

and pret-ty

the

oth

er cats will all

com-mence-

I

¿l

t'1

AbmT

Db7

t

con -gre-gat-ing on the fence,- be

I

Am7

-

D7

,?

Aml

D.C. aI Fine B1

Am7b5 F#m7

neaththe al-ley'son-ly light,-where ey -'rynight is out

of

sight!

if

§: i..§

§.'

§ ,{..,} §

From Walt Disney's The Rescuers

Words by CAROL CONNORS and AYN ROBI Music by SAMMY I Gently, expressively D

DmajT

Be trrave lit - tle one.

Make a

wish for each sad

D6

lit - tle

tear.

With pedal throughout

I

Hold your head up

J)

though

no

one r§ near.

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.t

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O 1976 Walt Disney Music Company and Sanrmy F¿rin Trust Adnrinistered_by Walt Disney Music Compan-v



frox-n

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to

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Winnie The Pooh From Walt Disney's The Many Adventures Of Winnie The Pooh

!

Words and Music bv RICHARD M' SHERMAN and ROBERT B. SHERMAN Broadly C7

Win - nie The Pooh'

tub - by

Win - nie The Pooh,

lit - tle cub'by all

stuffed

with fluff'

He's

Moderate Waltz

ToCodaS

Win - hie The Pooh'

Win-nie ThePooh,

wil - ly nil - ly sil - ly

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wood

where

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bear.

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the

106

Tempo

I

Gm7

\-,

child -

hood

days.

don-key named

Ee-yore is

his

friend, and Kang-a and lit

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Dm

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CODA

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Dm7

G]

OwI but mostof all Win-nie-The-Pooh.

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,r

From Walt Disney's Tlte Many Adventures Of Winnie The Pooh

Words and Music by RICHARD M. SHERMAN and ROBERT B. SHERMAN

Brightly

1.,3. The

2.

won - der won - der

Their They're

things! chaps!

thing a-bout thing a-bout

tops

load

-ed

Tig Tig

bot - toms are made out to

leap

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ls

are made with vim

are are

won - der - ful won - der - ful

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rub

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and

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-

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Th

From WaIt Disney's Pete's Dragon

Words and Music by AL KASHA and ]OEL HIRSCHHORN

Smoothly

Am

C

['ll [,ll

be be

your can- dle your can-dle

on the on the

wa wa

r

burn.

I

bright,

my

don't give up soon you'll

know

you're

soul is

you have some-where

see a

to

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my Iove

'til

eY

r.

and drift - ing, be - side you,

but the clouds are lift - ing, Iet this can - dle guide you

turn.

gold - en stream of

A

for you will al-ways -'ry wave iswarm and

ter,

ter,

1976 Walt Disnev Mtt

\ ------

.g' _-/

-

how

as

a

Yeller!

-

From Walt Disney's The Parent Trap

Words and Music by RICHARD M. SHERMI and ROBERT B. SHÉRMI

Moderate Rock tempo C

Let's get

bine?share.

-

| I

to - geth

-

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yea,

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O

1960 Wonderland Music Company, lnc Copyright Renewed

I I

Why don't you and I com that we could

ttrint ot all

We couldhave a swing-in' eY -'ry way and ev -'ry

219

to - geth-er. to - geth-er.

think

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hey, al - li

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tor!

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Two is twice as nice as

Yea, yea

Let's get to-geth-er.

and you can

be.

We'lI be hav-in' twice the

[€,

count

to -

geth-er.

a

Yea, yea

grooY - y

Castle trn Spain From Walt Disney's Babes In Toyland

Words by MEL LEVEN

Music by CEORCE BRUNS

TanBo rhythm

cas - tle in mort-gage and you must a

our

liv re makes

ing rent val-u your head

free.

Spain lease-

gree_

you'll I that

Ev And to

-

ate.

whirl

O 1961 Walt Disney Music Company Copyright Reneu,ed

be

will

it

'ry for be

rate.

From You'll

girl.

You

me._

r

r

tune will in on the what do you

grow take say

noth

eat have

- ing but me to -

caught

cake

day

r

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for -

vil - lage be - low-

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cent we will

drain.

naught but cham- pagne. gen - er - ous vein.

in our in our to our

cas cas cas

-

tle tle

tle

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ln ln

Spain. Spain.

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our

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now

be

'.r

il.

From Walt Disney's Newsies

O 1992 Wonderland Music Compa¡y, lnc

All

R

pñ|.

R,

I .e¡ h\ Por-,,--i^^

Friends of the friend O - pen the gates

Raise up Don't be

less

and

the torch and a - fraid and

(Friends of the friend (O - pen the gates

serze setze

the way. de - lav.

(Raise up the torch (Don't be a-fraid

and

serze selze

the day.) the day.)

and and

light don't

the way.)

less,

de - lay.)

Neigh- bor

to

neigh

fa - ther

--

ToCoda

S

CODA D.S. al Coda

Oc

From Walt Disney's Dat y Crockett

Words by TOM BLACKBURI Music by CEORCE BRUN Moderately F

Ten - nes - see, L. Born on a moun-tain top in up - rose, teen the Creeks 2. eigh - teen - thir 3. Otr through the woods - he's a marchint a - Iong,

green

-

est

addin' redskin

makin'

up

state

in

arrows to yarns an'

4. - 17. (See additional lyrics)

r

of the free, tryts-

int a

he was

off twict

woes. song,

kilt him a b'ar raised in the woods so's he knew ev -'ry tree, is some - thin' he knows, so he should'ers his rifle Now, In - jun fightin' an' right - in' a wrong, he's rinry as a b'ar itch - in' fer fightin'

- ly he-

three.

Da

goes.

as

strong.

Da Da

on

-

rr

Da Da Da

Yy

vy Yy

Crock-ett, king of the wild fron ' don't know Crock-ett, the man who Crock-ett, the buck - skin - buc ' ca -

le

tier!

18. When

fear!

he

come home

his

heard of Houston an,

neer!

land is

rrrr

t f i f

biggest an, his

pot

-i

- tick

Au-stin

land

-in.

an, is

dooe.

rhe

so.

best.

f¡r,rn

1

ern march had plains he gras - sy plains to the west -

to the Texas

lit out grin - nin' they needed him at follow - in, his leg - end

lead man

in' the

king

of -the

who

pi don't witd

Sunt

foe, test,

to fol - low the sun. theA-la-mo. in - to the West.

o

know

fron

Da - vy, Da - vy, Da -w,

Da Da Da

19. He 20. His

ly Crock-enry Crock-en" rrhe ry Crock.ru-

Additional Lyrics

4. Andy Jackson

is our gen'ral's

name,

11.

his reg'lar soldiers we'll put to shame.

Them redskin varmints us Volunteerstll tame, 'cause we got the guns with the sure-fire aim. Davy-Davy Crockett, the champion of us all!

5. Headed back to war from the ol' home

place,

but Red Stick was leadin' a merry chase, fightin' an' burnin' at a devil's pace south to the swamps on the Florida Trace.

Davy-Davy Crockett, trackin' the redskins down! 6. Fought single-handed through the Injun War till the Creeks was whipped an' peace was in store. An' while he was handlin' this risky chore, made hisself a legend for evermore.

Davy-Davy Crockett, king of the wild frontier! 7. He give his word an' he give his hand that his Injun friends could keep their land. An' the rest of his life he took the stand that justice was due every redskin band.

Davy-Davy Crockett, holdin' his promise dear! 8. Home.fer the,winter with his family, happy as squirrels in the ol' gum tree,

12. Now he's lost his love an' his grief was gall, in his heart he wanted to leave it all, an'lose himself in the forests tall, but he answered instead his country's call. Davy-Davy Crockett, beginnin' his campaign!

didn't vote blind. They put in Davy 'cause he was their kind, sent up to Nashville the best they could find'

13. Needin' his help they

a fightin' spirit an' a thinkin' mind. Davy-Davy Crockett, choice of the whole frontier!

14. The votes were counted an' he won hands down, so they sent him offto Washin'ton town with his best dress suit still his buckskins brown, a livin'legend of growin' renown. Davy-Davy Crockett, the Canebrake Congressman!

offto Congress an' served a spell, fixin' up the Govertments ant laws as well,

15. He went

bein' the father he wanted to be,

an'the pea. Davy-Davy Crockett, holdin' his young 'uns dear! close to his boys as the pod

9. But the ice went out an' the warm winds

Lookin' fer a place where the air smells clean, where the trees is tall an' the grass is green, where the fish is fat in an untouched stream, an' the teemin' woods is a hunter's dream. Davy-Davy Crockett, Iookin' fer Paradise!

came

an' the meltin' snow showed tracks of game.

An' the flowers of Spring filled the woods with flame, an' all of a sudden life got too tame. Davy-Davy Crockett, headin' on West again!

took over Washin'ton so we heered tell an' patched up the crack in the Liberty Bell. Davy-Davy Crockett, seein' his duty clear! 16. Him an' his jokes travelled all through the land, an' his speeches made him friends to beat the band.

His politickin' was their favorite brand an' everyone wanted to shake his hand. Davy-Davy Crockett, helpin' his legend grow!

17. He knew when he spoke he sounded the knell 10. Offthrough the woods we're ridin' along, of his hopes for White House an' fame as well. makin' up yarns ant singin' a song. But he spoke out strong so hist'ry books tell Hets ringy as a b'ar ant twict as strong, an' patched up the crack in the Liberty Bell. ant knows he's right'cause he ain' often wrong. Crockett, seein' his duty clear! fear! Davy-Davy man who don't know Davy-Davy Crockett, the

261

Mickey Mouse March From Walt Disney's The Mickey Mouse Club

Words and Music by JIMMIE DODD

Brightly F

C7

Mouse

Who's Hey,

the Iead - er of Hi, there! Ho,

FTIEb

M

club

there!

I -C

Mick

Ctub!

You're

that's made for you

as wel -

Bbm/Db

E-Y

come as

and can

C7

M

O 19i5 \\'alt Disne\ \1!! c C¡^-::: Copr riqhi Re:e'.,. ¿:;

o -u

S-E!

me!l be! I

Bb

Mick -

(Shout)

Mick - ey

Don -

Mouse!

ald

Mick - ey Vfr#

ey

Í-

C7 (Shout) High! v\/

-\--l-

-

er

let

us

and

hold

sing

our ban - ner

a song

and join

high!

the jam - bor

M - O.U - S -

E!

:i .i ¡,:,,. i

i-::.,-:::

.:.

i.1.. ;:t .]

iii

::

i



.,, ,

From MILLENNIUM CELEBRATION at Epcot

Music by CAVIN CREENAWAY Words by DON DORSEY

Moderately slow Gsus/C

\.-_, Ev -'ry

eve

nrng

mu

SiC,

GIC

U brings an

end

rng.

vou

Iis

ten,

if

Am/c

+' da)

rh)

comes

a

of

each

r_j

we

_____¡

\__ !un

Ieg-a

breath

t"-j set

leads

tions

un-

+.-+'

to dis

morn

lng

cov

ered,

T.

--

with a rev-e

T--

264

G prom la

of-

ise

op-por

from- ev-'ry

tions

FmajT

-

\-, ni -

tu

ty.

for the stars we there are dia - monds

We can reach

And I know

we-make.

choice

eb(a¿¿s)#u

find danc

a - long-

- ing

in

-

e Y

the the

way, sky;

dream - ing

all

-

we

as_ have -

we

to

Iearn

to

do- -

ts

love

o- -

+

r

\_, Prom Prom -

ise ise

you will we'll walk

take side

my hand;

by

side;

as to-

asa

265

grow-

ing

clos

er

through the

moY - lng

years,

.l

through the good

times

-

and

tears,

the

3

cfr,,:bs

an - oth

- er

thou

cles

sand cir

'round

tI ¡.I r _/!

á' rl-

we'll

/: I

1o-

go

on.

.l

-.?t -l-)

the

sun.

-

=r

GiF#

through the good

times

andthe

DIFil

-=---/ --J

*r

------r

§§'s

,' - xxam§á Wkr&q§

From Disneyland and Walt Disney World's It's A Small World

Words and Music by RICHARD N1. 51-:i'"' and ROBERT B. SF-:-".'

March tempo

It's

tears; sun

much moun

it's a and a

a

world

of

just

one

world smile

that we - tains di -

of means

share

vide

laugh moon

hopes

friend

that and

O

-

world ter, a and one gold

and a world of ship to eY - 'ry

it's

we're

the

ceans

1963 Wonderland Music Company, lnc Copyright Renewed

-

-

ware.

wide,

-

fears. one,

of en

There's so though tht

Itts it's

a a

It's

a

small,

270

Ym E€s> (A Pirate's Life for Me) From Pirates of the Caribbean at Disneyland Park and Magic Kingdom Park

Words by XAVIER ATENCIO Music by CEORCE BRUNS F

Yo Yo Yo

pil - lage, plun- der, ex - tort and pil - fer,

kin - dle and char and

we we IN

kid -nap and rav - age and raud and em - bez - zle and

burn up the cit -

y, we're

ho, ho, ho,

yo yo yo

ho, ho, ho,

a a a

ri - fle and loot. Drink filch and sack. Drink - ig - nite. Drink flame and

don't

give a

hoot.

pi pi pi

up

up up

Drink up

e - ven high-jack. Drink up

real-ly

a

fright. Drink

O 1967 Walt Disney Music Conrpan),Cop,vright Renerved

AIlRrBhl.Re*,cd U.¡nb' P, ns.iun

rate's life rate's life rate's life

me 'eart me 'eart me 'eart -

me me

ies, ies, ies,

for for for

me. me. me.

We We We

yo yo yo

ho. ho. ho.

We

yo yo

Ma We

ho. ho.

271

me 'eart -

'We're

ies.

beg

vil - lains and knaves. Drink ne'er -do - well cads. Drink

ly bad eggs -mies 'n' dads.

real mom

ho, ho,

Drink Drink

a a

me 'eart - ies, yo me 'eart - ies, yo

up up

up up

me 'eart me 'eart -

pi - rate's life pi - rate's life

ies, ies,

for for

me.

gars

We're

ho. ho.

yo yo

-

Aye,

and and

dev but

ho. ho.

ils

-

scoun - drels, we're blight - ers and

and black

sheep, we,re

we'reloved

ho, ho,

We're

by

our

272

SOI\üG TI{DEX

53

267 Mickey Mouse March

Baby Mine

258 The Ballad of Davy Crockett

93 The Bare Necessities

124 Be Our Guest 728 Beauty and the Beast B0 Bella Notte (This Is the Night) 112 Best of Friends

70

154 109 251 749 158

84

Bibbidi-Bobbidi-Boo (The Magic Song) Can You Feel the Love Tonight Candle on the Water Castle in Spain Circle of Life Colors of the Wind Cruella De Vil

68 A Dream 99

Is a Wish Your Heart Makes

Ev'rybody Wants to Be a Cat

245 Old Yeller

82

Once Upon a Dream

115 Part of Your World 263 Promise 787 Reflection 7

4

253

34

772 702

87 89

The Second Star to the Right Seize the Day Some Day My Prince Will Come Someday Someone's Waiting for You A Spoonful of Sugar

Supercalifragilisticexpialidocious

96 Trust in Me (The Python's 792 Two Worlds

133 Friend Like Me

44

24 Minnie's Yoo Hoo

272 My Funny Friend and Me

Give a Little Whistle

782 Go the Distance 767 God Help the Outcasts

720 ljnder the Sea

742 Hakuna Matata 237 Hawaiian Roller Coaster

203 When She Loved Me

38 47

57 When I See an Elephant FIy Ride

Heigh-Ho Hi-Diddle-Dee-Dee (An Actor's Life for Me)

72 I'm

Late

235 I'm Still Here (|im's Theme)

30 I'm Wishing 50 I've Got No Strings

224 If I Didn't Have You 268 It's a Small World

65 248

67

239

Song)

Lavender Blue (Dilly Dilly) Let's Get Together Little April Shower Look Through My Eyes

47 When

You Wish Upon a Star 218 Where the Dream Takes You 36 Whistle While You Work 27 Who's Afraid of the Big Bad Wolf? i38 A Whole New World 105 Winnie the Pooh 7O7 The Wonderful Thing About Tiggers

2O7 Written in the

270 76 196 163 77

6

Stars

Yo Ho (A Pirate's Life for Me) You Can Flyl You Can Fly! You Can FIr-l You'll Be in My Heart (Pop Version) You've Got a Friend in Me

Zero to Hero

63 Zip-A-Dee-Doo-Dah

FEATT]RII\G 68 DISI\TY SOI\GS

including: The Bare Necessities (The Jungle Book) Beauty and the Beast (Beauty and the Beast)

Circle of Life (The Lion King) Go the Distance (Hercules)

It's a Small World (Disney Theme Parks) Look Through My Eyes (Brother Bear)

Mickey Mouse March (Mickey Mouse CIub) Reflection (Mulan) Some Day My Prince Will Come (Snow White and the Seven Dwarfs)

Under the Sea (The Little Mermaid) When You Wsh Upon a SÍ,ar (Pinocchio) A Whole New World (Aladdin)

Winnie the Pooh (The Many Adventures of Winnie the Pooh) You'll Be in My Heart (TarzanrM) You've Got a Friend in Me (ToY StorY)

Zip-A-Dee-Doo-Dah (Song of the South)

THT NTW ILLT]STRATTD TREAST]RY OF' DISI\EY SOI\GS Nlusic has always been at the heart of the magical world of Disney. Whether it's the score from an animated

feature film, from television, or from a Disney Theme Park, music adds unique emotional magic to every Disney story and entertainment experience.

The New ltlustrated IYeasury of Disney Songs is a guided tour through the many legendary years of Disney

music, from "Minnie's Yoo Hoo" of 1930 right up to "Look Through My Eyes" ffom Brother Bear.This collector's edition begins with a musical history of Disney's greatest songs. Then you'll find piano/vocal arrangements of 68 classic Disney songs, a comprehensive selection of songs from 1930 to today. Over 1 00

full-color illustrations accompany the text and music, making this a keepsake [o treasure for years to come.

u.s. $29.95

ilillllJJltl|ul|[ililt,

Walt Disney Music ComPanY Wonderland Music Company, lnc. DISTRIBUTED I

ISBN-1 3: 978-0-7935-9365-1 ISBN-1 0: 0-7935-9365-4

BY

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