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music and lyrics by Bradford Proctor
Copyright © 2012
RUBATO, LOUNGEY
RUBATO, LOUNGEY
from "GRUB STREET"Why Bother?
DORA
The days
and nights are flow
ing- by
for us
as a pair,
and
Dm9
G+9
Fma9
Esus4
G#º
5
as the time
is go
ing- by
we've be come
- a ware
of wrongs
that come
a long-
with right, the
Am7
D7sus
D7
Fma13
G
G#&7
Am7
G#&7
8
lit tle- bits
that catch
the light,
but if
you stopto stare,
you'll be blind
ed- by the glare...
C/G
F#dim11
Dm7
G6
G&7
LAZY SOFT SWING
LAZY SOFT SWING
12
You..
could...
be... yel ling
- at your
mis takes.-
Why
both er?-
Fma9
Cma9
16
You could
be dwel
ling
- on how
it aches,
why
both er?-
Fma9
Cma9
20
What's
done
isdone
and gone,
you've
thought it
through
Fmaj7
Fm
Em7
3
2
24
What's
passed
has passed
right
on,
you
did what
you had
to do.
Why
A9
D9sus
D7
D(#11)
G+9
29
both er
- re mem
- ber
- ing
3
- how
we
got
to be
here?
Why
Fma9
Cma9
33
both er
- mak ing
- sure
your
con
science
- is
3
clear?
It
Fma9
3
Em11
A9
3
3
37
does
n't- mat
- ter an y
- more,-
so
what's the fuss?
The
Dm7
Fm
Em7
A9
3
41
means
are un
- im por-
- tant things
to
dis
3
cuss
-
why
D7
3 F/G
G#7(b5)
3
45
both er?-
Why
both er?-
'Cause
we
should
on
-
Fma9
Cma9
A
Dm9
Gsus4
3
4
50
ly have to both
er- 'bout us.
You
could
de
bate- why
we have
our tiffs,
Fma9
Fma9
54
why
both er?-
You could
create
-a
whole
3
world
of
"what
3
Cma9
Fma9
58
ifs",
why
both er?-
What's
done
is out
of mind
Cma9
Fmaj7
5
62
and out
of view
re grets
-
will make
you
blind,
Fm
Em7
A9
D9sus
3
66
you
did what
you had
to do.
Why
both er
- re mem
- ber
- ing
3
- how
we
got
to be
D7
D(#11)
G+9
Fma9
71
here?
Why both er
- mak ing
- sure
your
con
science
- is
3
Cma9
Fma9
3
6
75
clear?
It
does
n't- mat
- ter an y
- more,-
so
Em11
A9
Dm7
Fm
3
79
what's the fuss?
The means
are un
im- port-
ant- things
to
dis
3
-
Em7
A9
D7
3
3
83
cuss
why
both er?-
Why
F/G
G#7(b5)
Fma9
3
7
87
both er?-
'Cause
we
should
on
ly- have to both
er- 'bout us.
Cma9
A
Dm9
Gsus4
3
A LITTLE SLOWER
A LITTLE SLOWER
91
And you do
JACOB:Amy, what is it?
what you do
AMY:You tell me!
and
Fma9
F6
Dm7
F/G
95
some where,-
JACOB:This is bad
some one-
JACOB:I can't...
will hate
you
JACOB:to the hospital.
But you do
AMY:But the show...
what you do
Cma9
A7(#9)
gliss
.
F6
8
99
JACOB:Get his things!
un til
- you break
through,
MARIAN:What's wrong?
and on
ly- toyour self
- you
be
3 true
Dm7
F/G
Cma7
B¨ma7/C
G¨7(#11)
3 Fma7
103
MARIAN:Jacob, we need to talk.
And yes,
you may dis cov
- er- a long-
the way
JACOB:Bad timing, sorry.
Some
E7
G#dim7
Am7
107
will dis ap- prove,
- but you're strong
and say
AMY:Ok, let's go!
that you do
JACOB:Later, she needs me right now.
B¨ma7/C
G¨7(#9)
Fma7
Dm7
9
111
what you do MARIAN:I lost the inheritance.
(DORA)
RUBATO
and you do
it for
3 3
F/G
MUSIC SUDDENLY STOPS
JACOB: What?MARIAN: But there's more - can't you stay?
115 A TEMPO
A TEMPO
you.
JACOB: I have to do this right now.
You
could
ex
pect
- af
ter
3
- time
we'll end
it
why
Cma7
F
Fma9
119
both er?
You could
dis sect
- it
so
3
much
that
you
3
bend it
why
Cma9
Fma9
10
123
both er?
What
hap
pens- lat
- er on,
I've
Cma9
Fmaj7
Fm7
127
not a clue
But
soon it 'll- have come
and
gone
and we'll
Em7
A9
D9sus
D7
3
131
do what
we have
to do.
Why both er
- re mem
- ber
- ing
3
- how
we
got
to be
D(#11)
G+9
Fma9
11
135
here?
Why both er
- mak ing
- sure
your
con
science
- is
3
Cma9
Fma9
3
139
clear?
It
does
n't- mat
ter- an y
- more,-
so
Em11
A9
Dm7
Fm7
3
143
what's the fuss?
The means
are un
im- por-
tant- things
to
dis
3
-
Em7
A9
D7
3
3
12
147
cuss
why
both er?-
Why
F/G
G#7(b5)
Fma9
3
151
both er?-
'Cause
we
should
on
ly- have to both
er- 'bout us
Cma9
A
Dm9
Gsus4
3
155
Eith
er-
way
we'll
Am7
F#&7(#11)
Dm9
Gsus4
Dm7
3 3 3 3
13
160
have
us!
G7
G¨ma7
C
3
3
3 3
164
D7/A
Ddim7/A¨
D7
G7
C
14
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