Remick Collection Popular Songs w Uke Acc. No 4 (1924)

8/3/2019 Remick Collection Popular Songs w Uke Acc. No 4 (1924)

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I~ ~T he chord s are ind ica ted b y c ap ila lle tte rs u n de rn ea tht h e U k u l e l e p a r t , fo p t h e benQfi t ' o f tho s e who d o n o r I~ read notes, (see diagrams, page 5) ~

N E W Y O R K J E R O M E H . R E M I C K ~ C O . D E T R O I T

l f h e ' R e m i c k C O l l e c t i o ny~~m~withVKULELEACCOOMI JPAA l lM f I EN1 rWITH DIRECTIONS FOR PLAYINGAND A SYSTEM OF FINDINGCHORDSWITHOUT READING MUSIC.

P pice 50 cents n et

Ar r anSQd b yZ A R H M Y R O N B I C K f O R D


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I D ir e c t io n s fo r P la yin g th e Uku le leBy Zarh Myron Bickford

TUNING THE UKULELE(pronounced 00-100 -lay-lay)

The strings, from the first to the fourth~ight to left), are named B,Fsharp, Dand A, and are tuned to the correspondingletters onthe piano, as illustrated below. This system of naming the strings is knownas the '.'Dtuning" andis advised inpreference tothe other tuning,which makes the lowest.string C and the others correspondingly lower. The D tunin ghas been adopted by the best writers and teachers as being preferable.

JTo avoid confusion inthe location of notes and the.readirig of chords, all notes which are to be made on the fourth string (A )

willbe written anoctave lower than they actually sound, thus always appearing as the lowest notes ofthe chords (when fournotes are used).

The following diagram shows all the notes and their location onthe staff and the fingerboard, as far as the twelfth fret oneachstring.

THE UKULELE FINGERBOARD CHARTNUT FRETS

lS~Stringl 4 5 6 l . I _ b .7 8 _R.~ . 9 10 ~, 11 .. 120 1 2 3 . . . .u . . .:

C~ D~ D~ E l> E E~F F~ G b G G # A ~ A A~ B ~ B' i ' ) B B#C D ..l _1l _ L u. J .L. , T l F # G GrtAh A A r t& B C crt D ~ D D rt E E E# F F#.f !~ - ffiE~ tf~F 11F r t G b G G~ A b A A r t m B C C# I J ! , D'J D E . ~ b . . H. I- . . .., . . # " P 1 r . . . . . ~- - tt~ 1 T E "II' G !; G#A!>G A

2n~ String

3r~ String

4t!l StringA ~FC D

Where. two different notes.are.shown.at one fret it iridicates that they sound the same. The small notes represented on thefourth string showthe actual pitch, While the lower octave shows the way they will appear onthe staff. In making the notes, thefingers are placedjust back of the frets, touching them, but not reaching over.

HOLDING THE INSTRUMENT(The position of the instrument, hands, et c., is shown in the cut on the first page).

The right forearm presses lightly againstthe body ofthe instrument, sothat itcan be held inplace either inthe sitting or stand-ing position.The neck must rest very lightly against the ball ofthe left thumb andjust above the thirdjoint of the first finger, the tip of the

thumb never appearing above the edge of the fingerb oard, and inmany cases being placed almost inthe center of the back of theneck. The tips of the fingers must be used in holding down the strings, the joints being well rounded and the nails kept rathershort, to avoid touching the strings.Since the object of this preliminary matter is merely to explain the ground actually covered inthe songs which follow , much

rudimentary matter is necessarily omitted and itis taken for granted that those who procure the Folio, either for study or forpleasure, already have, or can easily obtain the necessary rudiments covering time values of notes, signatures of keys, theuse of sharps, flats, naturals and the various signs and terms used inmusical notation.

Copyright_MCMXXNby Jerome H. Remick & Co. NewYork & DetroitInternational COP1/rtghtSec1lreti

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The Chromatic Scale3rd String II 2nd String II 1st String

2 3 o 1 .2 3 4 o 1 .2 3 4 5 6 7 8 9 10 11 12The Scale of D

o 2 0 1 3 0 .2 3 5 7 8 10 12FRETS 0The chromatic scale progresses by half steps or semi-tones and the above example shows the method of crossing to the next

higher string when it has been reached, rather than continuing oneither the Dor the Fsharp string.Inthe D scale the sharps placed onFand Catthe beginning indicate that these two sharps are required in thisscale or key, con-

sequentlythese letters must alwaysbe sharped, nomatter inwhat octave they appear. These scales arsinvaluable in Iearning thefingerboard and the location of the notes and it is suggested that the general rule of using the first finger for the first fret, secondfinger fodhe.secondfret, etc., be followed. In playing the higher notes, it isofcourse necessary to chang-e the posi tion ofthe hand.Ageneral,rule forpickingsingle notes is touse the thumb for the third and fourth strings, the first finger for the secondstringandthe secondf'inger for the first strmg, although this rule is frequently varied in actual playing.

FINGERINGOwingtothe peculiar tuning ofthe ukulele and the fact that the notestobe made onthe fourth string are written an octave

lower than they actually sound, inachord offour notes (the usual form), the highest note will always be found on the first string(B), the nexUower note onthe second string, the third from the top on the third string and the lowest note on the fourth string.Inmarking the chords and notes throughout the book, the figures always refer to the left hand fingers andnot to the frets, un-less they may happen to correspond. As an illustration of this ,the last chord shown below, known as a diminished seventhchord,is made by placing the fourth finger on the high D, the second finger onthe Gsharp, the third finger on F (natura~ and the firstfinger oa.the.B, (This is also the chordwhichis beingtakeninthe line cut shown at the beginning).Itwillbe seen that it is necessary to actually know the notes and their location inorder tofind all the chords used in thi s

Folio, some of whi ch are unusual and unfamiliar.

THE STROKESAlthough there are several differentstrokesusedfor.certain effects inplaying the ukulele, these accompaniments have beenconfined tothe common stroke, made with the first finger only and tothe downward roll or slide.The right hand is held in avery loose and relaxed condition, as shown inthe cut, the first finger being slightly straightenedout

from the others.Inmaking the down stroke (awayfrom the body), the nail of the finger brushes the strings lightly, while inthe up stroke the fleshy

part only isused.Itis most essential that the arm, wrist and fingers be held perfectly relaxed inorderto produce the best results. T.he dow nstrokes are indicated by the sign n and up strokes by A . The roll is made by using the nails ofall four fingers, makingaslightturnofthe wrist and straightening the fingers slightly. The thumb can also followthe fingers across the strings if desirable.The rollwillbe indicated by the sign], Throughout the Foliothe strokes have been marked.atthe beginning of'eacb piece and wher-ever any changes occur.

THE PRINCIPAL CHORDS IN COMMON KEYSlousing the diagrams or"pictures'toillustrate these chords, the fact must not be lost sight of that the only system of readingthat is recommended is the note system, the diagrams being used merely to assist the eye and because a certain percentage ofplayers are familiar with this system. The names of the chords are given underneath, but it should be noted that there are manychords used inthe accompaniments which are not shown below, owing to the fact that one of the notes (usually the hi ghest) belongsto the melody and is not apart of the chord inits usual position. These exceptions must always be worked out according totherule given previously and the exact fingering followed.The keyofD is given first, since this is the natural key of the instrument and its chords lay most naturally under the fingers.The keys following are given inthe order oftheir"naturalness' or congeniality tothe instrument.


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Chords in Key o/_D M M B minor (relative to D) 5M M* * g ii h J I i ~ 1 1 & ' g i il i # i R i "J00 2 0 2 2D G A 7t,lt D Bminor Eminor F# 7tl1 ~ minorIg IIm .11& Keg D IG E minor (relative to G J1 1 Ii A i I& ~ il i! : # 1 il I Ih i2 3 2G c D7tlt G Emin. Amin. B 7tll Emin.I1 1 1 1 Imr l lIKey of A F# minor (relative to A)& Y I ! I i ij f ) 1 1 & ~ # # i s s i I d i s I I1 2 3A D E 7t,ll A F~min. Bmin. C#7tl1 F#min. 11. mlI;'J 3 /J

Key of 0 A minor (relative to O J& il i s it ~i 1 1 & i f i s N i! I I3 '0 2Although occasional chords belonging to other key s will be used, it is not deemed nece ssary to illustrate further keysorscales in this work.

RIGHT HAND FINGERINGItisfrequently necessaryoradvisable toplay either single notes, or two or three together,instead ofthe full chord of fournotes, and for this purpose it is necessary to pick the strings with the fingers instead of making the stroke. Two dots in-dicatethe secondfinger,one dot the first finger and ".f'the thumb. When the strings are pick ed inthis manner, the littlefinger should rest lightly on the body ofthe instrument,nearthe sound hole, the thumb ext eud iag forward towardthefinger-board.Itisbelieved that sufficient exa.mplesha.vebeen given to showthe methodoffinding thechords, andin thecase ofthose whichhave notbeen iI-lustratedbythe diagrams,iti8 onlynece.saary tolookforthehighest note onthe first string, the next onthe second 8tring, the third note fromthetoponthe.third string andthe lowest noteonthe fourthstring.Thecompilermakes nopretentions asto a complete method ofinstruction, since this wouldbeoutside the scope ofthework. The mat ter intro-ducedis merely what it is necesaary toknowinorder tobe able toplay the various accompaniments. It is suggested that the best andonlycorrectwaytoplaythis,or anyother instrument, isbynote, andthat the diagrams bereferredto onlyas alast resort in locating thevarious notes andchords. The names ofthe strings andtheactuallocationofthe notes madeoneach string shouldbe memorizedandthe chords always read bynote, rather than byname ordiagram.


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6 (Tune to D toplay with piano) S OM EB OD Y'S W RO NGSONG By MARSHALL,EGANand WHITINGArr. by Zarh Myron BickfordOICE

VI~IN .(MAND. ,

ModeratoIIJJ I. . .u i lis-te~ed ~n - a- ~- . . ~~ares Un-to a voice ur.-fn A nA n n n n n n Each night I'mdressd up fine And I stay up ti IIIJJ . - - . s: _. r : " ' 1 " " : r:P"'j.. , . . .. .U 3 " 1 1: . . . . ~ . . . . . . . . t~., 3"~-4".... :.. . . . . . ... : i b~ :'I:lljl:-IIII:-I 3 " ~ = ' " " . " " . . . . . . . . :D 7 Om D7 Om D7

I

-stilis_ f heard ~ lone - ly lit - tienine_Some-bod-y by mis-take may.la - dy sigh-in'drop in may-be Mn,J...

- - - -I guess no-bod - yAnd if he does he'sA A n AIIJJ . .. . . .. .

i tJ I~ trt -h;'g c~n-stant - ly _!' f" dh r forares To m t e onemine n A n But al iny lit - tie schemes End up in i-dieIIJJ n~ ~A n, _ . . . -. b. - . . -~ - - " . f\. . . . .. ... . .~ :: : .J!f!~~:~ l : : : 3"'~ ...~:.......... : ........,.. ... ! I I ' : 1 b t >J ~"I:11:I~1"1 ~ ':-iI ...... : ... . . .~ . . .,..:D7 Om D7IIJJ J j. _j" J . ItJ -B~t I've be- to think th~res ~o What ~an thetfoub-Iee __ gun use try-in' be

dreams.; E-ven the rent col - lect - or is a la-dy I have no luck it seem~1I.Il r - , . . , . . . _ _ ! I I ! ~ ,1,.. . .. :tJ 2 q ! , : 1 1 1 tt~t: i "I: i 1 rbi o R ~ r"~ o =i ~ R ' : 2 i "iI o =i .~ = i -:ij ~ :ij. 0 ~ , .. . . 1 1 " toCHORUS ; C#-'7 D #-7 0#-7 A7 D#-7 Em D Daug.! fI JJ. - - - - - -If) Some - b~d-yl; wrong Some_ b~d-ys No-bod-y's - _ _ _ _ _wrong kiss - esIIJJ . . . . ';f; ;l;.: . .. .tJ 2 'J " 1 1 . . '1 1 1 "i.jj.., 2'11 " 1 1 " 1 1 '1 1 tj."j'j.jjl'..filI o : i ..; ~ =i.

7 E7 G 7 E7 A7

G7 t E7! II JJ I - - -If) .,. I dreams rev-er haunt my No - bod-y brings~ JJ ~_ . . ~ ;-. . . . . . .4 t J ~:: ::t;': :: 2 '1 i .:.. "iI.~ "iI~"1I .. :.. ................II ~ 1 1 . . . . . . !- "iI ~ ' - : : !,J:-j'jfj'jfj.101-2 International Cop.1frigldSecured


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7/ f I . u - .\ t J r r . ,


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8 WHERE THE LAZY DAISIES GROWSONG By CLIFF FRIEND

Arr. by Zarlz Myron BickfordVOICEVI~~IN .{MAND. ,

UKULELE~

Moderato_fj~ . . . . . . .~ l i n ,ff "':' !I .,tired of drift-in' shift-in' lift - in' troub-les frommywea-rynAnAnn Each time I close mydrear-y wea-ry eyes I see the skiesoff1~ n n n n n. ..~ g:i :: ::~:~ :~ :: ~~ ~ . g :: :: : : : : :: : : :: : :D7 G D7

tu~ . . . . . . .eJ tT 1:- h d . t T . , 'USay Iht so sick of al this ur - ryan Its war - ry how my poor heart pinesI dream but what's the use of schem-ingschemesand dream-ing dreams thatwotitcome truefl~ : 1 : : :U 2 -1 t'ilri oj 0 : : :: :: :: :: : : : : :: ~-I ift iG C#-7 D7 Gfl~ . .IU ~ .. .. - - v- . . . . ouo._ _ _ _ . ._ Ev -'ry time I re - call Sweetestmem'des of all_'Cause. it does-lit seem fair How I long to be there ~f1~ -;4~ ~ . . .-u . . . . . . i p i ~J! ~tJ 117''j "j "i o :i 0 :: :: {I'-. -. a q r ! 1 I ' --#... ' 1 ) 7 -7 D7D A7 0# Dang.CHORUSfl~ . . . .

! eJ . . . . . . - . . - , t o , . . . . . -,tl. .. .. -,t." - . T ' . . T TGee itwould begreat if I could go to sleep and wake upwhere the la - zy dais - iesfl~ . . . . .. . . .U ~'I:-I .. : .. ..: .. ..:-t ~-.. -. oj .... -ii iT ... 0 " : : = = :: I T ...G Em 0#-7 0#-7mf1~ . . .U . . . . . . . . . . . . . . . . . . . . . . . . . .grow One I love and two Ilove and three I'd love to wan-derwherethefI ~ ~ . . . . . . ..U o n : : : : : : = = . = = : : ::::: ::: : : ::::: ::: : : : ::: :: ::: : : :: f7 T aug.

100-2Copyright MCMXXIV by JEROME H. REMICK & CO.,NewYork & DetroitPropiedad para la Re ublica Mexicana de Jerome H. Remick & Co. New York & Detroi t. Depositada conforme a I ll, l eyALL RIGHTS RESERVEDMADE IN US.A. INCLUDING PUBLIC PERFORMANCE FOR PROFIT International Cop.1fJ"igldSecll'red


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10

(Tune toe toplay with piano)

DREAMY MELODYSONG

VOICEVIOUNo rMAND.

By KOEHLER , M AG INE and N A S E TArr. by Zark Myron Bickford

UKULELE

fl ~ I, Iv Ik in love wlth a mel - 0 - dy~ ~ .mfn~

Night and day like a mag - ic charmn n pn~ n n n~ n -

to ~It I 8~ igt . 2 1 It J o oj ~ 2JIJ I !y~ C ' " ' ' ' ' C ' " ' . C ' " '~ . o _ - - -G .2D7 G G Cm G -'7IJ ~ . . .

, eJ That cap - tured me I t s a part< That mel - 0 - dy Comes to me~

fJ ~ , . . . - n n A n , . . . , . . . -tJ 21 t t t ~\)j .... 0 ~ ~t "'1 1 2 iii II VI 3" ..... -ill o ~ ~ ~ ~

G D7 G Bm Em G C A7

G Gm E7 A7 Am ~Daug.

f J l l n. .~I~ of my heart Haunt - ing me and 1 m for - ev-er say - ingcon - stant - 1y Thrill - ing me and thats why I keep say - ing~ fJ ~ ~ I ~ ~

eJ 2t II t lpl l'If-11 1 1 1 1 1 "i 0 = - ~ ~ 0 ..11 1 - - 1 1 1 1 ~

poco Nt molto

CHORUSa tempo~ ~ o , , _ _ & ---.. .L .. 1 l

"t r I I, Play that dream - y mel- 0 - dy That sooth - ing re -I '\ ~ p-f4J 21 I.. I,t t, tt~f-:: :: Ii ... i I I 1 1 1 1 o ~G B7 E7 A7

Copyright MCMXXIV by JEROME H. REMICK & CO., New York & DetroitPropiedad para III.Republica Mexicana de Jerome H.Remick & Co., New York & Detroit. Depositada eonforme a Ia leyALL RIGHTS RESERVEDM A D E . I N U.S.A.

107-2 IN CL UD IN G PU BLIC PE RFO RM A NC E F OR P RO FITInternational OOPt/rightSecured


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fl~

e. r r rJ' . t t . . I-frain Play it sweet and ten-der - ly I dorIt know why it haunts mefl~ , . . . - -~ ~ ~ ~ ~ . :i . . : . . : . : . . . :: :::l':"~t . : :ij ~ ~ u~ :::: ::::P ...D7 x

molto rit.1 '1 ~ .....--.._ 11 . 0\ ~ I to hear it 'ry.where I Playo seem ev - go) 1 '1 ~ - , . . . -~~ H : : : : ~ ~ ~I I I I I-I I t~ttl ~~ . . 0 ' : ~ . : ~t Ii J ID7 G D7 G_fj~ . .....--.._t _l I I

, eJ I< that mag - Ie har- mo - ny 'Twill lin - ger for - ev - er justfj ~ I

~ ~ 1t~ . : : : t .. i i ..i i ~ . . : e :i . . ~ . .oB7 E7 A71 ' 1 ~\ ~ r r rJ' t t . . I IIike ,., a mem- 0 - ry Oh let me dream and play for me tha t - 1-' >

~ -eJ 8 : : : : . : : ~ ~ ::oJ 8~ 2 - 1 I-I 1 1 ~ f t . : : : : : . : : : .. : 1 . . 11 11 ~1i~D7 2 E7 D7 G o . .__... .-Am7 E7

no.~j) 1" ., ~NO no not, :L _lot r . (pick)

~."-No no not Iyetyet-

-Su - zeUeSu - zette

!-

Inot yetnot yet

::>- >~N~tf>~>>>. >

A7 D7 G A7 D7Not Yet, Suzettec z

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t:'\1


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22 STEPPIN' OUTSONGTune to C toplay with piano) By JOHN S. HOWARD and CON CONRADArr. by Zarh Myron BickfordVOICEVIOLINor

M A N D .

~~ ..---,

\ . .eJ D h r d 11 .r . pots andS .es an ro -ing pms pans) fn-4 n n-4 n nn n Ev -'ry night ev - 'ry night folks in townn n n n n~~ :f . .. .e J g : C : : ~ : : ~. : : : ~::~lU~~' : . : : . : ~ . : : .: . : : : : : c . : : : :KULELE

D E7 A7 D(}JJ ", .. .e J Sil - v~r-ware fur -hi-ture old tin cans A-round a flat were fly ing

< 'Heard the same rack-et for miles a - round It real _ ly was ex - cit - ing( I) ~ .I. .

e J 8 : : : : :: .: : : .: ~:~t::': ~I t rip 11 g ~ < > ' . . :j i~"..D7 o Bh7 A7 F7mf"j,lJ " J I - - - -. . .Ie) I heard a la - dy cry - ing Neigh-b6rs all hol-l;red out "wodt you stop"That coup -Ie kept on fight _ ing But when the g o i ing ; got much too toughI) . I 0 I o I ...e J 1 '1 11 T ipl,lI 3 ~ ~ ':' . : tofl'-i :j g . : .: . : : : : :: .: : : '.II! c . : :::jE7 Bb7 A7 D A aug. D

~ . I 0 I o l - . . . . . - - - . . . . . . .~

. .eJ Cut it out cut it out I call a cop _ Slam went the door _ Then a man be-gan to roar

Then the manholleril out'lthats e - nough"- He'd grab his hat _Then he'dyell andleaveher flat( 1 ) . I 0 I 0 1 " " " 1 " " " 1 " " " IeJ : : : : ~ : : .: ~ "'ill '1I,iII 1 11 'I I 1 1 11 o. t .Ii -i 21 1111 11 ~. ,~D7

CHORUS E7 A7 E7Bm A7fJ . I 0 I o 1 - ,,-~=----:e J Step-pin' out now Ihl thr~ Step-pin' outn no more fight Step-pin' outr P-f :::>f J . I o I o n :::> :::> n n :::> :::> :::> :::> :::>..eJ 8': .: t..-..__.)": iq o . : : : : : : ~O:: q .. ~ ':~2'11 11 1 I ._ _ _ _ ] 1 - ~ O:j

D7 C D7 C D7 07 FCopyright MCMXXlVby JEROMEH.REMICK& CO.,NewYork &DetroitPropiedad paraLa Republica Mexicana de Jerome H. Remick &Co.,NewYork &Detroit. Depositada conforme a Ia ley106-2 MADEIN U.S.A. I rNCIIUDrNGAkJBtJ?Y~ibf


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23

fl~ - - - - . . ---.. ~ u w_~ _j,J. ---.. ,I . . . . . . . . . _\ il Done with you When we wed we both ' d Life would bef-- sal _~

- Night-y night When we wee - peo-ple said L What a won,"l ~ .>- >- 1f. fll 11 11 ~ 'il o ~ ~'I ;i n#*~ ~~~j f~ f ~ VI~G7 Em BG7 Emfl ~ - - - - _ l ---.. l ..--.._ _ ~

~!~ Tho weve I I I_ one sweet song_ had L lots of words; All the mus - ic was wrong_ - der.ful match_ It was all L play-ing ball _ When youa pitch L Ili just catcht fl ~ (pick) M I (pick) r \ - r - . . M~ : : . -1 . < > t T . : : : ~~:ft~ t~ ' I.r -0.. ~~ I t.~ j 11 1 1 o 4 .. ~ :j -B7 .... E7 # x . E7 A7fl ~ I " ---.. -----....I~ l Step- pin' out) 'Tak-i . I I- -mg arr Step-pin' out- - A Step-pin' out No re zmorse Step-pin' out_fl W " , " , M I >- >- >- 1 >- >- >- >- >-il J~~j'o .: ~ . :-;: : 3~j o~:': :: :0 .:~qj o ':~21 1 i ~ 'i 0 . .. . _ _ _ . . .07 c 07 G7 F7 cfl w ~ tl w~""---'" - -V On I If you _ L I !h I Look in I- a tear want me mg t or day an - y swell ca -- Means di - vorce Get a sum-mons out for me Try to serve it and you'llfl ~ >- >- >- >- >- :::::..:> >- I >->->-~ fil ~j i # I ' : iJ~ oft ' : i 1 I ~ # i :i 2~'1 J I II~~#..21~1 J -IG7 Em' E7 F#7 Bm Bm.

1 .

fout -+-_

- ftf And youll find _ mesee That you'll find _ me>-


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2 1 -(Tune to C toplay with piano)

/Jedicado at Pueblo ]J{exicano par el AutorUNTIL' TO.MORROWHA STA M A NA NA . By GILLESPIE, HEGBOMand VAN ALSTYNEArr. by Zarh ltfyron BickfordVOICE

VIOLIN ~orMAND.

UKULELE ~

Dreamily ~ a temp~~ . '0 .~V . - - -Cn-til to - mor - row_ _ I'll dream of you Un-til to -

fM A M n n (pick ad Iib.) MAMM M M r1fl,.. . . . e . g~: ~:~ ~~ :: o ~ "':!' ~~ :~C:::: . : : : o . . t ~.4:.::i~:. .D A7 D D X A7~ ~ . . . . . _I .....--__

1

e . J ' I true ____ _ Wdll meet at . dawn - ing _ in love's de-or - r o w .; I-when dreams come I---= =-f'j ... (pick ad lib.). . . .e o ,~ . .:-~:~ . . ~ ~ : l : : : : : : : o - -Tf ~.:::: . :~:: :: .: l'i" D ~F#7f'j w pOCO ru: a mpo ---...._ f.\.,

I e ) ~ - -Iight Un- til to - mor - row.,.,I-Dear-est one good night F - i l l efl ... _ ~. .. .e . ail. i'i i i ~t -I 8:: ::::::: : : ~ ~. . . . 8:: ::.:::: ::

te

G D A7 DlL~ - it v The hour of part iog ~ draw _ ing nigh One lastS ca -. if ~~ n A r1 r1J ... 11 (pick) (pick) ,I . :. .e) . . . I. ~I: t t .. I H : : ~1I' 1 1 11 1 1 1 -j2 Bm 2 Emn . . . - ..---...... - - . .I tJ -ress dear and then good - bye Myheart is yearn- ing_ _ . For tlie day re -< n . . . (pick) 4 n It . .tJ ~~ .. ~ .t~ gl: t~1 1 1 o ~ ~ : : : : : ~::~:: fPTBm C#-7~ ~ ----. - rz, . .,I e ) - turn - ing_ ! part dear _ more to sigh ilr- No more to no 1:----

I (pick)z ~_ n A ~ n n D.S. a l f.\.,fl ... -z I I: - t .e o l~jii II . . . .. . .. 1.. ' ....... . . . l1 1 1 2. .'; : _ : i :i :i 8 ~~l'"Em' ~A7~ (4t]J. bar) G 7 ~F~7Copyright MCMXXIV by JEROME H.REMICK& CO.,New York & DetroitPropiedad para Ia RepublIca_Mexieana de .Terorne H. Remick & Co. NewYork & Detroit. Depositada conforrne a la leyM A D EIN U . S . A . IN C L U D I N G A ~ b B f i8 H p 1 :\ . J t F f : : . r ~ fOR P Iuternationai Copyright ,'",cured09- 1


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Documents

Remick Collection Popular Songs w Uke Acc. No 4 (1924)