DISNEY
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Seleccion de Canciones clásicos Disney! Piano, voz...
Description
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
!iir
Someone's
IX4¡ü¡ü18 THE POOÍL
Lavender Blue (Dilly Dilly)
l'm Wishing
PT{OCCHIO,7910
:-
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;
l2O
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.
a .r
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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HE, EARLY YEARS
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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,
i- *-'
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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PICTURI
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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
G7
turn
my
meet
her
heel, there,
C
the hen that frag -
to mid
and
to
E]
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
Pl8s,
D/F* D#dim7
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
FmajT
F6
er
)n
r
Copvright O I 9.17 bv Bourne Co. Copvright Rcneu,cd lnternational Copyright Securcd All Rights lieserVCd
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 Y@
**&^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
Bb+ and
steal
things
wetve
a been
my
Ab7
Gm7
love
per we'll
"l say
C7
kiss long
some
day
-
or ing
two though
to
though
he's she's
I I
both -
dontt
For - get your trou '
er
C
C#dim7
be
a
just
cheer
bles,
- ful
chick - a - dee. And
whis
- tle while
you
C#dim7
oD, get smart tune
C
to
whis -
tle
you
work.
C6
n I
'
G
Y-*
§{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
Am/C
al - ways d,r¡*rn the
srng, scale
for
as
when we
all
B7
you go
Em
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
tle
rhy
thm
B1
G
croon. !(]n9.
"Heigh -
home
your from
trou work
bles
8o,
we
go"
r
Am7
Fm6
or of
can the
C
heigh - ho." heigh - ho."
ho, ho,
D7
make
than a right a -
C
just (Whistle)
keep
To
rt's
G/B
sing -
ing
f 40
B7lü
Em
long, "Heigh "Heigh -
heigh heigh -
heigh heigh -
ho, ho,
ho, ho,
if
ho." ho,"
seY
heigh - ho.t' "Hei¡ heigh - ho." t'Hei¡
feel enina
you're
ing
+
r BTID* you
pos'i-tive-ly
can't
Em
wrong *ith with
(Whistle)
heigh - ho."
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
lnternational Copyright Securecl All RiShts Reserved
Cm7
F7
42
EbmT
could
pick
na - ture was - n't
and
hm/b)
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,dF&@ .\-¡¡
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.
Some-one's wait - ing
.t
There'll be
O 1976 Walt Disney Music Company and Sanrmy F¿rin Trust Adnrinistered_by Walt Disney Music Compan-v
f«
frox-n
F#m
c*1
)naj7
used
to
You'll be part
be.
of
that you
the
see.
4
Ffm
Al -
Some-onets wait - ing
B1
Em
keep
a
lit - tle prayer
in your
to
and you're sure
pock
see
the
J
e
c*]
tighL
ways
Soon there'll be joy
)
F*m7b5 87
F*m
hap
and
your
J
lit-tle worldwill
be
Am D¿ r-¿
G/A
brig ht.
Have
faith
lit - tle one
'til your hopes
and
your wish- es
I
come true.
r-t )) D-
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
-
dred
wood
where
Chris
C]
to -
pher
in
Deep
bear.
Gm7
FfdimT
hun
ole
Gm7
FmajT
-
bin
plays,
-
\-'--/-/ O 1963 Wonderlancl Muslc Compan.v. lnc Copyright Renewed All Rights Reserved Used b1'Perrlissiorr
the
106
Tempo
I
Gm7
\-,
child -
hood
days.
don-key named
Ee-yore is
his
friend, and Kang-a and lit
-
Dm
andPig-let
CODA
and there's
Dm7
G]
OwI but mostof all Win-nie-The-Pooh.
- ttr
'.t
, :i..l
,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
in
ls
are made with vim
are are
won - der - ful won - der - ful
out
of
rub
their
and
with
üg
they
I
r
love
Tig - gers Tig - gers
IS
of springs! your laps!
O
They're boun They're jump
196,1 \,Vonderl¿nd NiLrsic
ConrP.rr¡, nc
Copvright Renetr e¡l
cy, troun
y,
bump
cy¡ floun y, clump
cy, poun - cY, I y, thump - y, I
108
Fun!-_Fun!
But
Fun!
the most won - der - ful
thing a - bout tig - gers i
To next strain ll3
Tig - gers
are
cud - di - Iy
fel - Ias.
Tig - gers
are aw - ful - ly
-
Ev-try-one el -
es
why I
re - peat and re - peat:
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
lost there
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
-
Yea,
er.
Let's get
yea,
to - geth-er.
'
yea!
-
I What do you say?-
t Ev - 'ry d"y,-
We'd be And tho'
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
you're
swell
_
huh,
we real - ly
ring
G7 and if
you
stick with
the
Dm7
G7
Noth-in'could be great-er.
Dm7
Suy,
hey, al - li
- ga -
tor!
Let's get to-geth-er.
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
eY - 'ry you'll drink ina
for -
vil - lage be - low-
this
cent we will
drain.
naught but cham- pagne. gen - er - ous vein.
in our in our to our
cas cas cas
-
tle tle
tle
tn
ln ln
Spain. Spain.
And You'Il
our
Come
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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