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- Words: 25,991
- Pages: 268
The l\ew lllustrated Treasury of
SO
ffiw NGS
Wlrru-.LEoNARD.
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PIANO.VOCAL.GUITAR
The l\ew lllustrated Treasury of
ffiffiffi SONGS
tI
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 :
Hal Leonard Australia Pty. Ltd. 22 Taunton Drive PO. Box 5130 Cheltenham East, 3.192 Victoria, Australia Email: aus @ 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
Ev'rybodr \\ an:.
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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:: '
:r -
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. ]-,¡,
A 5§t-5i¿ .rli.
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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 it 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
¡-i .¡
(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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Still, even if the music wasn't written =: "'***--::"Y:5:**
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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
:::'i, :;i ;: during grade
Lil::,Í,:,'H;' li'xl; THI;
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
WarnxilEm¡rfl& owtr T.§nE§ L§rLE'Fl§§.aná afrqidof tbA
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
rr§u,11,-bit lOruarfs ao6the .ii..^t^r¡rñ
PICTURI
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the
more recent efforts, including Beauty and the Beast, Aladdin,
e
Seuen
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, :§il
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 ed 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 ed 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 sures 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 s :',", --,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.<,
U
U Cm
Gm/Bb
<>
<>
what
they'd
Am7b5
D7
grYe
just for
r=-.-.7
______l
the
Gm
DIF*
right
to
U Fm7
Bb7
Eb
hold
you.
From
Cm/Bb
Bb/D
your
r-l------¡
head
to
your
Ab6
toes.
r.=--l-------r
- -
Abm6
56
Abm6/Bb Bb7
Abm6 Abm6/Bb B;7
CmiBb
r=-,7----
much,
you're
good-ness
r_.7_____
,-l-----,
f-l------1 pre- cious to
r-"
cute as
.-3-----
I
ba-by ,-
r
r
i ftt f
r
r
can
ba-by
of
r-,?-----1
of
I ------1
a: I
.li
.:
i:...., .,1. ..,.., ill,.,l: .:li- .ii. ;il-
li.ll;
.:1,.
-il,
li-
From Walt Disney's Dumbo
Words by NED WASHINCTON Music by OLIVER WALLACE
C9
trm7lBb
When I think
Just
to
I have to laugh
a-bout
Fm7/Rb
Bblb9
Eb
EbIG
Bb7
Fm7
Bb7
think a-bout it bends me
Copyright O 1941 by Walt Dilney Productions CoPl'right Renerved World Rights Controllecl b¡'Bourne Co. lnternational Copyright Secured All Rights Rcscrved
right
Bbl
58
I
saw
pea
-
gar -
*f
nut
stand,
den
walk.
f
-
heard
band,
a
stalk,
I I
-
saw saw
a a
-l
EbIG EbM/Gb
Ebl*s -J
, le that pig with an
need
But I But I
eye.
§ty.
think think
I I
will have will have
seen seen
-J
thing thing
front porch su - gar
-
when when
see
heard saw
I I
fly. fly.
see
a dia-mond the jel ly
ring,
roll,
-
saw saw
saw saw
a the
a a
pol ' ka dot rail pick - et fence that's
-
Bb/Ab
Eb/G
road no
tie. lie.
when when
I I
Ebm/Gb
Eb7i5
Bb7/F
t-
But I But I
-1
will have will har.e
think think
seen seen
\ i
thing thing
-
e-phant e-phant
see an el see an el
flY. flY.
fr
Abm
saw a ev - en
clothes- horse heard
-
a
rar' up and choc - o late
buck. droP.
They
-
I
tell went
me that
in-to
a man a store,
made saw
a a
Abm
veg
bi
- 'ta cy
ble cle
ttTruck.'1 shop.
-
n't You can't de I
oid -
see nY
_-
that, the
IonlY things
that
You
but but
60
to know
be
ia -
soc
take
ble
just
tain things
there's cer
I
their can't
saw
The
oth
BbIAb
slide,
-
chance, -
Eb/c
Ebm/Gb
Bb]IF
saw an old cow saw an old barn
hide, dance,- -
so
r
gull i
a
I hle
thought- I'd
sort
of
r-J
think think
I I
will have will have
seen seen
-3----------¡
e-phant e-phant
just laugh'd till
Ab
867+s
Bb'7
But I But I
I I'm
and
ev ev
-
'ry 'ry
thing thing
-
when when
I
' .ó:. t-. t ,t1: , ti t. a.it.-
,
,41 -ut-rr. -ara,..: lil ,,,,,t.r',..
;at. t'4. ,,'1t Y trr I ?-'1- .-... .._,.! ..:. i:.....'!:_
.,:.
From Walt Disney's Bambi
Words by LARRY MOREY Music by FRANK CHURCHILL
Moderately C
Drip, Drip,
e frII rrhere
all
drip, drip,
drop, drop,
A - pril A - pril
tit tit
Drip, drip, drop, Drip, drip, drop,
a-round.
that you fall.
lit-tle lit-tle
ToCoda$ u
e l¡cau $,on't
- ti -ful care at
sound.
Drip,
A -pril A -pril
show show
-
er, er,
what
Itm
a a
drip,
drop, when
O 1942 Wonderland Music Company, Inc Copyright Renerved Rights Reserved Used by Permission
as
tune tune
ev
you
-'ry
A
the
sky
-
can com-pare with your get - ting wet and I
B7
all.
All
beat - ing beat " ing
show show
ls
cloud - y
mu - sic can bright - en the
t'How - dy"
drip, drop,
day.
say "Good - bye" right
I'll
lit-tlegay
lit-tle
A-pril
ser- e -
nade.
a
nev -
er
be
when the
Zip-A-Dee-Doo-Dah From Walt Disney's Song Of The South
Words by RAY CILBERT Music by ALLIE WRUBEL Moderately fast
Bb
zip
MY'
FTIC
zip
doo
won-der
-
Plen
ful
a- dee
,l
O 1945 Walt DisneY Music ComPanY All Riohr.
Copyright Renewed
Rp+^ed l.1'"6 ¡rr pp¡ris.ion
ty of
sun
-
It's
it's
the
r'act - chtll."
Ev
FTICB|ID
ttsa
- tis - fact- ch'll.t' Zip
a-dee
zip
doo
a- dee
- ay!
-
Won - der-ful
feel
won-
der - ful
-'ry-thing
is
'ii §
,-*, rr -r,,,-!,-*'1, ,¡"il .,,-¡,tl¡, l!-..11 ]l',,'u ,. ,. §,_ _s-_ }* 1r" § §:'* l¡ .;.,r'_¡,. l,t 'tt it ll tt i, -;r'l{i §r, §-1t:1!|! 1§r.,rt, ..-_. 14..1,: 'rr.r .
"
(Dilly Dilly) From Walt Disney's So Dear To My Heart
Words by LARRY MOREY Music by ELIOT DANIEL
r C
if
lrlwere I youl
-ly, dil - ly
lr:3rl
Gm7
C
Who
dil
king,
told
me
O 1948 Walt Disney Music Conrpan¡; Copyright Reneu'ed
All Ri¡hl: Re.erred U.ed hr Permi-.ior
dil - ly, dil -
Iy,
who told
me
-rr J'
your dil - ly, dil - Iy
dil - Iy, dil - ty
heart
feels
way
I I
,. pret
- ty lit - tle church
on
dil - ly, dil - Iy
day
tn
dil - ly, dil - ly
dress
r
IrilI
lyou'llf
fl
f
you'lll
I t'nI
I r
fl
?
l-vl I yourl
68
-:l:¡nn&#l
(' ! ,;.r.3::i 1,f;'§ { f ¡€, k" d§ *"1" . af ,1I E IÉ Xit t'-& 6 $ t1¿.tt¿aÉh\.")
From Walt Disney's Cinderella
Words and Music by MACK DAV AL HOFFMAN and JERRY LIVINCST( Moderately slow, with expression
O I948 Walt Disney Music Company Copyright Renewed
69
[Iave
rain-bow will come smil -
----'-----/
thru. -.'............_-
ling
heart
griev - ing,
is
you keep on be '
No
Am7
A9
F9
how your
day-
in your dreams
faith
Iiev - ing'
mat - ter
D7
dream that
AmltB
You
Am7
will come
true.
A
true.
9va-----, A
Bibbidi-Bobbidi-Boo (The Magic Song) From Walt Disney's Cinderella
Words by JERR'I Music by MACK DAVID anc a-
Brightly F
sa'la-
put 'em
to
-
geth
ga-doo - lamen-chic-ka boo - Ia bib-bi-di-bob-bi-di-boo
- er and what have you
bib-bi -di
got
3
la men - chic - ka
boo - la
bib-bi-di-bob-bi-di-boo
I
O 1948 Walt Disney Music Company Copyright Renewed
All Rioh,. R-.e^ pn
I l-Á¡ h. n-.-i.-
..,,
íre-st 6 ra'frn> 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
light.
CC7 A
cold andfriend-less tide
you
light-ed
a
found
I'll paint a ray
down.
by
has
Yoü,
of hope a - round
r.
let the storm-y
dark-nex
cir-cling in the air
I'll
prayer.
this flame in - side
r
don't
be your can-dle
on tt
111
here's my hand so
ygu'll make it,
as sure as riv - ers
I'lI
flow,
nev-er let
take it,
look for
['il
reach-ing
me
nev -
er
I'll
let
nev-er let
out
to
From Walt Disney's The Fox And The Hound
Words by STAN
F
Music by RICHARD IOHNS C
When you're the
best
hap
of
'pv
you're not Nei - ther
friends
hav - ing
game,
you could clown
e-ven one of
_
a
you
waresees
you're
your
such
a
nat - urtl
-
O
1977 Walt Disney Music Company and Wonderland Music Company, lnc
fun bound
so
much fun to - gr a - round for -
r
113
Dm7
tf on-Iy
the world would-n't
get
in
G9
if on-ly
the way, _
Em7
A9
Em7
peo-plewould
They'll say you're r
. 8.--
r-l-------
A9
just let you play. f-3--1
3
Dm7 --3------
o-
F;m7
-r-:-l--l both be -
Bm7b5
ing
E7
you're break-ing
fools,
BmilE
E7
all
the
-
Am
rules.
-
¡-l'-"--,
r--,?-------
Ffm7b5
F7
They can't un-der - stand _
yourmag - ic
G9
C
When
you're
the
best
won - der-land.
-
DmTlC
of
friends,
shar- ing
tl4
dis - cov
I
hope
it
nev - er
when
these mo-ments have
ed-
will
tha
i.'i-r'.i"'r
:.-
A,r:a .ál ;t.-
.f .1'.
t
it.ii_.§
.t..¡t
I
§
L".:,:¡
ai,ri-§.
From Walt Disney's The Little Mennaid
Lvrics bv HOWARD ASHMAN ' rr¡usic by ALAN MENKEN
I wan-na be-
see
tem
dan -
cin',
C
peo-ple
where the
round- on those,
walk - in'
wan-na see-
are.
what - d
ya
wan-na
tem,
call
-
F/A
C7
Flip-pin'your fins- You don't
O I988 Walt Disney Music Company and Wonderl¿nd Music Company, lnc ¡.ll Riphls Reservt:d U>ed bt Perrt..inn
get too
far.
-
oh
3 -----1
rStroll-in'
a-
long- down the,
what's that
word
a- gain.
,-1.----,
,-
Up
3 --.-...-l
walk,
where they
up where
-4-----¡ all
day- in the
Wan-der
sun.
they
-
run,
up where they
_-J--"-,
r-34,
,-3-------
stay
,-3-'-"-,
.-3-------1,
-4------¡
P-t-----t part of
in'
f-
-=--l------
f.-....-.?-------¡
What
would I
r...-.?-------
give
if
I
I --'-1
,-3.-._could
--3--------
that
117
T-,----_-l
,-3---.---
would I
to spend
What
r.-.........-.?------¡
F1
r.-.?-----
,-,9.--..warm on
a
l --..--l
,-3-----'-
,-
,-3-------
,-t-----
Bb
the
<> sand.
Bet
- cha
on
they
land
r-r------_r
ATsus
Dm
A7
re - pri - mand- their daugh
-
Dm/C
-
Bet they don't
stand.
,-3-'----1
F/G
,-l------
Gr-Jn
F/G
G
Bright young wom-en,
ters.
un - der
sick
of
swim-min',
read
-y
r-
EimajT
stand.
B|IC
C
Bb/C
F/A
C
And read-y
to
know- what the
peo
-ple
v
know.-
to
t ----1
118
Ask tem
my ques - tions
and get some an - swers.
Whatrs a fire,
and
why does
it, what's the worl
-
When's-
it my
turn?
.-3---,
-----1,
f_3
Would-
n't
love to
I
,-3---"-1,
,-
f-3,4
-4-----¡ plore that shore up
out of
a
the
,-,?------1,
-4-----¡
,-,?-------r,r----¡
Wish I
could
ri--4-------.,
part of
that
world.
,-3-------
\=---//
<> sea.
I
ex
---------t,
119
,;,'
:t
,
1.. .,:
l: ,,;' 1;:l
l;
From Walt Disney's The Little Mermaid Lyrics by Howard Ashman lvlusic by Alan Menken
Look at this stuff.
Isn't it neat? Wouldn't you think my collection,s complete? Wouldn't you think I'm the girl, the girl who has ev,rything. Look at this trove, treasures untold. How many wonders can one cavern hold? Looking around here you'd think, sure, she,s got ev,rything. I've got gadgets and gizmos aplenty. I've got whozits and whatzits galore. You want thingamabobs, I've got twenty. But who cares? No big deal. I want more. I wanna be where the people are. I wanna see wanna see 'em dancin', Walkin'around on those, whatdya call ,em, oh feet. Flippin'your fins you don't get too far. Legs are required for jumpin', dancin,. Strollin'along down the, what's that word again, street. up where they walk, up where they run, up where they stay all day in the sun. Wanderin' free, wish I could be part of that world. What would I give if I could live outta these waters. What would I pay to spend a day warm on the sand. Betcha on land they understand. Bet they don't reprimand their daughters. Bright young women, sick of swimmin,, ready to stand. And ready to know what the people know. Ask'em my questions and get some answers. What's a fire and why does it, what,s the word, burn. When's it my turn? Wouldn't I love, love to explore that shore up above, out of the sea. Wish I could be part of that world. O_.1?8q W1lt Disney Music Company and Wonderland Music Company, Inc.
Al1 Rights Reserved Used by Permission
From Walt Disney's The Little Mennaid
Lyrics by HOWARD ASH¡ Music by ALAN MEN
Brightly Bb
The sea Down here-
weed
all
is al - ways green the fish is hap -
er
ln
py
as
some -
bod
through
off
-
else - 's waYes dey
lake.
a
-
on
roll.
is
'cause
a big they in
mis -
the
take.
bowl.
bout the
gq land
'
ing
up
ain't
hap
at in
thr thr
world bowl
a is
round
You,
luck
Y,
Such won
One day-
der
-
right herethey in-
ful
when the
things
sur
boss
get
on for
- round hun -
the a
o - cean wors - er
floor. fate.
you.
What more-
gry
guess who
-
un - der the
Un - der the
sea.
f Dar
luo
ts
gon'
lin'
it's
bod-y
bet - ter
beat
us,
down
fry- -
where it's
us
and
t
1)
wet-ter. Take_ it from eat us in fri - c¿ -
Up- on
me.
We- what
see.
work- all day.
the
shore they
the
land folks loves_ to
cooh
-
OutUn
vo -
tin' full - time
trou-bles life_ is
in der
to the
the sun the sea
-
they
a
we
the
float-in' un - der the bub-bles un - der the
way. hook.
While-
We-
we got
de no
t23
From Walt Disney's The Little Mermaid Lyrics by Hou.ard Ashman ll4usic by Alan Menken
The seaweed is always greener in somebody else's lake. You dream about going uP there. But that is a big mistake. Just look at the world around you, right here on the ocean floor' Such wonderful thlngs surround you.
What more is you lookin'for? Under the sea, under the sea. Darlin' it's better down where it's wetter. Take
it from me.
Up on the shore theY work all daY. Out in the sun they slave awaY. While we devotin' full time to floatin' under the sea. Down here all the fish is happy as off through the waves they ro11' The fish on the land ain't haPPY. They sad'cause they in the bowl. But fish in the bowl is lucky, they in for a worser fate. One day when the boss get hungry guess who gon' be on the plate' Under the sea, under the sea. Nobody beat us, fry us and eat us in fricassee. We what the land folks loves to cook. Under the sea we off the hook. We got no troubles life is the bubbles under the sea. Under the sea. Since life is sweet here we got the beat here naturally. Even the sturgeon an' the ray they get the urge 'n' start to play' We got the spirit, you got to hear it under the sea. The newt play the flute. The carp play the harP. The plaice play the bass.
And they soundin' sharP. The bass play the brass. The chub play the tub. The fluke is the duke of soul. The ray he can play. The lings on the strings. The trout rockin' out. The blackfish she sings. The smelt and the sprat they know where it's at.
An' oh, that blowfish blow. Under the sea. Under the sea. When the sardine begin the beguine it's music to me. What do they got, a lot of sand. We got a hot crustacean band. Each little clam here know how to iam here under the sea' Each little strug here cuttin'a rug here under the sea. Each little snail here know how to wail here. That's why it's hotter under the water. Ya we in luck here down in the muck here under the sea' O 1988 Walt Disney lvlusic Company and Wonderland Music Company' Inc' All Rights Reserved Used by Permission
ffi* ffiexr ffiaxmru& From Walt Disney,s Beauty And The Beast
Lyrics by HOWARD ASH/
Music by ALAN ME\
o
1ee1 wart
Xn:';[
[:Hi;1l 'i,1-Y'^:dslli:,9-r:,i.
companv, rnc
125
Bm7 li - cious!
Af - ter all,-
Don't
Miss, this
is
be
Bbgf
11
- lieve me? Asfr
the dish
And a
din-ner here-
neY
-
er
sec-ond
t26
: .:
.: From Walt Disney's Beauty And The Beast Lydcs by Howard Ashman Music by Alan Menken
Lumiere:
Ma chere Mademoiselle, It is with deepest pride and greatest pleasure that we welcome you tonight. And now, we invite you to relax. Let us pull up a chair as the dining room proudly presents your dinnerl Be our guestl Be our guestl
Put our service to the test. Tie your napkin'round your neck, cherie, And we provide the rest. Soup du jour! Hot hors d'oeuvres!
Why, we only live to serve. Try the grey stuff, it's delicious!
Don't believe me? Ask the dishesl They can singl They can dancel After all, Miss, this is l And a dinner here is never second best. Go on, unfold your menu, Take a glance,
And then you'll be our guest, Oui, our guestl Be our guest! Beef ragout!
Cheese soufflel Pie and pudding "en flambel" We'll prepare and serve with flair A culinary cabaretl
You're alone and you're scared But the banquet's al1 prepared No one's gloomy or complaining While the flatware's entertaining. We tell jokes. I do tricks with my fellow candlesticks. Mugs:
And it's all in perfect taste. That you can bet!
AIl:
Come on and lift your glass You've won your own free To be our guest!
Lumeniere:
If you're stressed, It's fine dining we suggest.
All:
Be our guestl Be our guestl Be
Lumeniere:
our guest!
Life is so unnerving for a servant who's not serving. He's not whole without a soul to wait upon. Ah, those good old days when we were useful. Suddenly, those good old days are gone.
127
Ten years, we've been rusting, Needing so much more - than dusting. Needing exercise, a chance to use our skills.
Most days, we just lay around the castle. Flabby, fat andlazy. You walked in and oops-a-daisy. Mrs. Potts:
It's a guest! It's a guestl Sakes alive,
Well, I'll be blessed! Wine's been poured and thank the Lord I've had the napkins freshly pressed. With dessert she'll want tea.
And my dear, that's fine with me. While the cups do their soft shoeing, I'll be bubbling! I'11be brewing! I'11
get warm, piping hotl
Heaven's sakes! Is that a spot?
Clean it up! We want the company impressedl We've got a lot to do. Is it one lump or two For you, our guest?
Chorus:
She's our guestl
Mrs. Potts:
She's our guest!
Chorus:
She's our guest! Be our guest! Be our guestl
Our command is your request. It's ten years since we had anybody here, And we're obsessed.
With your meal With your ease, Yes, indeed, We aim to please.
While the candlelight's still glowing Let us help you, We'Il keep going. Course by course, One by one!
'Til you shout, "Enough. I'm done!" Then we'Il sing you off to sleep as you digest. Tonight you'Il prop your feet up! But for now, let's eat up! Be our guest! Be our guest!
Be our guestl Please, be our guestl O 1991 Walt Disney Music Company and Wonderland Music Company, Inc A1l Rights Reserved Used by Permission
Beauty And The Beast From Walt Disney's Beauty And The Beast
Lyrics by HOWARD ASHM Music by ALAN MENK
O 1991 Walt Disney Music Company and Wonderland Music Company, Inc Di^L+- D^.^",,^l
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129
Eb(add9)
-
Pared.
the
same.
nei - ther one Pre
Ev - er just
Beau - ty
Ev -
and
the
er as be '
Beast.
fore,
eY - er
just
as
130
as the sun will
Tune as
strange,
find - ing
you can
Tale as old
rrse.
change,
old
Bit-ter-
as
learn - ing you
were
wrong.
as
srfleet e.m
131
Tale as old
as
song as old as rhyme.
Beau-ty and
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rhyme. Beau-ty and the
rit.
I
the
Beauty And The Beast From Walt Disney's Beauty And The Beast Lyrics by Howard Ashman Music by Alan Menken
Tale as old as time, True as it can be. Barely even friends, Then somebody bends
Unexpectedly. Just a
little change.
Small to say the least.
Both a little scared, Neither one prepared. Beauty and the Beast. Ever just the same. Ever a surprise. Ever as before, Ever just as sure As the sun will rise. Tale as old as time. Tune as old as song. Bittersweet and strange, Finding you can change, Learning you were wrong. Certain as the sun
Rising in the East. Tale as old as time, Song as old as rhyme.
Beauty and the Beast. Tale as old as time, Song as old as rhyme.
Beau§ and the Beast. @_
1991 Walt Disney Music Company and Wonderland Music
All Rights Rese¡ved Used by Permission
Compan¡ Inc
From Walt Disney's Aladdin
Lyrics by HOWARD ASHMAN Music by ALAN MENKEN
Bright two-beat GENIE:
Well
A - li
Ba
- ba had them for-ty thieves.
Sche-her- a
A7
But,
you
mas - ter,
za- de had
a thou-sand
tales.-
Dm
up your
in
sleeves-
you
got
A1
h
rand of mag - ic ney - er
You got
fails.
some
-
O Igq2 WdJl Diine) Mu5i( Compan¡
¿nd Worderl¿nd
Muiir ConpJn\.
¡n(
your
134
cor-
ner
now,
some heaY - y
pt - zazz,
And I'll
-
say
am - mu
- ni - tion in
hoo and
Mis-ter
See,
A -
your
all
camp.
you
#.
_
got -
You got sor
ta do is rub that
will your
Iad-din
lan
plea-sure
You ain't
r
135
A1*5
neY -
er had a friend like
Fm6/C
- tau - rant
mai -
-
you want.
Yes,
slr,
pride our-
selves
You ain't
ser - Ytce.
Ct - mon
tre
nev
Youtre
- er had a friend like
the
boss,
the
king, the
shah.-
136
yours! True dish-
what you
of
col-umn
you,
dude,
the mood-
col-umn
\v/
you ain't
how 'bout t
a friend like
me.
-
to
137
ri::r',ti::1.:,:-:l
: :Ll: j,r,:l
From Walt Disney's Aladdin Lyrics by Howard Ashman Music by Alan Menken
Genie:
Well, AIi Baba had them forty thieves. Scheherazade had a thousand tales. But, master, you in luck'cause up your sleeves You got a brand of magic never fails. You got some power in your corner now, Some hear,y ammunition in your camp. You got some punch, pizazz, yahoo and how. See, all you gotta do is rub that lamp. And I'll say, Mister Aladdin, sir, What will your pleasure be? Let me take your order, jot it down. You ain't never had a friend like me. No no no. Life is your restaurant and I'm your maitre d'. C'mon whisper what it is you want. You ain't never had a friend like me. Yes sir, we pride ourselves on service. You're the boss, the king, the shah. Say what you wish. It's yoursl True dish, how'bout a little more baklava? Have some of column "A". Try all of column "8". I'm in the mood to help you, dude, You ain't never had a friend like me. Wa-ah-ah. Oh my. Wa-ah-ah. No no. Wah-ah-ah. Na na na. Can your friends do this? Can your friends do that? Can your friends pull this out their little hat? Can your friends go poofl (Spoken:) Well, looky here. Can your friends go abracadabra, Let 'er rip and then make the sucker disappear? So doncha sit there slack jawed, buggy eyed. I'm here to answer all your midday prayers. You got me bonafide certified. You got a genie for your chargé d'affaires. I got a powerful urge to help you out. So whatcha wish I really want to know. You got a list that's three miles long, no doubt. Well, all you gotta do is rub like so. And oh. Mister Aladdin, sir, have a wish or two or three. I'm on the job, you big nabob. You ain't never had a friend, never had a friend, You ain't never had a friend, never had a friend. You ain't never had a friend like me. Wa-ah-ah. Wa-ah-ah. You ain't never had a friend like me. Ha!
O 1992 Walt Disnel, Music Company and Wonderland Music Company, Inc. All Rights Reserved Used by Permission
r.38
A Whole New World From Walt Disnev's Aladdin
Music by ALAN ME\rJ
Lyrics by TlNl Ril
Sweetly
D
can
heart-
O 1992 Wonderland Music Company, lnc. and Walt Disney Music Company
o
pen your
139
F*7tA#
take
you
won -
won - der by
mag - ic
car -
a
new
o -
der
ver, side
A
pet
fan -
or
tas-tic
where
-
whole
ways and
GlA IASMINE: say we're
on
ly dream -
ing.
DID f-¿
a daz - zling
place I
knew.
-
But Í-o
A7sus
A7
when I'm
,
A Whole New World From Walt Disney's Aladdin Music by Alan Menken Lyrics by Tim Rice
Aladdin:
Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Both: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Both:
I can show you the world, Shining, shimmering, splendid. Tell me princess, now When did you last let your heart decide? I can open your eyes Take you wonder by wonder Over, sideways and under on a magic carpet ride. A whole new world, A new fantastic point of view. No one to tell us no or where to go Or say we're only dreaming. A whole new world, A dazzling place I never knew. But when I'm way up here it's crystal clear That now I'm in a whole new world with you. Now I'm in a whole new world with you. Unbelievable sights, indescribable feeling. Soaring, tumbling, free-wheeling Through an endless diamond sky. A whole new world, Don't you dare close your eyes. A hundred thousand things to see. Hold your breath, it gets better. I'm like a shooting star I've come so far I can't go back to where I used to be. A whole new world. Every turn a surprise. With new horizons to pursue. Ev'ry moment red-letter. I'll chase them an),where. There's time to spare. Let me share this whole new world with vou. A whole new world, A whole new world, That's where we'llbe. That's where we'll be. A thrilling chase A wond'rous place For you and me.
O 1992 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Permission
Hakuna kfataffm From Walt Disney Pictures' The Lion King
{ Lyrics by ----¡
-3
F
r--i
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Timon: Ha
what a won-der-f'ul
ta...
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Timon & Pumbaa:
-
Timon: Ha
-
ku
na
ma - ta - ta.-
no chord
a young
moving
along
8
wart
a
Pumbaa: When
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-
dramaticallv
]
Timon: Very nice. Pumbaa: Thanks.
Timon:
He
found
his
young
wart
r
ro - ma lacked
a
145
ap
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He could clear the sa van
Puntbaa:
nah af - ter
Itm
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nev - er stood
GTsus
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Timon: oh-
the
shame!
0 tttnpo
He
ül:r_
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shamed! Thought
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Timon:
...ev
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Pumbaa:
Hey, Pumbaa, not in.front of the kids.
Oh, sort1.
/:\
r
what
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,
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Timon & Pumbaa:
Simba:
rest
-
of your
days.
It
means
Timon &
Timon:
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it
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Hakuna Matata From WaIt Disney Pictures' The Lion King Music by Elton John Lyrics by Tim Rice
Timon: Pumbaa:
Timon: Timon & Pumbaa: Timon: Pumbaa:
Timon: Pumbaa:
Timon: Pumbaa:
Hakuna matata...what a wonderfui phrasel Hakuna matata...ain't no ing craze. It means no worries for the rest of your days. It's our problem-free philosophy. Hakuna matata. Why, when he was a young warthog...
When I was a young warthogl (Spoken:) Very nice. (Spoken:) Thanks. He found his aroma lacked a certain appeal. He could clear the savannah after ev'ry meall I'm a sensitive soul, though I seem thick-skinned. And it hurt that my friends never stood downwind! And, oh, the shamel
Timon:
He was ashamedl
Pumbaa:
Thought of changin' my name! Oh, what's in a name? And I got downhearted... How did you feel? ...ev'ry time that I...
Timon: Pumbaa:
Timon: Pumbaa:
Timon: Pumbaa:
Timon & Pumbaa: Simba:
Timon: Timon & Simba: Pumbaa:
Timon & Simba: All: Timon: Alt: Timon: Pumbaa:
Timon: Pumbaa:
Timon:
(Spoken:) Hey, Pumbaa, not in front of the kicls. (Spoken:) Oh, sorry. Hakuna matata...what a wonderful phrase.
Hakuna matata...ain't no ing craze. It means no worries for the rest of your days. (Spoken:) Yeah, 5ing it kid! It's our problem-free Philosophy. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna... It means no worries for the rest of your days. It's our problem-free philosophy. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata.
O 1994 Wonderland Music Company, Inc A11 Rights Reserved Used by Permission
From Walt Disney Pictures' The Lion King
Music by ELTON iOHN Lyrics by TIM RICE Cm/Bb
From the
blink some
irg, of
step us
on the plan by the way
we ar rrve
day
of
Some
in soar
_
us fall
to to
the the
et side,
sun. _ stars.
there's
And
-
ntore .i-)lne
to of
be us
seen
_
than
can
through our
sail
ev-er trou -
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all sun
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There's
or be eat to take in
as
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through the
-ioin the stam sap - phi - re
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more
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than you
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Music by ELTON
JO¡'
Lyrics by TIM R r: Bb/D
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Bb/n
There's There's
a calm_ sur-ren - der a time_ for ev-'ry-one,
the heat_ of the roll-ing world_ can beturned-a-way._ that the twist - ing ka - lei - do - scope moves us all-in turn. -
when
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155
and it to the
just beats
sees
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with with
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And
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can
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You
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earth peo
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just a dead thing you can claim; - who look and think like Jor,
ple
O I995 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Permission
- ev - er -- what ly peo-ple
land who
-
159
know ev - 'rY rock and tree and you walk the foot-stePs of a
name.
,.
has
crea - ture strang - er
has a sPir -
life,
a
it, has
a
you'll learn
Have vou
things- you nev-er knew- you nev-er
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c* ev - er heard the wolf crY
ot fI asked let
to the blue
sing with all
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the
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Can you paint with all_
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run the hid-den pine_ trails of rain-storm and the riv - er are
taste the sun-sweet ber - ries her - on and the ot ter
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v-
roll we
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all are all _
the rich es con nect - ed
the
the m1
earth,
my friends;
+' all
a-
to
each
round you,
oth -
er
once
nev er won-der what ther''rr
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down
then you'll
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And you'll
know.
l
wheth - er we are white
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From Walt Disney's Toy Story
Music and Lyrics by RANDY NEWMAN
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Ebdim/Bb
a friend a friend
You've got You've got
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When
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looks bles,
got a friend got a friend
then
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in in
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rough a got 'em
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Music by ALAN MENKEN Lyrics by STEPHEN SCHWARTZ Eb (add9)
BbmajT/D
the for
out noth
casts
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gry
ing,
I
can
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find y
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earth.
than
I.
T
The lost God
and
help
O 1996 Wonderland Music Conrpany, lnc. and \¡'/alt Disnev Music Com¡rany All RiHhts Reserved Llsed by Permission
-
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for - got - ten, the out - casts,
they the
r68
You down
God T
help thought
the we
out
casts
all
were
l
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why
some are blessed, some
know
Why the few You seem
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{r q¡*fl § áe1g: tfu * *aa&e ms&s (As Performed by Bette Midler) From Walt Disney's The Hunchback Of liotre Dame Music bv Alan Menken Lyrics bi Stephen Schwartz
I don't know if You can hear me or if you,re even there. I don't know if You will listen to a humble prayer. They tell me I am just an outcast; I shouldn't speak to you. Still I see Your face and wonder: Were You once an outcast too?
God help the outcasts hungry from birth. Show them the mercy they don,t find on earth. The lost and forgotten, they look to you still. God help the outcasts or nobody will. I ask for nothing, I can get by.
But I know so many less lucky than I. God help the outcasts, the poor and downtrod. I thought we all were the children of God. I don't know if there's a reason why some are blessed, some not. Why the few You seem to favor, they fear us, Flee us, try not to see us. God help the outcasts, the tattered, the torn, Seeking an answer to why they were born. Winds of misfortune have blown them about. You made the outcasts; don,t cast them out. The poor and unlucky, the weak and the odd; I thought we all were the children of God. O 1996 Wonderland Music Co¡lpany, Inc. ancl Walt Disney Music Company
All Rights Reserved Used by peímission
t72
Someday From Walt Disney's The Hunchback Of Notre Dame
Music by ALAN MENK:' Lyrics by STEPHEN SCHWAR Gently Ab
Dbm6lAb
+ when we
are
wis
when the world's old
r B bm71add4¡
Eb
sus
Ebl
Bbm
O 1996 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Penrission
Fm
when we harr
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Bbm(add2)/Db
AbIC
BbmT
EbIG
B b m7(add4)
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this bright mil
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Eb6 Eb
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the
on
we'll
days when
the
sun
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Cm Bb/D
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From Walt Disney Pictures' Hercules
Music by ALAN MENK Lyrics by DAVID ZIPF Driving 4 G
G/B
there-
awe-some ten
Folks lined
for
up
he goes a-gain.
just
Sweet
to watch him flex,
-
and un - de - feat - ed and
an
this per-fect pack-age packed
a
-
C#dim
pair of per-fect
pecs.
llerc-ie, he
comes,_ he
sees,
_
he con
- quers.
O 1997 Wonderland Music Company, lnc. and Walt Disney Music Company Aii Rights Reserved Used by Permission
Hon-ey, the crowds-
were
gr
He showed
the mox
jor-
hunk.
brains and
\ /
ATtcf,
ze-ro
to
he
DTsus
Who put
the glad
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he
spunk,
178
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dar- ing
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Rid -
ing
high, Spoken: and
the nic -
est
guy'
DTsus
He was
DTsus
a noth - irg,
ze - ro.
ze - ro.
Now he's
a hon -
cho,
r80
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He hit
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the heights at
break
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From Walt Disney Pictures' Hercules Music by Alan Menken Lyrics by David Zippel
Muses:
my soul/ Herc was on a roll. in ev'ry Greek opinion poll. What a pro/ Herc could stop a show. Point him at a monster and you're talkin' S.R.O. He was a no one/ a zefo, zeto. Now he's a honcho, he's a hero. Here was a kid with his act down pat. From zero to hero in no time flat. Zero to hero, just like that. When he smiled the girls went wild with oohs and ahs. And they slapped his face on ev'ry vase. On ev'ry vahse. From appearance fees and royalties our Herc had cash to burn. Now nouveau riche and famous he could tell vou What's a Grecian urn. Say amen there he goes again. Sweet and undefeated and an awesome ten for ten. Folks lined up iust to watch him flex. And this perfect package packed a pair of perfect pecs. Hercie, he comes, he sees, he conquers. Honey, the crowds were going bonkers. He showed the moxie, brains and spunk. From zero to hero, a major hunk. Zero to hero (Spoken:) ancl who'd athunk? Who put the glad in gladiator? Hercules. Whose daring deeds are great theater? Hercules. Is he bold? No one braver. Is he sweet? Our fav'rite flavor. Hercules. Bless
Person of the week
Hercules. Hercules. Hercules. Hercules. Hercules. Bless my soul, Herc was on a roll, undefeated. Riding high (Spoken:) and the nicest guy. Not conceited. He was a nothing, zero, zeto. Now he's a honcho, he's a hero. He hit the heights at breakneck speed. From zero to hero. Herc is a hercl. Now he's a hero. (Spoken:) Yes, indeed. O 1997 Wonderland Music Company, Inc. and Walt Disney Music Company AII Rights Reserved Used by Permission
From Walt Disney Pictures' Hercules
Music by ALAN MENKEN Lyrics by DAVID ZIPPEL Slowly
I
have
of un -
ten
dreamed
of
known
road
to
a
off my
far
em - brace
place fate,
GmajT
he road
ro's
wel-come
may
wan - der,
would be
it
rng me
will
for me, to you.
the crowds will And athou - - sand
where
cheer years _
when thel'
would
be
I'll
be
3
Ffm and a
voice
It might take
@ 1997
keeps a
Bm
say -
ing this is
life,time.
butsome
where I'm meant to be.
how
Wonderland Music Company, lnc. and Walt Disney Music Company All Rights Reserved Used by Permission
I'll
see
it through.-
And
I
there some - day. won't Iook back.- -
can go can go
-
the dis the dis
-
I will I'll
tance. tance.
And
find
my
stay
on
way track.- -
No, I
D(add9)/Ffr
í-\
if
I
won't ac
-
I know ev It's an up
can be strong. cept-- de-,- feat.
'ry hill
mile
will
-
be
but I
slope,
worth
D A/Cf Bm D/A
When I
go
dis - tance,
I'll
be
where I
right
':=---/=-.--
Down
an won't
lose
-
hope
-
my
r84
D A/Cfl Bm D/A and my
dis - tance
nev
.iour
Is
com
plete.
oh,
CIF,
But
to look be
yond _ the glo
ry is
the
hard -
est
^ilt^ 1 ¿Da
-
E/G# Ff /A#
G
he -
ro's
strength _ is meas
-
ured
by
his
heart.
Emlb5lBb
B
D(add9)/Ff
shoot
Em/G
- ing
star
the dis
- tance.
I will search
.I
the
.t
D(add9)/Fil
will
face
- its
I
don't care
-
D A/Cf Bm D/A
find my
he-
ro's wel-come wait
E,IGi
how far
Ff/Af
I
can
go
the dis
- tance
r86
,,
i
| ,,.,, l: I tl : l, t, il ll tt , 'l' ' Performed by Michael Bolton) (As From Walt Disney Pictures' Hercules ,t
,1.
,r
,:,,:l
Music by Alan Menken Lyrics by Davld Zippel
I have often dreamed of a far-off place Where a hero's welcome would be waiting for me, Where the crowds will cheer when they see my face, And a voice keeps saying this is where I'm meant to be. I'11be there someday. I can go the distance. I will find my way if I can be strong. I know ev'ry mile will be worth my while. When I go the distance, I'll be right where I belong. Down an unknown road to embrace my fate, Though that road may wander it will lead me to you. And a thousand years would be worth the wait. It might take a lifetime, but somehow I'11 see it through. And I won't look back. I can go the distance. And I'[ stay on track. No, I won't accept defeat. It's an uphill slope, but I won't lose hope Till I go the distance and my journey is complete. Oh, yeah. But to look beyond the glory is the hardest part, For a hero's strength is measured by his heart. Like a shooting star, I will go the distance. I will search the world. I will face its harms. I don't care how far. I can go the distance Till I find my hero's welcome waiting in your arms. I will search the wor1d. I will face its harms TiIl I find my hero's welcome waiting in your arms. O 1997 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Resewed Used by Permission
'Fh
E4X
.. r
#fe"q_ #3§§" s"§#¡s-t*dhÉ-§ q"-q- %- g 1-F§ i § From Walt Disney pictures, Mulan
Music by MATTHEW WILDER Lyrics by DAVTD ZlppEL
see
_
+ nw
C]
am._
but you'll nev - er know
me.
Eb'7
ll^l e+4 o lqqs \ ¿lt D ..c\ \4,r\:, ( ,,-pJr.) A'l R:Bl-tr RP.e \-d t s-o ul pe.nr.>¡run
Ev
- 'ry
day
it's
Ab (add2.l
Now But
I some
-
see
mask
how
world
I cuur what's m,
-----
4
the world, my heart
but and
I
can -
be loved
not fool
for
who
my_ T
e heart. am.
is is
Who Who (D.S.) Why
girl girl all
I I con -
see
lng ing
straight straight
ceal
we
think,
see
must
back back how
at at we
----.
me? me? feel?
that that we
Ab
E'IG FM7
When will Why is Must there
AbIEb
re re ase
my my be
flec flec
who I
show
some -
me
one
['m
I
have to
hide
my
heart _
and
what I
am now
be - lieve
I
pre - tend pre - tend
I
Must
won't
that that
F.blG Fm7 for for
all all
When will When will
time?
time.
some - one some - one
I'm I'm
my my
AblBb
Dbmajb
DbmajT
re-flec re-flec
-
tion tion
Fm7
am?
there's
-
a
else else
heart
that
To Coda {-
D.S. al Coda (take 2nd ending)
CODA
0
Dbm6D
Fm7
side?
Fm/Eb
Dm7b.5
Eb/G
When will
Fm7
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AbIEb
t92
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From Walt Disney Pictures' TarzanrM
Words and Muslc PHIL COLL
Moderately B
b
sus2
B b sus2
Put your
faith in
what
you
Soft - ly tread the sand be
Trust Trust
fam fam
-
Two worlds,Two worlds,
most
low
heart,heart,-
let let
OIÉ OIÉ
fate fate
Dm
guide guide
: \
E,bIF
we we
A par-a - disethe shel
Be-neath
see.
O 1 998 Edgar Rice Burrcughs, lnc. and Walt Disney Music Conrpany All Rights Reserved Used by Pernrission
touchol
of-
-
by the
with-in this-
man trees.
on - ly
A A
simsim-
world blessed
-
high
Build high
with ter
they live they live
ple ple
Raise your head up;
love can en
the
the
load.
walls,
-
love. here.
in in
peace. peace.
Take strength-fromthose that need_
build-
strong
the
beams.
-
t94
life
-
tears.
Fm7
heart.
F,bIG
A
dream is
Fm/C
gone;
_
but where there's hope,
B
b
sus2
some - where, - some-thing is
e
b
(a¿¿2.)
196
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t
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E
U 3
fttu
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E
(Pop Version) As Performed by Phil Collins From Walt Disney Pictures' TarzanrM
Words and Music
Moderately
b
PHIL COLLIN
t-,'+f.)
Come stop your cry- ing; -
I will
be
here; don't you
it will be all
right.
cry.
Just take my hand,
For one
so
small
)'ou
Why can't they un- der-stand the
O 1 998 Edgar Rice Burroughs, lnc. and Walt Disney Mlrsic Conrpan)
c#¡rf"
hold
arms will
seem
My
way
They
just
don't
you;
trust
-
keep
what
you they
c#ze#
safe
warm. plain.
can't
_
This bond
I
know
be -
tween
us
we're dif - f'rent.
but
-
can't be bro deep
in
- side _
I will
ken. US
be
here;
don,t you _ at all. _
cry.
we're not that dif-fer-ent
And
rb¡rb
y€s, you'll
'Cause
be
I I
from this
To Coda
{fr
day
on_
,
r,b¡tb
now
and
for - ev
CODA
+
what do must _
they be
_
_
We It
know? strong. _
need each
oth - er may not be with you,
Absus2/F
have,
got
toto hold
hold._
-
on.
I
i
They'll
-
see
_ in
time,
to
but you've
200
to-geth - er,-'cause
clBb
you'll
my
-
heart.
I'll
be there
from
this day
on,
-
You'll
be
in
my
(You'll be
_
here
heart
-
in
my
heart.)
no
mat-ter
be with you.)
You'll be here
(I'll
be there.)
F(add2)
['ll be
a
with you.
*=t *lT--t
I',ll
-ei(}
rT'-1
be
202
Iaj9
ways, and al
.Iust
ver your shoul-der.
look
o
Just
ver yourshoul-der.
Just
look
o
Yer your shoul-der;
look o -
When She Loved Me From Walt Disney Pictures' Toy Story 2-A Pixar Film
Music and Lyrics by RANDY NEWMAN
Tenderly, very freely F
F/A A
Gm7
When
+ e -- -=-=
=
some
+ =
_¡
lI
-
bod -y loved me,
++'
r I
-r
Emtb5 ev
-'ry-thing
was beau-ti -
hour
ful.
sad,
I
e
FGdd2)lC eb(a¿¿z)
we spent to -geth
GtlB
nb
\nd when she was
Alcfr
was
there
to dry her tears;
Emlb5 t
¡cfr
and when
she
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F(add2)/C
was hap -
py,
so
_
\tas
1-l-Tr Cm/Bb
Through the sum-mer and the
we
was
meant to
be.
Bb
had each oth - er, that was all. Just
Gm7
it
FT1A
Andwhen
she
she
FIA
and I
Csus2
GllB
I
was
there
to - geth - er,
to
Iike
C
A
com-fort her, and I
Bbm6pb
So the years went by; I
clB Gdim/Bb FIA she
be -
Lone - ly
gan
and
to
drift
stayed
the
Fm6/Ab
I
was
left
a-lone.
sriil
for the day
I
nev - er thought she,d look
my
waY,
and
she
me
+-' and
held
she used
me
to
do,
like she loved
GllB When some
pmtb5
'ry - thing was beau-ti - ful.
me,
F(add2)/C sb(a¿¿z)
Alcfr
hour
bod-y loved
Csus2
we spent to-geth
when
my heart,
she
loved
I
=+eT-r===
ttl
=++T--==
ttl
From Walt Disnev Theatrical Production's Aida
Music by ELTON IOHN Lyrics by TIM RICE
Moderately slow C
(Male:)
tr
ord
or
I
two
G/C F/C
am here
E7 CfdirnT Ani
to tell_ vou
we can nev-er
a
and then
LE
life-time
g
of
not
Sim-ple real ly,
know-ing
where
or how
or why
or
when.
-
you
a L-rlra
I
think of me
or
or speak of me
O l9()9
won-der what be-fell
_
the some-one you once loved
\,Vonclerla¡d Music Company, lnc., l-lappenst.ince Ltcl. ar¡cl Evac1on I td All Rights Rcserved Used ltl pern¡lssion
_
so
long
a
-
l0s
so
go,
(Female:) Nev-er (Mole:) Noth-ing
well.
I'll
der what can be al
won -
feel
as
Oh, there is tered. -.-
-
liv - ingnoth - ing
I an
_-
shuf-fles
to
bY.
de - cide.
not re pl¡. ¡, place to hide. -
to ask
You don't have
No
mo - ment of
need
(Female:) You are
me
no change of heart,
es - cape,
all
I'll
ev
-
my er
fronl hut
-
r ETstrs Ellcf + I
will think
Some-times in
or dream of you my dark-est thoughts
and
I
to
I
un - der-stand nev - er learned
love
be--
be
con found
ed
love
and have
that
+
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r
oul Iove
pay
per - fect is to
of
- ing
_ turned. hand.
re -
)
in the stars?-
^
l(óotn")ts
Is that
for some crime?_
all
that we are good for,_
C/G
God's ex - per- i - ment_
Are
we
which
we
have
-
In which
no
we're giv - en par -
a - dise,
------
2
Dm7
for some crime?
ls
thaf
that
are
we
-
good
for,
just
a
stretch
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J
mor - tal
this God,s
(Both:)Is
ex
per-i - ment-
(Male:)in
-
which
we have
no
say?
_
(Female:)Inwhich
we have_ no
which
we're giv - en par - a - dise giv
----..,.--_
(Both:) for
--t---
G/C
F/C
Gh(add2)
Ab(add2)
Bb(add2)
C
T 212
My Funny Friend And Me From Walt Disney Pictures' The Emperor's New Groove
Music
bry
Lyrics by ST STINC and DAVID HARI
8.5/A
ln the qui
AIE
,fuddrl
-
et
time of
eye
- ning,
when the
stars
A(add2)
EmajT
and the
Dmaj13
day
has made his
DmajT
and we won-derjust what hap-pened
Bm7
Cf m7
be-fore the world changed, when nol
tr @
as-sume th
2000 Wonderl¡nd Music Company, lnc R'
{ll
But you were kind
="?-tp= l_1 t-]
and you re-mind-ed me_
there are oth - er things
that
I
that the world
mat
is not my
play_ ground;_
what is sim-ple needs pro
My il-lu-sions all
--?' I J? v/ l.l -T T-l -
-
DmajT
C#m7
Bm7 C#m7
Ff
m C#m7
F#m
----¡
-J The on-ly world
I
kne w was up - side
-
and now the world and me
A(add2)
You see the pat-terns
Ff
in the
big
m7 E
will know you car - ried me. -
Dmaj7
those con stel-la-tions look
like you and
I.
-
Cfim7/E
Just like the pat-terns in the
big
Dfim7b5
we
could be lost; we
could
re
A/C#
,
Bm7 Ct'm7
-)fuse
to try.
But to haye made
it through _
J
in the dark -l
who would those luck-y
of my fun-ny friend-
and
me.
-l
I'm not
as
clev-er
as
I thought I
not the boy
-l
T,T I
t/
tlv
I
used to
216
A(add2)
D(add2)
Gf m7
you showed me some-thing dif-f'rent;
be - cause
you showed- me some-thing
pure.-
3
3
I
al-ways seemed so cer tain, but
I
was real
ly nev-er sure.
But you stayed,
and you
-
3
3
Bm7
called
Cf m7
my
name
when oth-ers would haye walked out on a lou
-
sy game.
r A(add2)
And look who made it through
r
friend-and
you.
My Funny Friend and
h,{e
From Walt Disney Pictures, The Emperor,s New Groove Lyrics by Sting Mr,rsic by Sting and David Hartley
In the quiet time of evening, When the stars assume their patterns And the day has made his journey, And we wonder just what happened To the life we knew, Before the world changed, When not a thing I held was true. But you were kind to me, And you reminded me That the world is not my playground; There are other things that matter; What is simple needs protecting. My illusions all would shatter, But you stayed in my corner. The only world I knew was upside down, And now the world and me will know you carried me. You see the patterns in the big sky; Those constellations look like you and I. Just like the patterns in the big sky, We could be lost; we could refuse to try. But to have made it through in the dark night, Who would those lucky guys turn out to be But that unusual blend of my funny friend and me. I'm not as clever as I thought I was. I'm not the boy I used to be, because You showed me something different; You showed me something pure. I always seemed so certain, But I was really never sure. But you stayed, and you called my name When others would have walked out on a lousy game. And look who made it through But your funny friend and you. You see the patterns in the big sky. Those constellations look like you and I. That tiny planet and the bigger guy. I don't know whether I should laugh or cry. Just like the patterns in the big sky, We'll be together 'til the end of time. Don't know the answer or the reason why. We'll stick together 'til the day we die. If I have to do this all a second time, I won't complain or make a fuss. Who would the angels send, But that unlikely blend of these two funny friends? That's us. O 2000 Wonderland Music Company, Inc. All Rights Reserved Used by permission
218
Where The Dreams Takes You From Walt Disney Pictures' Atlantis: The Lost Empire
Lyrics by DIANE WARRE Music by DIANE WARRE and JAMES NEWTON HOWAR
Moderately C
"!f
t) =;
=. )
they
r
will
say
-
a-' you're
but thevwill nev-er
o
GTsus
+ un -der-stand,
tro,
the jour -
ney
you're
-
O 2001 Walt Disnev Music Company
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on.
_
They'll
try
to
There's some-thing
t)l
=.
=o
l
they'll
but they
it's
will the
try
to
be
nev - er
faith
to
un - der-
heart, de
stand
And you
dream that keeps
So you
r\-, t-=----;
Iieve
lieve
(still (still
be be -
lieve), lieve),
you know-
you
know)
you-(where
YOU
_
must
must
go)
where the
your dream takes your heart),wherethe
++ (Your dream
will lead you on.)
When
you fi -n'lly
find
-
you'll
that - place
?l
f
I
Bblc
GTsus
find
all-
you
need,
-
where
the
dream-
takes -
-
(Where the dream
-
dream
takes
-
you.
\-___r-
Go where your heart is meant to
-
T
you may find
(you may find) some
dream.
there
(some -
(Where
T
bod
your
-
y
there); some
-
one
dream takes your heart.)
to
Walt Disney Pictures Presents a Pixar Animation Studios Film Monsters, Inc.
Moderately (]-J =
Music and Lyrics br RANDY NEWMA\
r-l¡
I
.\ )
Eb
Sulley:lf I were a rich-
man
with 3
77 I
nlf
R
/
++
lt)
O 2001
\
/alt Disney Music Company and Pixar Talking Pictures All Rights Reserved Used by Permission
a milJion or
two
22s
pbe
A bo
- some, (
ta)
Spoken: ) Mike
:
(lt coulcl lnppen,)
Sullet
l'{o v:a.v !
a
-
-
?
t-
'cau se dreams
-------1
6
do come
++1
true.
+
2+
8vb
J
-)
would-n't
have
have
-
Would-n't
you.
.i
noth
-
in'
if
I
J
if
did-n't
noth - in'. Mike (Spoken): Can I tell t,ou sontething?
I
-i
I did-n't
Mike: For years
I
have
226
your graceand
vied SulLey (Spoken):
your
charm.
(You're green with it.)
-
r-j loves
-
you.
you
-
Sal/eyr
-------¡
Yes, I
hr rr
-J---------¡
I
must
ad
-J
big
guy, you
al - ways come through.
I would-n't
have
BbTsus
I
noth-ing
.,
did-n't
you.
3
)
ll'
AbmajT
Both: You and me
DTsus
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to - geth-er,
that's how
r-J
it al - ways should
---l---r
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-i
r-J with-out
the
oth - er
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rmean
noth
¡-
ahf"s
3 ---------t
-
ing to
f----.-3 ------¡
h€,
noth
-ing
to
me.
r-.--.-J ------¡
3 -----.---t
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r--l
Mike: Hey, I n-neyer told you this,
some-times I
r-J
get
a
Iit - tle
-31
228
Ebo
Abm6
blue
J
Sulley: Looks good on
Mike: bttt I would-n't have
)'ou.
BbTsus
F9
C7
noth-ing if
I did-n't
-l
a
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l{
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would-n't knowwhereto Mike: I know v;hat \'on mean, Sulley, becttu'9e...
-t-
go,
Stilley: would-n'f Míke: Me too, because 1...
know
do.
Mike: Wht' do \ou keep singing my part'l
r__-?
___r abs
don't have to
say
,--3 ---t it I'll
Sulley:
Both: both know it,s
salt if anyv,ct».
'Cuuse v,e
r.-J ---r
,-3
--
Abm6
true.
-t
aL-
J
would-n't
noth-in'if
have
I
.,
did-n,r
would-n't
3
haye -
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Bb7sus., BbTsus
noth-in' if
I did-n't
have. _
I would-j,t
haye -
have
J
.,
J
Would-n't J
have _
if
did-n't
you
-
+
WaIt Disney Pictures Presents A Pixar Animation Studios Film Monsters, Inc. Music and Lyrics by Randy Newman
Sulley:
Mike: Sulley:
Mike: Sulley:
If I were a rich man with a million or two, I'd live in a penthouse in a room with a view. And if I were handsome, (Spoken:) No woy! (Spoken:) It could happen. 'Cause dreams do come true,
I wouldn't have nothin' if I didn't have you. Wouldn't have nothin' if I didn't have, Wouldn't have nothin' if I didn't have, Wouldn't have nothin'.
Mike:
(Spoken:) Can I tell you something? For years I have envied (Spoken:) You're green with it. Your grace and your charm.
Sulley:
Everyone loves you, you know. Yes, I know, I know, I know.
Sulley:
Mike: Both:
Mike:
But I must it it, big guy, you always come through. I wouldn't have nothing if I didn't have you. You and me together, that's how it always should be. One without the other don't mean nothing to me, nothing to me. (Spoken:) Yeah, I wouldn't be nothin' if I didn't have you to serve. I'm just a punky little eyeball and a funky optic nerve. Hey,
I
never told yotr this.
Sometimes I get a little blue, Sulley:
(Spoken:) Looks good on you.
Mike:
But I wouldn't have nothing if I didn't have you.
Sulley:
(Spoken:) Let's dance! (Spoken:) Look, Ma, I'm dancing! Would you let me lead? Look at that! It's true! Big guys are light on their feet. Don't you dare dip me. Don't you dare dip me. Don't you dare dip me. Ow! I should hcme stretched.
Mike:
wouldn't be nothin' if I didn't have you.
Sulley:
Yes, I
Mike:
(Spoken:)
Su1ley:
I wouldn't know where to go, (Spoken:) Me too, because 1... Wouldn't know what to do. (Spoken:) Why do you keep singing my part? I don't have to say it (Spoken:) I'll say it anyway. (Spoken:) 'Cause we... ...both know it's true. I wouldn't have nothin' if I didn't have, I wouldn't have nothin' if I didn't have, I wouldn't have nothin' if I didn't have you. Wouldn't have nothin' if I didn't have you. (Spoken:) One more time. It worked! Don't have to say it, (Spoken:) Where'd everybody come from? 'Cause we both know it's true.
Mike: Sulley:
Mike: Both: Sulley:
Mike: Both:
Mike: Sulley: Mike: Sulley: Mike: Both: lvfike: Su11er':
I
know what you mean, Sulley, because...
(Spoken:) Let's tske
it
home, big guy!
I wouldn't have nothin' I wouldn't have nothin' I wouldn't have nothin' ...you.You. You. A, E, I, That means you. Yeah.
if I didn't have, if I didn't have, if I didn't have... O,
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From Walt Disney's Lilo & Stitch
Words and Music by ALAN SILVESTR| and MARK KEALI'l HO'OMALU
no
no-
Lead:
lin
A11.
On
ger
-
ing
gold-en sand -
in
place place
the o-
is
where
-
the the
I'd rath - er I'd rath - er
*Chorus: than Chortts: than
cean blue. - Chorus: Lnd I'd lay, Chorus: and.
-
be be -
sun sun
if I iflon
yond yond
R
ght.
R".errrc I
.cd ur P,
¡
had
my surf-board out the sea-shore dry,
one
ly
ho ho
O 2002 Walt Disney Musrc Company
lll
on on
-.ru
wish
had
rl n
come
my
-
at wet,
sea,
free.
l'd way All: l'd true Lead:
zon. zon.
Chonts:
A - wi - ki - wi - ki, mai - lo hi lo hi. La -wemaii - la - Ia i ka la ha - na-ha-na. Me_ ke kai ho
- pa he -'e i ka pu -'e
Chorus:La
ALI: Fly
All: It's
time
lng
by
to
try
on
-
a
the
war
wal
roll - er roll - er
coast coast
-
Lead:
A - wi' ki-wi - ki, mai- lo - hi-lo -
- we mai i ko pa No wor-ry, no_ fear. Ain,t
hi.Chorus:La
All:Hang loose,- hang ten,howtsit shake- a-shak - a.
t:-_E /l
To Coda
Pi' - i Put-tin' in,
Lead:
na lu-lu Ia Ia-ha-la-ha.Chorus:O_ ka mo_a na ha - nu - pa-nu - pa. cut-tin, out. Front side. back side, goof-y-foot-edwipe out. _
cut - tin'up, cut - tin'back,
+.e Dl-D
t)-l
i ka la ha-na-ha na. Chortts;Me_ ke kai
Lead: La
ho - en
-e-
i ka pu-,e
Chorus: Ha - wai
Let's
go
jump -
in',
surf's
- up
and pump - in'.
with the mo
tion of the
o
one.
$
234
cad
Whirl -pools
- ing, swirl - ing.Chorus:Ha - wai - ian roll - er coast -
er
D.C. al Coda
CODA
+
Lead:
Lead:
La - la
He - le -
he
le mai ka -
kou
e.
Chorus: Ha -
wai - ian
á'esa ru"*ɧ.É E€*e-* (|im's Theme) From Walt Disney's Treasure planet
Words and Music by JOHN RZEZNIK
a
am
ques
do you think see
the things
tion
you'dthey
-
to
the
not
an
to be ['m a I can
an
Irm a boy? AII you want
un - der neY - er
^+1 ,lf-r
or a moYou can't take Now you know
do
think learn \ran[ lo tell you can you
-=-ment
that's
me me
and and
you,d _ what's _ .\'ou
_
ev-er nev - er
who I
held
throw
I'm
IN
me
not
your arms.
And
a - wav. a - fraid.
And And
\.-i say?
shown? _
am._
.0) \\ 1,J,. o. .rr-, , .- | .Ir. \rlRc -Ré.., é, {..j r .-..rr.
I won't
lis
Yeah, you stand Can you help
ten here-
me_-
-v-
an on your be
a
236
.a
way.-
own. _ man?
You'll re - move
me
They don't know They can't break
ffi€,
'cause
me
AS
neY -
and
b"\:=
And
er be what you want
Irm long as
_i _f
And
want
I
-
a
mo
-
ment
_ to be real.,
not
I
me
here
know who I am.
want to touch things
-
to
can the world
They're the
I S,ü II O (» F,'m7
To Coda To Coda
( They don't knou'
tt ev can't see ( r',,' the one
{
fr€, fre,
'cause
now,
'cause
D.C. al Coda
I
(3rd Ending)
but
CODA
I
Irm
ones,
Ftm
see.
Yeah,
the world
keep on dream-ing for
is
words are just whis-pers and lies
CODA D.S. al Coda
II
+
F#m7
['ll
nev - er be
Esus AID
-
. i, From Walt Disney pictures, Brother Bear
Words and Music by PHIL COLLINS
There There
oh,
all
cause out
But
out
are
will
you'll
Iearn
this
.iour
in you'll
there there
some some
where where,
(O
2001 \,\/alt Disnev Music Conrpany. R' .e ,, d I .e,l l,r ro n ,, on
\. Ri;n'.
it's day
all light
wait finds
240
if if
you you
be be
D/F#
watch-ing o -ver
you.
.Iust
take
a
through
my
A(add4)
DFfr z----.
just
take
a
To Coda
look
$6
through
-
242
D.S. al Coda
look through
my
_
know there's a
bet -
ter place.) Just take
a
244
)
c
through
f'-------f
--f
-==----
look through my
Optional Ending Repeat and Fade
-=--
.--
r'-)1-3
§
{§, # &,,* t, {-.} I u.¡t,{1 ?"
,l
,[
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§ §.:1'§ú t.!^
á
From Walt Disney,s Old yeller
Words by CIL CEORCE
Music by OLIVER WALLACE
Moderately bright D
Yel Yel
fan -
cy
an-y
do it troub -Ie
free with chase he
and he
- ler - ler
was was
a
mon - grel,
a
hun - tern
- out a fam - 'ly knew just how to
prove there's noth- ing
al - ways found it
eared tear - int lop -
7
mon - grel; hun - ter;
I
in
\------tree.
to
But he could up and And when he hunt - ed
it,
dou - ble,
and that's and that's
O lq5- \\.rlt Disne¡ Mu,ie Curilpan¡ Di-1,- Í^o^q:
ol' f:n",l"d-
how
a
when old
good
Yel
dog should
Ier
had
\----// be!
YeI-ler,
come back, Yel-ler!
-
dog-gone
dog
in
the
\-=--// West!-
wiii---
Yel - ler was Yel - ler's just
fight - er. pup
-
py.
In an - y scrap he [t's plain to see he
knew
just what
has a
root - in' toot - in'
a a
fight - er,
to
do. _
A
tree.
The
fam - 'ly
PUP.
PY,
a a
lit - tle lop- earer
rough and im -
heart good
read -
age of
y his
fel - low, PaP' PY'
al - though his coat was he's fris - ky and he's
was true blue. pup should be.
yel - low, hap
-
py,
Yel - Ier,
his and
bold that's
come back,
-
\-----// West!
<><> \-----/-/
dog-gone dog
in
Tex
the
w-
r€>
\ ------
.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
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
llil
lllllllllllllllll
lll
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ffiw NGS
Wlrru-.LEoNARD.
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PIANO.VOCAL.GUITAR
The l\ew lllustrated Treasury of
ffiffiffi SONGS
tI
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 :
Hal Leonard Australia Pty. Ltd. 22 Taunton Drive PO. Box 5130 Cheltenham East, 3.192 Victoria, Australia Email: aus @ 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
:ii,::\{,;5 irl;i-}1',1
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
Ev'rybodr \\ an:.
:
:
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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
r
19--
105 Winnie the 1,,. 107 The Wonderf¡"rl I:: '
:r -
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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A 5§t-5i¿ .rli.
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Part of Your \\'o¡1;
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Under the
Sea
BEAUTY Al'¡D IHE
BE.iSf
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724 Be Our Guest 128 Beauty and t]'re B¿:¡: ALADDII], 1992
133 Frlend Like \le 138 A Whole Nerv \\'or-: THE LIOI'¡ KING, 199-}
154 149
Can You Feel the L,
112
Hakuna Matata
Circle of Life
'..
.
-::
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-;
:1. \\'ind - ,''.{
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
--
253
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BABES n\r TOY¿A¡\ID, 1961
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248
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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 it 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
¡-i .¡
(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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Still, even if the music wasn't written =: "'***--::"Y:5:**
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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
ltf¡ ll \ v Av
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n'Disneydidn'treadorwritemusic rn ract
:::'i, :;i ;: during grade
Lil::,Í,:,'H;' li'xl; THI;
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.
\,
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
WarnxilEm¡rfl& owtr T.§nE§ L§rLE'Fl§§.aná afrqidof tbA
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
rr§u,11,-bit lOruarfs ao6the .ii..^t^r¡rñ
PICTURI
ffip PIzzLt
the
more recent efforts, including Beauty and the Beast, Aladdin,
e
Seuen
k*Q=o.
, :§il
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.,
2 lAAffi PlJZ¿tI§
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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.
{t, ¿¿*t: y¡¿¿¿r}¿b
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 ed 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."
Lrotkcn *o {,i Ii'
"Tht, Boltoti o¡ Dovy
; ii:#;r; {:;:
k
@"lsj*',
* ¡fi
sffitTtéffiffiff?
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 ed 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 sures 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 s :',", --,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.<,
U
U Cm
Gm/Bb
<>
<>
what
they'd
Am7b5
D7
grYe
just for
r=-.-.7
______l
the
Gm
DIF*
right
to
U Fm7
Bb7
Eb
hold
you.
From
Cm/Bb
Bb/D
your
r-l------¡
head
to
your
Ab6
toes.
r.=--l-------r
- -
Abm6
56
Abm6/Bb Bb7
Abm6 Abm6/Bb B;7
CmiBb
r=-,7----
much,
you're
good-ness
r_.7_____
,-l-----,
f-l------1 pre- cious to
r-"
cute as
.-3-----
I
ba-by ,-
r
r
i ftt f
r
r
can
ba-by
of
r-,?-----1
of
I ------1
a: I
.li
.:
i:...., .,1. ..,.., ill,.,l: .:li- .ii. ;il-
li.ll;
.:1,.
-il,
li-
From Walt Disney's Dumbo
Words by NED WASHINCTON Music by OLIVER WALLACE
C9
trm7lBb
When I think
Just
to
I have to laugh
a-bout
Fm7/Rb
Bblb9
Eb
EbIG
Bb7
Fm7
Bb7
think a-bout it bends me
Copyright O 1941 by Walt Dilney Productions CoPl'right Renerved World Rights Controllecl b¡'Bourne Co. lnternational Copyright Secured All Rights Rcscrved
right
Bbl
58
I
saw
pea
-
gar -
*f
nut
stand,
den
walk.
f
-
heard
band,
a
stalk,
I I
-
saw saw
a a
-l
EbIG EbM/Gb
Ebl*s -J
, le that pig with an
need
But I But I
eye.
§ty.
think think
I I
will have will have
seen seen
-J
thing thing
front porch su - gar
-
when when
see
heard saw
I I
fly. fly.
see
a dia-mond the jel ly
ring,
roll,
-
saw saw
saw saw
a the
a a
pol ' ka dot rail pick - et fence that's
-
Bb/Ab
Eb/G
road no
tie. lie.
when when
I I
Ebm/Gb
Eb7i5
Bb7/F
t-
But I But I
-1
will have will har.e
think think
seen seen
\ i
thing thing
-
e-phant e-phant
see an el see an el
flY. flY.
fr
Abm
saw a ev - en
clothes- horse heard
-
a
rar' up and choc - o late
buck. droP.
They
-
I
tell went
me that
in-to
a man a store,
made saw
a a
Abm
veg
bi
- 'ta cy
ble cle
ttTruck.'1 shop.
-
n't You can't de I
oid -
see nY
_-
that, the
IonlY things
that
You
but but
60
to know
be
ia -
soc
take
ble
just
tain things
there's cer
I
their can't
saw
The
oth
BbIAb
slide,
-
chance, -
Eb/c
Ebm/Gb
Bb]IF
saw an old cow saw an old barn
hide, dance,- -
so
r
gull i
a
I hle
thought- I'd
sort
of
r-J
think think
I I
will have will have
seen seen
-3----------¡
e-phant e-phant
just laugh'd till
Ab
867+s
Bb'7
But I But I
I I'm
and
ev ev
-
'ry 'ry
thing thing
-
when when
I
' .ó:. t-. t ,t1: , ti t. a.it.-
,
,41 -ut-rr. -ara,..: lil ,,,,,t.r',..
;at. t'4. ,,'1t Y trr I ?-'1- .-... .._,.! ..:. i:.....'!:_
.,:.
From Walt Disney's Bambi
Words by LARRY MOREY Music by FRANK CHURCHILL
Moderately C
Drip, Drip,
e frII rrhere
all
drip, drip,
drop, drop,
A - pril A - pril
tit tit
Drip, drip, drop, Drip, drip, drop,
a-round.
that you fall.
lit-tle lit-tle
ToCoda$ u
e l¡cau $,on't
- ti -ful care at
sound.
Drip,
A -pril A -pril
show show
-
er, er,
what
Itm
a a
drip,
drop, when
O 1942 Wonderland Music Company, Inc Copyright Renerved Rights Reserved Used by Permission
as
tune tune
ev
you
-'ry
A
the
sky
-
can com-pare with your get - ting wet and I
B7
all.
All
beat - ing beat " ing
show show
ls
cloud - y
mu - sic can bright - en the
t'How - dy"
drip, drop,
day.
say "Good - bye" right
I'll
lit-tlegay
lit-tle
A-pril
ser- e -
nade.
a
nev -
er
be
when the
Zip-A-Dee-Doo-Dah From Walt Disney's Song Of The South
Words by RAY CILBERT Music by ALLIE WRUBEL Moderately fast
Bb
zip
MY'
FTIC
zip
doo
won-der
-
Plen
ful
a- dee
,l
O 1945 Walt DisneY Music ComPanY All Riohr.
Copyright Renewed
Rp+^ed l.1'"6 ¡rr pp¡ris.ion
ty of
sun
-
It's
it's
the
r'act - chtll."
Ev
FTICB|ID
ttsa
- tis - fact- ch'll.t' Zip
a-dee
zip
doo
a- dee
- ay!
-
Won - der-ful
feel
won-
der - ful
-'ry-thing
is
'ii §
,-*, rr -r,,,-!,-*'1, ,¡"il .,,-¡,tl¡, l!-..11 ]l',,'u ,. ,. §,_ _s-_ }* 1r" § §:'* l¡ .;.,r'_¡,. l,t 'tt it ll tt i, -;r'l{i §r, §-1t:1!|! 1§r.,rt, ..-_. 14..1,: 'rr.r .
"
(Dilly Dilly) From Walt Disney's So Dear To My Heart
Words by LARRY MOREY Music by ELIOT DANIEL
r C
if
lrlwere I youl
-ly, dil - ly
lr:3rl
Gm7
C
Who
dil
king,
told
me
O 1948 Walt Disney Music Conrpan¡; Copyright Reneu'ed
All Ri¡hl: Re.erred U.ed hr Permi-.ior
dil - ly, dil -
Iy,
who told
me
-rr J'
your dil - ly, dil - Iy
dil - Iy, dil - ty
heart
feels
way
I I
,. pret
- ty lit - tle church
on
dil - ly, dil - Iy
day
tn
dil - ly, dil - ly
dress
r
IrilI
lyou'llf
fl
f
you'lll
I t'nI
I r
fl
?
l-vl I yourl
68
-:l:¡nn&#l
(' ! ,;.r.3::i 1,f;'§ { f ¡€, k" d§ *"1" . af ,1I E IÉ Xit t'-& 6 $ t1¿.tt¿aÉh\.")
From Walt Disney's Cinderella
Words and Music by MACK DAV AL HOFFMAN and JERRY LIVINCST( Moderately slow, with expression
O I948 Walt Disney Music Company Copyright Renewed
69
[Iave
rain-bow will come smil -
----'-----/
thru. -.'............_-
ling
heart
griev - ing,
is
you keep on be '
No
Am7
A9
F9
how your
day-
in your dreams
faith
Iiev - ing'
mat - ter
D7
dream that
AmltB
You
Am7
will come
true.
A
true.
9va-----, A
Bibbidi-Bobbidi-Boo (The Magic Song) From Walt Disney's Cinderella
Words by JERR'I Music by MACK DAVID anc a-
Brightly F
sa'la-
put 'em
to
-
geth
ga-doo - lamen-chic-ka boo - Ia bib-bi-di-bob-bi-di-boo
- er and what have you
bib-bi -di
got
3
la men - chic - ka
boo - la
bib-bi-di-bob-bi-di-boo
I
O 1948 Walt Disney Music Company Copyright Renewed
All Rioh,. R-.e^ pn
I l-Á¡ h. n-.-i.-
..,,
íre-st 6 ra'frn> 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
light.
CC7 A
cold andfriend-less tide
you
light-ed
a
found
I'll paint a ray
down.
by
has
Yoü,
of hope a - round
r.
let the storm-y
dark-nex
cir-cling in the air
I'll
prayer.
this flame in - side
r
don't
be your can-dle
on tt
111
here's my hand so
ygu'll make it,
as sure as riv - ers
I'lI
flow,
nev-er let
take it,
look for
['il
reach-ing
me
nev -
er
I'll
let
nev-er let
out
to
From Walt Disney's The Fox And The Hound
Words by STAN
F
Music by RICHARD IOHNS C
When you're the
best
hap
of
'pv
you're not Nei - ther
friends
hav - ing
game,
you could clown
e-ven one of
_
a
you
waresees
you're
your
such
a
nat - urtl
-
O
1977 Walt Disney Music Company and Wonderland Music Company, lnc
fun bound
so
much fun to - gr a - round for -
r
113
Dm7
tf on-Iy
the world would-n't
get
in
G9
if on-ly
the way, _
Em7
A9
Em7
peo-plewould
They'll say you're r
. 8.--
r-l-------
A9
just let you play. f-3--1
3
Dm7 --3------
o-
F;m7
-r-:-l--l both be -
Bm7b5
ing
E7
you're break-ing
fools,
BmilE
E7
all
the
-
Am
rules.
-
¡-l'-"--,
r--,?-------
Ffm7b5
F7
They can't un-der - stand _
yourmag - ic
G9
C
When
you're
the
best
won - der-land.
-
DmTlC
of
friends,
shar- ing
tl4
dis - cov
I
hope
it
nev - er
when
these mo-ments have
ed-
will
tha
i.'i-r'.i"'r
:.-
A,r:a .ál ;t.-
.f .1'.
t
it.ii_.§
.t..¡t
I
§
L".:,:¡
ai,ri-§.
From Walt Disney's The Little Mennaid
Lvrics bv HOWARD ASHMAN ' rr¡usic by ALAN MENKEN
I wan-na be-
see
tem
dan -
cin',
C
peo-ple
where the
round- on those,
walk - in'
wan-na see-
are.
what - d
ya
wan-na
tem,
call
-
F/A
C7
Flip-pin'your fins- You don't
O I988 Walt Disney Music Company and Wonderl¿nd Music Company, lnc ¡.ll Riphls Reservt:d U>ed bt Perrt..inn
get too
far.
-
oh
3 -----1
rStroll-in'
a-
long- down the,
what's that
word
a- gain.
,-1.----,
,-
Up
3 --.-...-l
walk,
where they
up where
-4-----¡ all
day- in the
Wan-der
sun.
they
-
run,
up where they
_-J--"-,
r-34,
,-3-------
stay
,-3-'-"-,
.-3-------1,
-4------¡
P-t-----t part of
in'
f-
-=--l------
f.-....-.?-------¡
What
would I
r...-.?-------
give
if
I
I --'-1
,-3.-._could
--3--------
that
117
T-,----_-l
,-3---.---
would I
to spend
What
r.-.........-.?------¡
F1
r.-.?-----
,-,9.--..warm on
a
l --..--l
,-3-----'-
,-
,-3-------
,-t-----
Bb
the
<> sand.
Bet
- cha
on
they
land
r-r------_r
ATsus
Dm
A7
re - pri - mand- their daugh
-
Dm/C
-
Bet they don't
stand.
,-3-'----1
F/G
,-l------
Gr-Jn
F/G
G
Bright young wom-en,
ters.
un - der
sick
of
swim-min',
read
-y
r-
EimajT
stand.
B|IC
C
Bb/C
F/A
C
And read-y
to
know- what the
peo
-ple
v
know.-
to
t ----1
118
Ask tem
my ques - tions
and get some an - swers.
Whatrs a fire,
and
why does
it, what's the worl
-
When's-
it my
turn?
.-3---,
-----1,
f_3
Would-
n't
love to
I
,-3---"-1,
,-
f-3,4
-4-----¡ plore that shore up
out of
a
the
,-,?------1,
-4-----¡
,-,?-------r,r----¡
Wish I
could
ri--4-------.,
part of
that
world.
,-3-------
\=---//
<> sea.
I
ex
---------t,
119
,;,'
:t
,
1.. .,:
l: ,,;' 1;:l
l;
From Walt Disney's The Little Mermaid Lyrics by Howard Ashman lvlusic by Alan Menken
Look at this stuff.
Isn't it neat? Wouldn't you think my collection,s complete? Wouldn't you think I'm the girl, the girl who has ev,rything. Look at this trove, treasures untold. How many wonders can one cavern hold? Looking around here you'd think, sure, she,s got ev,rything. I've got gadgets and gizmos aplenty. I've got whozits and whatzits galore. You want thingamabobs, I've got twenty. But who cares? No big deal. I want more. I wanna be where the people are. I wanna see wanna see 'em dancin', Walkin'around on those, whatdya call ,em, oh feet. Flippin'your fins you don't get too far. Legs are required for jumpin', dancin,. Strollin'along down the, what's that word again, street. up where they walk, up where they run, up where they stay all day in the sun. Wanderin' free, wish I could be part of that world. What would I give if I could live outta these waters. What would I pay to spend a day warm on the sand. Betcha on land they understand. Bet they don't reprimand their daughters. Bright young women, sick of swimmin,, ready to stand. And ready to know what the people know. Ask'em my questions and get some answers. What's a fire and why does it, what,s the word, burn. When's it my turn? Wouldn't I love, love to explore that shore up above, out of the sea. Wish I could be part of that world. O_.1?8q W1lt Disney Music Company and Wonderland Music Company, Inc.
Al1 Rights Reserved Used by Permission
From Walt Disney's The Little Mennaid
Lyrics by HOWARD ASH¡ Music by ALAN MEN
Brightly Bb
The sea Down here-
weed
all
is al - ways green the fish is hap -
er
ln
py
as
some -
bod
through
off
-
else - 's waYes dey
lake.
a
-
on
roll.
is
'cause
a big they in
mis -
the
take.
bowl.
bout the
gq land
'
ing
up
ain't
hap
at in
thr thr
world bowl
a is
round
You,
luck
Y,
Such won
One day-
der
-
right herethey in-
ful
when the
things
sur
boss
get
on for
- round hun -
the a
o - cean wors - er
floor. fate.
you.
What more-
gry
guess who
-
un - der the
Un - der the
sea.
f Dar
luo
ts
gon'
lin'
it's
bod-y
bet - ter
beat
us,
down
fry- -
where it's
us
and
t
1)
wet-ter. Take_ it from eat us in fri - c¿ -
Up- on
me.
We- what
see.
work- all day.
the
shore they
the
land folks loves_ to
cooh
-
OutUn
vo -
tin' full - time
trou-bles life_ is
in der
to the
the sun the sea
-
they
a
we
the
float-in' un - der the bub-bles un - der the
way. hook.
While-
We-
we got
de no
t23
From Walt Disney's The Little Mermaid Lyrics by Hou.ard Ashman ll4usic by Alan Menken
The seaweed is always greener in somebody else's lake. You dream about going uP there. But that is a big mistake. Just look at the world around you, right here on the ocean floor' Such wonderful thlngs surround you.
What more is you lookin'for? Under the sea, under the sea. Darlin' it's better down where it's wetter. Take
it from me.
Up on the shore theY work all daY. Out in the sun they slave awaY. While we devotin' full time to floatin' under the sea. Down here all the fish is happy as off through the waves they ro11' The fish on the land ain't haPPY. They sad'cause they in the bowl. But fish in the bowl is lucky, they in for a worser fate. One day when the boss get hungry guess who gon' be on the plate' Under the sea, under the sea. Nobody beat us, fry us and eat us in fricassee. We what the land folks loves to cook. Under the sea we off the hook. We got no troubles life is the bubbles under the sea. Under the sea. Since life is sweet here we got the beat here naturally. Even the sturgeon an' the ray they get the urge 'n' start to play' We got the spirit, you got to hear it under the sea. The newt play the flute. The carp play the harP. The plaice play the bass.
And they soundin' sharP. The bass play the brass. The chub play the tub. The fluke is the duke of soul. The ray he can play. The lings on the strings. The trout rockin' out. The blackfish she sings. The smelt and the sprat they know where it's at.
An' oh, that blowfish blow. Under the sea. Under the sea. When the sardine begin the beguine it's music to me. What do they got, a lot of sand. We got a hot crustacean band. Each little clam here know how to iam here under the sea' Each little strug here cuttin'a rug here under the sea. Each little snail here know how to wail here. That's why it's hotter under the water. Ya we in luck here down in the muck here under the sea' O 1988 Walt Disney lvlusic Company and Wonderland Music Company' Inc' All Rights Reserved Used by Permission
ffi* ffiexr ffiaxmru& From Walt Disney,s Beauty And The Beast
Lyrics by HOWARD ASH/
Music by ALAN ME\
o
1ee1 wart
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companv, rnc
125
Bm7 li - cious!
Af - ter all,-
Don't
Miss, this
is
be
Bbgf
11
- lieve me? Asfr
the dish
And a
din-ner here-
neY
-
er
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: .:
.: From Walt Disney's Beauty And The Beast Lydcs by Howard Ashman Music by Alan Menken
Lumiere:
Ma chere Mademoiselle, It is with deepest pride and greatest pleasure that we welcome you tonight. And now, we invite you to relax. Let us pull up a chair as the dining room proudly presents your dinnerl Be our guestl Be our guestl
Put our service to the test. Tie your napkin'round your neck, cherie, And we provide the rest. Soup du jour! Hot hors d'oeuvres!
Why, we only live to serve. Try the grey stuff, it's delicious!
Don't believe me? Ask the dishesl They can singl They can dancel After all, Miss, this is l And a dinner here is never second best. Go on, unfold your menu, Take a glance,
And then you'll be our guest, Oui, our guestl Be our guest! Beef ragout!
Cheese soufflel Pie and pudding "en flambel" We'll prepare and serve with flair A culinary cabaretl
You're alone and you're scared But the banquet's al1 prepared No one's gloomy or complaining While the flatware's entertaining. We tell jokes. I do tricks with my fellow candlesticks. Mugs:
And it's all in perfect taste. That you can bet!
AIl:
Come on and lift your glass You've won your own free To be our guest!
Lumeniere:
If you're stressed, It's fine dining we suggest.
All:
Be our guestl Be our guestl Be
Lumeniere:
our guest!
Life is so unnerving for a servant who's not serving. He's not whole without a soul to wait upon. Ah, those good old days when we were useful. Suddenly, those good old days are gone.
127
Ten years, we've been rusting, Needing so much more - than dusting. Needing exercise, a chance to use our skills.
Most days, we just lay around the castle. Flabby, fat andlazy. You walked in and oops-a-daisy. Mrs. Potts:
It's a guest! It's a guestl Sakes alive,
Well, I'll be blessed! Wine's been poured and thank the Lord I've had the napkins freshly pressed. With dessert she'll want tea.
And my dear, that's fine with me. While the cups do their soft shoeing, I'll be bubbling! I'11be brewing! I'11
get warm, piping hotl
Heaven's sakes! Is that a spot?
Clean it up! We want the company impressedl We've got a lot to do. Is it one lump or two For you, our guest?
Chorus:
She's our guestl
Mrs. Potts:
She's our guest!
Chorus:
She's our guest! Be our guest! Be our guestl
Our command is your request. It's ten years since we had anybody here, And we're obsessed.
With your meal With your ease, Yes, indeed, We aim to please.
While the candlelight's still glowing Let us help you, We'Il keep going. Course by course, One by one!
'Til you shout, "Enough. I'm done!" Then we'Il sing you off to sleep as you digest. Tonight you'Il prop your feet up! But for now, let's eat up! Be our guest! Be our guest!
Be our guestl Please, be our guestl O 1991 Walt Disney Music Company and Wonderland Music Company, Inc A1l Rights Reserved Used by Permission
Beauty And The Beast From Walt Disney's Beauty And The Beast
Lyrics by HOWARD ASHM Music by ALAN MENK
O 1991 Walt Disney Music Company and Wonderland Music Company, Inc Di^L+- D^.^",,^l
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129
Eb(add9)
-
Pared.
the
same.
nei - ther one Pre
Ev - er just
Beau - ty
Ev -
and
the
er as be '
Beast.
fore,
eY - er
just
as
130
as the sun will
Tune as
strange,
find - ing
you can
Tale as old
rrse.
change,
old
Bit-ter-
as
learn - ing you
were
wrong.
as
srfleet e.m
131
Tale as old
as
song as old as rhyme.
Beau-ty and
poco
¿)I
F(add9)
),u,,,
rhyme. Beau-ty and the
rit.
I
the
Beauty And The Beast From Walt Disney's Beauty And The Beast Lyrics by Howard Ashman Music by Alan Menken
Tale as old as time, True as it can be. Barely even friends, Then somebody bends
Unexpectedly. Just a
little change.
Small to say the least.
Both a little scared, Neither one prepared. Beauty and the Beast. Ever just the same. Ever a surprise. Ever as before, Ever just as sure As the sun will rise. Tale as old as time. Tune as old as song. Bittersweet and strange, Finding you can change, Learning you were wrong. Certain as the sun
Rising in the East. Tale as old as time, Song as old as rhyme.
Beauty and the Beast. Tale as old as time, Song as old as rhyme.
Beau§ and the Beast. @_
1991 Walt Disney Music Company and Wonderland Music
All Rights Rese¡ved Used by Permission
Compan¡ Inc
From Walt Disney's Aladdin
Lyrics by HOWARD ASHMAN Music by ALAN MENKEN
Bright two-beat GENIE:
Well
A - li
Ba
- ba had them for-ty thieves.
Sche-her- a
A7
But,
you
mas - ter,
za- de had
a thou-sand
tales.-
Dm
up your
in
sleeves-
you
got
A1
h
rand of mag - ic ney - er
You got
fails.
some
-
O Igq2 WdJl Diine) Mu5i( Compan¡
¿nd Worderl¿nd
Muiir ConpJn\.
¡n(
your
134
cor-
ner
now,
some heaY - y
pt - zazz,
And I'll
-
say
am - mu
- ni - tion in
hoo and
Mis-ter
See,
A -
your
all
camp.
you
#.
_
got -
You got sor
ta do is rub that
will your
Iad-din
lan
plea-sure
You ain't
r
135
A1*5
neY -
er had a friend like
Fm6/C
- tau - rant
mai -
-
you want.
Yes,
slr,
pride our-
selves
You ain't
ser - Ytce.
Ct - mon
tre
nev
Youtre
- er had a friend like
the
boss,
the
king, the
shah.-
136
yours! True dish-
what you
of
col-umn
you,
dude,
the mood-
col-umn
\v/
you ain't
how 'bout t
a friend like
me.
-
to
137
ri::r',ti::1.:,:-:l
: :Ll: j,r,:l
From Walt Disney's Aladdin Lyrics by Howard Ashman Music by Alan Menken
Genie:
Well, AIi Baba had them forty thieves. Scheherazade had a thousand tales. But, master, you in luck'cause up your sleeves You got a brand of magic never fails. You got some power in your corner now, Some hear,y ammunition in your camp. You got some punch, pizazz, yahoo and how. See, all you gotta do is rub that lamp. And I'll say, Mister Aladdin, sir, What will your pleasure be? Let me take your order, jot it down. You ain't never had a friend like me. No no no. Life is your restaurant and I'm your maitre d'. C'mon whisper what it is you want. You ain't never had a friend like me. Yes sir, we pride ourselves on service. You're the boss, the king, the shah. Say what you wish. It's yoursl True dish, how'bout a little more baklava? Have some of column "A". Try all of column "8". I'm in the mood to help you, dude, You ain't never had a friend like me. Wa-ah-ah. Oh my. Wa-ah-ah. No no. Wah-ah-ah. Na na na. Can your friends do this? Can your friends do that? Can your friends pull this out their little hat? Can your friends go poofl (Spoken:) Well, looky here. Can your friends go abracadabra, Let 'er rip and then make the sucker disappear? So doncha sit there slack jawed, buggy eyed. I'm here to answer all your midday prayers. You got me bonafide certified. You got a genie for your chargé d'affaires. I got a powerful urge to help you out. So whatcha wish I really want to know. You got a list that's three miles long, no doubt. Well, all you gotta do is rub like so. And oh. Mister Aladdin, sir, have a wish or two or three. I'm on the job, you big nabob. You ain't never had a friend, never had a friend, You ain't never had a friend, never had a friend. You ain't never had a friend like me. Wa-ah-ah. Wa-ah-ah. You ain't never had a friend like me. Ha!
O 1992 Walt Disnel, Music Company and Wonderland Music Company, Inc. All Rights Reserved Used by Permission
r.38
A Whole New World From Walt Disnev's Aladdin
Music by ALAN ME\rJ
Lyrics by TlNl Ril
Sweetly
D
can
heart-
O 1992 Wonderland Music Company, lnc. and Walt Disney Music Company
o
pen your
139
F*7tA#
take
you
won -
won - der by
mag - ic
car -
a
new
o -
der
ver, side
A
pet
fan -
or
tas-tic
where
-
whole
ways and
GlA IASMINE: say we're
on
ly dream -
ing.
DID f-¿
a daz - zling
place I
knew.
-
But Í-o
A7sus
A7
when I'm
,
A Whole New World From Walt Disney's Aladdin Music by Alan Menken Lyrics by Tim Rice
Aladdin:
Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Both: Aladdin: Jasmine: Aladdin: Jasmine: Aladdin: Jasmine: Both:
I can show you the world, Shining, shimmering, splendid. Tell me princess, now When did you last let your heart decide? I can open your eyes Take you wonder by wonder Over, sideways and under on a magic carpet ride. A whole new world, A new fantastic point of view. No one to tell us no or where to go Or say we're only dreaming. A whole new world, A dazzling place I never knew. But when I'm way up here it's crystal clear That now I'm in a whole new world with you. Now I'm in a whole new world with you. Unbelievable sights, indescribable feeling. Soaring, tumbling, free-wheeling Through an endless diamond sky. A whole new world, Don't you dare close your eyes. A hundred thousand things to see. Hold your breath, it gets better. I'm like a shooting star I've come so far I can't go back to where I used to be. A whole new world. Every turn a surprise. With new horizons to pursue. Ev'ry moment red-letter. I'll chase them an),where. There's time to spare. Let me share this whole new world with vou. A whole new world, A whole new world, That's where we'llbe. That's where we'll be. A thrilling chase A wond'rous place For you and me.
O 1992 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Permission
Hakuna kfataffm From Walt Disney Pictures' The Lion King
{ Lyrics by ----¡
-3
F
r--i
-J
Timon: Ha
what a won-der-f'ul
ta...
l-l
---
Tl\r :
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Timon & Pumbaa:
-
Timon: Ha
-
ku
na
ma - ta - ta.-
no chord
a young
moving
along
8
wart
a
Pumbaa: When
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-
dramaticallv
]
Timon: Very nice. Pumbaa: Thanks.
Timon:
He
found
his
young
wart
r
ro - ma lacked
a
145
ap
-
peal.
_
He could clear the sa van
Puntbaa:
nah af - ter
Itm
though I
nev - er stood
GTsus
'*I {nd.
Timon: oh-
the
shame!
0 tttnpo
He
ül:r_
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shamed! Thought
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a
Timon:
...ev
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Pumbaa:
Hey, Pumbaa, not in.front of the kids.
Oh, sort1.
/:\
r
what
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,
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Timon & Pumbaa:
Simba:
rest
-
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days.
It
means
Timon &
Timon:
Yecú, .süzg
it
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Timon & Simba:
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Hakuna Matata From WaIt Disney Pictures' The Lion King Music by Elton John Lyrics by Tim Rice
Timon: Pumbaa:
Timon: Timon & Pumbaa: Timon: Pumbaa:
Timon: Pumbaa:
Timon: Pumbaa:
Hakuna matata...what a wonderfui phrasel Hakuna matata...ain't no ing craze. It means no worries for the rest of your days. It's our problem-free philosophy. Hakuna matata. Why, when he was a young warthog...
When I was a young warthogl (Spoken:) Very nice. (Spoken:) Thanks. He found his aroma lacked a certain appeal. He could clear the savannah after ev'ry meall I'm a sensitive soul, though I seem thick-skinned. And it hurt that my friends never stood downwind! And, oh, the shamel
Timon:
He was ashamedl
Pumbaa:
Thought of changin' my name! Oh, what's in a name? And I got downhearted... How did you feel? ...ev'ry time that I...
Timon: Pumbaa:
Timon: Pumbaa:
Timon: Pumbaa:
Timon & Pumbaa: Simba:
Timon: Timon & Simba: Pumbaa:
Timon & Simba: All: Timon: Alt: Timon: Pumbaa:
Timon: Pumbaa:
Timon:
(Spoken:) Hey, Pumbaa, not in front of the kicls. (Spoken:) Oh, sorry. Hakuna matata...what a wonderful phrase.
Hakuna matata...ain't no ing craze. It means no worries for the rest of your days. (Spoken:) Yeah, 5ing it kid! It's our problem-free Philosophy. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna... It means no worries for the rest of your days. It's our problem-free philosophy. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata. Hakuna matata.
O 1994 Wonderland Music Company, Inc A11 Rights Reserved Used by Permission
From Walt Disney Pictures' The Lion King
Music by ELTON iOHN Lyrics by TIM RICE Cm/Bb
From the
blink some
irg, of
step us
on the plan by the way
we ar rrve
day
of
Some
in soar
_
us fall
to to
the the
et side,
sun. _ stars.
there's
And
-
ntore .i-)lne
to of
be us
seen
_
than
can
through our
sail
ev-er trou -
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all sun
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ing
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There's
or be eat to take in
as
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through the
-ioin the stam sap - phi - re
nede.
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more
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than you
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Music by ELTON
JO¡'
Lyrics by TIM R r: Bb/D
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Bb/n
There's There's
a calm_ sur-ren - der a time_ for ev-'ry-one,
the heat_ of the roll-ing world_ can beturned-a-way._ that the twist - ing ka - lei - do - scope moves us all-in turn. -
when
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155
and it to the
just beats
sees
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through. doors _
with with
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you.
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yours.
ethe
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And
I
poco cresc.
can
this - for of this -
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nough
rest
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star-crossed voy - ag - er
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ls6
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You
think you own think the on
;
L
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earth peo
is
just a dead thing you can claim; - who look and think like Jor,
ple
O I995 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Permission
- ev - er -- what ly peo-ple
land who
-
159
know ev - 'rY rock and tree and you walk the foot-stePs of a
name.
,.
has
crea - ture strang - er
has a sPir -
life,
a
it, has
a
you'll learn
Have vou
things- you nev-er knew- you nev-er
l
.X
c* ev - er heard the wolf crY
ot fI asked let
to the blue
sing with all
-
the
voic -
es
the the
grin-ning bob - cat why
of the moun -
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tain?
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You where he's
Can you
T
Can you paint with all_
U
T
wind?
run the hid-den pine_ trails of rain-storm and the riv - er are
taste the sun-sweet ber - ries her - on and the ot ter
come the
v-
roll we
in
all are all _
the rich es con nect - ed
the
the m1
earth,
my friends;
+' all
a-
to
each
round you,
oth -
er
once
nev er won-der what ther''rr
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down
then you'll
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er
And you'll
know.
l
wheth - er we are white
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From Walt Disney's Toy Story
Music and Lyrics by RANDY NEWMAN
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Ebdim/Bb
a friend a friend
You've got You've got
F,bIBb
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When
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looks bles,
got a friend got a friend
then
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in in
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in in
rough a got 'em
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and you're
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Music by ALAN MENKEN Lyrics by STEPHEN SCHWARTZ Eb (add9)
BbmajT/D
the for
out noth
casts
hun
gry
ing,
I
can
the mer soman-v
Show
But
find y
on
earth.
than
I.
T
The lost God
and
help
O 1996 Wonderland Music Conrpany, lnc. and \¡'/alt Disnev Music Com¡rany All RiHhts Reserved Llsed by Permission
-
cy
for - got - ten, the out - casts,
they the
r68
You down
God T
help thought
the we
out
casts
all
were
l
F7b9
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G od.
why
some are blessed, some
know
Why the few You seem
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us,
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170
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C/G
tune
have
blown
CmajllG
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and
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F/C
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{r q¡*fl § áe1g: tfu * *aa&e ms&s (As Performed by Bette Midler) From Walt Disney's The Hunchback Of liotre Dame Music bv Alan Menken Lyrics bi Stephen Schwartz
I don't know if You can hear me or if you,re even there. I don't know if You will listen to a humble prayer. They tell me I am just an outcast; I shouldn't speak to you. Still I see Your face and wonder: Were You once an outcast too?
God help the outcasts hungry from birth. Show them the mercy they don,t find on earth. The lost and forgotten, they look to you still. God help the outcasts or nobody will. I ask for nothing, I can get by.
But I know so many less lucky than I. God help the outcasts, the poor and downtrod. I thought we all were the children of God. I don't know if there's a reason why some are blessed, some not. Why the few You seem to favor, they fear us, Flee us, try not to see us. God help the outcasts, the tattered, the torn, Seeking an answer to why they were born. Winds of misfortune have blown them about. You made the outcasts; don,t cast them out. The poor and unlucky, the weak and the odd; I thought we all were the children of God. O 1996 Wonderland Music Co¡lpany, Inc. ancl Walt Disney Music Company
All Rights Reserved Used by peímission
t72
Someday From Walt Disney's The Hunchback Of Notre Dame
Music by ALAN MENK:' Lyrics by STEPHEN SCHWAR Gently Ab
Dbm6lAb
+ when we
are
wis
when the world's old
r B bm71add4¡
Eb
sus
Ebl
Bbm
O 1996 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Reserved Used by Penrission
Fm
when we harr
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Bbm(add2)/Db
AbIC
BbmT
EbIG
B b m7(add4)
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this bright mil
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From Walt Disney Pictures' Hercules
Music by ALAN MENK Lyrics by DAVID ZIPF Driving 4 G
G/B
there-
awe-some ten
Folks lined
for
up
he goes a-gain.
just
Sweet
to watch him flex,
-
and un - de - feat - ed and
an
this per-fect pack-age packed
a
-
C#dim
pair of per-fect
pecs.
llerc-ie, he
comes,_ he
sees,
_
he con
- quers.
O 1997 Wonderland Music Company, lnc. and Walt Disney Music Company Aii Rights Reserved Used by Permission
Hon-ey, the crowds-
were
gr
He showed
the mox
jor-
hunk.
brains and
\ /
ATtcf,
ze-ro
to
he
DTsus
Who put
the glad
Ze-ro
to
he
spunk,
178
Whose
dar- ing
Eb/Bb
FdimT
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t--//
GTIB
)-/ C
DTsus
Bb
DTsus
BIess
my
soul,
Herc
-
C¡us2/E
feat
L:b I
was on a roll,
un
de
D]IFil
Rid -
ing
high, Spoken: and
the nic -
est
guy'
DTsus
He was
DTsus
a noth - irg,
ze - ro.
ze - ro.
Now he's
a hon -
cho,
r80
he -
He hit
ro.
the heights at
break
-
neck
t---/ G/B From
ze -
C
ro to he
-
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dim
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Herc
ro.
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From Walt Disney Pictures' Hercules Music by Alan Menken Lyrics by David Zippel
Muses:
my soul/ Herc was on a roll. in ev'ry Greek opinion poll. What a pro/ Herc could stop a show. Point him at a monster and you're talkin' S.R.O. He was a no one/ a zefo, zeto. Now he's a honcho, he's a hero. Here was a kid with his act down pat. From zero to hero in no time flat. Zero to hero, just like that. When he smiled the girls went wild with oohs and ahs. And they slapped his face on ev'ry vase. On ev'ry vahse. From appearance fees and royalties our Herc had cash to burn. Now nouveau riche and famous he could tell vou What's a Grecian urn. Say amen there he goes again. Sweet and undefeated and an awesome ten for ten. Folks lined up iust to watch him flex. And this perfect package packed a pair of perfect pecs. Hercie, he comes, he sees, he conquers. Honey, the crowds were going bonkers. He showed the moxie, brains and spunk. From zero to hero, a major hunk. Zero to hero (Spoken:) ancl who'd athunk? Who put the glad in gladiator? Hercules. Whose daring deeds are great theater? Hercules. Is he bold? No one braver. Is he sweet? Our fav'rite flavor. Hercules. Bless
Person of the week
Hercules. Hercules. Hercules. Hercules. Hercules. Bless my soul, Herc was on a roll, undefeated. Riding high (Spoken:) and the nicest guy. Not conceited. He was a nothing, zero, zeto. Now he's a honcho, he's a hero. He hit the heights at breakneck speed. From zero to hero. Herc is a hercl. Now he's a hero. (Spoken:) Yes, indeed. O 1997 Wonderland Music Company, Inc. and Walt Disney Music Company AII Rights Reserved Used by Permission
From Walt Disney Pictures' Hercules
Music by ALAN MENKEN Lyrics by DAVID ZIPPEL Slowly
I
have
of un -
ten
dreamed
of
known
road
to
a
off my
far
em - brace
place fate,
GmajT
he road
ro's
wel-come
may
wan - der,
would be
it
rng me
will
for me, to you.
the crowds will And athou - - sand
where
cheer years _
when thel'
would
be
I'll
be
3
Ffm and a
voice
It might take
@ 1997
keeps a
Bm
say -
ing this is
life,time.
butsome
where I'm meant to be.
how
Wonderland Music Company, lnc. and Walt Disney Music Company All Rights Reserved Used by Permission
I'll
see
it through.-
And
I
there some - day. won't Iook back.- -
can go can go
-
the dis the dis
-
I will I'll
tance. tance.
And
find
my
stay
on
way track.- -
No, I
D(add9)/Ffr
í-\
if
I
won't ac
-
I know ev It's an up
can be strong. cept-- de-,- feat.
'ry hill
mile
will
-
be
but I
slope,
worth
D A/Cf Bm D/A
When I
go
dis - tance,
I'll
be
where I
right
':=---/=-.--
Down
an won't
lose
-
hope
-
my
r84
D A/Cfl Bm D/A and my
dis - tance
nev
.iour
Is
com
plete.
oh,
CIF,
But
to look be
yond _ the glo
ry is
the
hard -
est
^ilt^ 1 ¿Da
-
E/G# Ff /A#
G
he -
ro's
strength _ is meas
-
ured
by
his
heart.
Emlb5lBb
B
D(add9)/Ff
shoot
Em/G
- ing
star
the dis
- tance.
I will search
.I
the
.t
D(add9)/Fil
will
face
- its
I
don't care
-
D A/Cf Bm D/A
find my
he-
ro's wel-come wait
E,IGi
how far
Ff/Af
I
can
go
the dis
- tance
r86
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i
| ,,.,, l: I tl : l, t, il ll tt , 'l' ' Performed by Michael Bolton) (As From Walt Disney Pictures' Hercules ,t
,1.
,r
,:,,:l
Music by Alan Menken Lyrics by Davld Zippel
I have often dreamed of a far-off place Where a hero's welcome would be waiting for me, Where the crowds will cheer when they see my face, And a voice keeps saying this is where I'm meant to be. I'11be there someday. I can go the distance. I will find my way if I can be strong. I know ev'ry mile will be worth my while. When I go the distance, I'll be right where I belong. Down an unknown road to embrace my fate, Though that road may wander it will lead me to you. And a thousand years would be worth the wait. It might take a lifetime, but somehow I'11 see it through. And I won't look back. I can go the distance. And I'[ stay on track. No, I won't accept defeat. It's an uphill slope, but I won't lose hope Till I go the distance and my journey is complete. Oh, yeah. But to look beyond the glory is the hardest part, For a hero's strength is measured by his heart. Like a shooting star, I will go the distance. I will search the world. I will face its harms. I don't care how far. I can go the distance Till I find my hero's welcome waiting in your arms. I will search the wor1d. I will face its harms TiIl I find my hero's welcome waiting in your arms. O 1997 Wonderland Music Company, Inc. and Walt Disney Music Company All Rights Resewed Used by Permission
'Fh
E4X
.. r
#fe"q_ #3§§" s"§#¡s-t*dhÉ-§ q"-q- %- g 1-F§ i § From Walt Disney pictures, Mulan
Music by MATTHEW WILDER Lyrics by DAVTD ZlppEL
see
_
+ nw
C]
am._
but you'll nev - er know
me.
Eb'7
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- 'ry
day
it's
Ab (add2.l
Now But
I some
-
see
mask
how
world
I cuur what's m,
-----
4
the world, my heart
but and
I
can -
be loved
not fool
for
who
my_ T
e heart. am.
is is
Who Who (D.S.) Why
girl girl all
I I con -
see
lng ing
straight straight
ceal
we
think,
see
must
back back how
at at we
----.
me? me? feel?
that that we
Ab
E'IG FM7
When will Why is Must there
AbIEb
re re ase
my my be
flec flec
who I
show
some -
me
one
['m
I
have to
hide
my
heart _
and
what I
am now
be - lieve
I
pre - tend pre - tend
I
Must
won't
that that
F.blG Fm7 for for
all all
When will When will
time?
time.
some - one some - one
I'm I'm
my my
AblBb
Dbmajb
DbmajT
re-flec re-flec
-
tion tion
Fm7
am?
there's
-
a
else else
heart
that
To Coda {-
D.S. al Coda (take 2nd ending)
CODA
0
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side?
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From Walt Disney Pictures' TarzanrM
Words and Muslc PHIL COLL
Moderately B
b
sus2
B b sus2
Put your
faith in
what
you
Soft - ly tread the sand be
Trust Trust
fam fam
-
Two worlds,Two worlds,
most
low
heart,heart,-
let let
OIÉ OIÉ
fate fate
Dm
guide guide
: \
E,bIF
we we
A par-a - disethe shel
Be-neath
see.
O 1 998 Edgar Rice Burrcughs, lnc. and Walt Disney Music Conrpany All Rights Reserved Used by Pernrission
touchol
of-
-
by the
with-in this-
man trees.
on - ly
A A
simsim-
world blessed
-
high
Build high
with ter
they live they live
ple ple
Raise your head up;
love can en
the
the
load.
walls,
-
love. here.
in in
peace. peace.
Take strength-fromthose that need_
build-
strong
the
beams.
-
t94
life
-
tears.
Fm7
heart.
F,bIG
A
dream is
Fm/C
gone;
_
but where there's hope,
B
b
sus2
some - where, - some-thing is
e
b
(a¿¿2.)
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(Pop Version) As Performed by Phil Collins From Walt Disney Pictures' TarzanrM
Words and Music
Moderately
b
PHIL COLLIN
t-,'+f.)
Come stop your cry- ing; -
I will
be
here; don't you
it will be all
right.
cry.
Just take my hand,
For one
so
small
)'ou
Why can't they un- der-stand the
O 1 998 Edgar Rice Burroughs, lnc. and Walt Disney Mlrsic Conrpan)
c#¡rf"
hold
arms will
seem
My
way
They
just
don't
you;
trust
-
keep
what
you they
c#ze#
safe
warm. plain.
can't
_
This bond
I
know
be -
tween
us
we're dif - f'rent.
but
-
can't be bro deep
in
- side _
I will
ken. US
be
here;
don,t you _ at all. _
cry.
we're not that dif-fer-ent
And
rb¡rb
y€s, you'll
'Cause
be
I I
from this
To Coda
{fr
day
on_
,
r,b¡tb
now
and
for - ev
CODA
+
what do must _
they be
_
_
We It
know? strong. _
need each
oth - er may not be with you,
Absus2/F
have,
got
toto hold
hold._
-
on.
I
i
They'll
-
see
_ in
time,
to
but you've
200
to-geth - er,-'cause
clBb
you'll
my
-
heart.
I'll
be there
from
this day
on,
-
You'll
be
in
my
(You'll be
_
here
heart
-
in
my
heart.)
no
mat-ter
be with you.)
You'll be here
(I'll
be there.)
F(add2)
['ll be
a
with you.
*=t *lT--t
I',ll
-ei(}
rT'-1
be
202
Iaj9
ways, and al
.Iust
ver your shoul-der.
look
o
Just
ver yourshoul-der.
Just
look
o
Yer your shoul-der;
look o -
When She Loved Me From Walt Disney Pictures' Toy Story 2-A Pixar Film
Music and Lyrics by RANDY NEWMAN
Tenderly, very freely F
F/A A
Gm7
When
+ e -- -=-=
=
some
+ =
_¡
lI
-
bod -y loved me,
++'
r I
-r
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-'ry-thing
was beau-ti -
hour
ful.
sad,
I
e
FGdd2)lC eb(a¿¿z)
we spent to -geth
GtlB
nb
\nd when she was
Alcfr
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there
to dry her tears;
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¡cfr
and when
she
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F(add2)/C
was hap -
py,
so
_
\tas
1-l-Tr Cm/Bb
Through the sum-mer and the
we
was
meant to
be.
Bb
had each oth - er, that was all. Just
Gm7
it
FT1A
Andwhen
she
she
FIA
and I
Csus2
GllB
I
was
there
to - geth - er,
to
Iike
C
A
com-fort her, and I
Bbm6pb
So the years went by; I
clB Gdim/Bb FIA she
be -
Lone - ly
gan
and
to
drift
stayed
the
Fm6/Ab
I
was
left
a-lone.
sriil
for the day
I
nev - er thought she,d look
my
waY,
and
she
me
+-' and
held
she used
me
to
do,
like she loved
GllB When some
pmtb5
'ry - thing was beau-ti - ful.
me,
F(add2)/C sb(a¿¿z)
Alcfr
hour
bod-y loved
Csus2
we spent to-geth
when
my heart,
she
loved
I
=+eT-r===
ttl
=++T--==
ttl
From Walt Disnev Theatrical Production's Aida
Music by ELTON IOHN Lyrics by TIM RICE
Moderately slow C
(Male:)
tr
ord
or
I
two
G/C F/C
am here
E7 CfdirnT Ani
to tell_ vou
we can nev-er
a
and then
LE
life-time
g
of
not
Sim-ple real ly,
know-ing
where
or how
or why
or
when.
-
you
a L-rlra
I
think of me
or
or speak of me
O l9()9
won-der what be-fell
_
the some-one you once loved
\,Vonclerla¡d Music Company, lnc., l-lappenst.ince Ltcl. ar¡cl Evac1on I td All Rights Rcserved Used ltl pern¡lssion
_
so
long
a
-
l0s
so
go,
(Female:) Nev-er (Mole:) Noth-ing
well.
I'll
der what can be al
won -
feel
as
Oh, there is tered. -.-
-
liv - ingnoth - ing
I an
_-
shuf-fles
to
bY.
de - cide.
not re pl¡. ¡, place to hide. -
to ask
You don't have
No
mo - ment of
need
(Female:) You are
me
no change of heart,
es - cape,
all
I'll
ev
-
my er
fronl hut
-
r ETstrs Ellcf + I
will think
Some-times in
or dream of you my dark-est thoughts
and
I
to
I
un - der-stand nev - er learned
love
be--
be
con found
ed
love
and have
that
+
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oul Iove
pay
per - fect is to
of
- ing
_ turned. hand.
re -
)
in the stars?-
^
l(óotn")ts
Is that
for some crime?_
all
that we are good for,_
C/G
God's ex - per- i - ment_
Are
we
which
we
have
-
In which
no
we're giv - en par -
a - dise,
------
2
Dm7
for some crime?
ls
thaf
that
are
we
-
good
for,
just
a
stretch
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mor - tal
this God,s
(Both:)Is
ex
per-i - ment-
(Male:)in
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which
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no
say?
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which
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(Both:) for
--t---
G/C
F/C
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Ab(add2)
Bb(add2)
C
T 212
My Funny Friend And Me From Walt Disney Pictures' The Emperor's New Groove
Music
bry
Lyrics by ST STINC and DAVID HARI
8.5/A
ln the qui
AIE
,fuddrl
-
et
time of
eye
- ning,
when the
stars
A(add2)
EmajT
and the
Dmaj13
day
has made his
DmajT
and we won-derjust what hap-pened
Bm7
Cf m7
be-fore the world changed, when nol
tr @
as-sume th
2000 Wonderl¡nd Music Company, lnc R'
{ll
But you were kind
="?-tp= l_1 t-]
and you re-mind-ed me_
there are oth - er things
that
I
that the world
mat
is not my
play_ ground;_
what is sim-ple needs pro
My il-lu-sions all
--?' I J? v/ l.l -T T-l -
-
DmajT
C#m7
Bm7 C#m7
Ff
m C#m7
F#m
----¡
-J The on-ly world
I
kne w was up - side
-
and now the world and me
A(add2)
You see the pat-terns
Ff
in the
big
m7 E
will know you car - ried me. -
Dmaj7
those con stel-la-tions look
like you and
I.
-
Cfim7/E
Just like the pat-terns in the
big
Dfim7b5
we
could be lost; we
could
re
A/C#
,
Bm7 Ct'm7
-)fuse
to try.
But to haye made
it through _
J
in the dark -l
who would those luck-y
of my fun-ny friend-
and
me.
-l
I'm not
as
clev-er
as
I thought I
not the boy
-l
T,T I
t/
tlv
I
used to
216
A(add2)
D(add2)
Gf m7
you showed me some-thing dif-f'rent;
be - cause
you showed- me some-thing
pure.-
3
3
I
al-ways seemed so cer tain, but
I
was real
ly nev-er sure.
But you stayed,
and you
-
3
3
Bm7
called
Cf m7
my
name
when oth-ers would haye walked out on a lou
-
sy game.
r A(add2)
And look who made it through
r
friend-and
you.
My Funny Friend and
h,{e
From Walt Disney Pictures, The Emperor,s New Groove Lyrics by Sting Mr,rsic by Sting and David Hartley
In the quiet time of evening, When the stars assume their patterns And the day has made his journey, And we wonder just what happened To the life we knew, Before the world changed, When not a thing I held was true. But you were kind to me, And you reminded me That the world is not my playground; There are other things that matter; What is simple needs protecting. My illusions all would shatter, But you stayed in my corner. The only world I knew was upside down, And now the world and me will know you carried me. You see the patterns in the big sky; Those constellations look like you and I. Just like the patterns in the big sky, We could be lost; we could refuse to try. But to have made it through in the dark night, Who would those lucky guys turn out to be But that unusual blend of my funny friend and me. I'm not as clever as I thought I was. I'm not the boy I used to be, because You showed me something different; You showed me something pure. I always seemed so certain, But I was really never sure. But you stayed, and you called my name When others would have walked out on a lousy game. And look who made it through But your funny friend and you. You see the patterns in the big sky. Those constellations look like you and I. That tiny planet and the bigger guy. I don't know whether I should laugh or cry. Just like the patterns in the big sky, We'll be together 'til the end of time. Don't know the answer or the reason why. We'll stick together 'til the day we die. If I have to do this all a second time, I won't complain or make a fuss. Who would the angels send, But that unlikely blend of these two funny friends? That's us. O 2000 Wonderland Music Company, Inc. All Rights Reserved Used by permission
218
Where The Dreams Takes You From Walt Disney Pictures' Atlantis: The Lost Empire
Lyrics by DIANE WARRE Music by DIANE WARRE and JAMES NEWTON HOWAR
Moderately C
"!f
t) =;
=. )
they
r
will
say
-
a-' you're
but thevwill nev-er
o
GTsus
+ un -der-stand,
tro,
the jour -
ney
you're
-
O 2001 Walt Disnev Music Company
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on.
_
They'll
try
to
There's some-thing
t)l
=.
=o
l
they'll
but they
it's
will the
try
to
be
nev - er
faith
to
un - der-
heart, de
stand
And you
dream that keeps
So you
r\-, t-=----;
Iieve
lieve
(still (still
be be -
lieve), lieve),
you know-
you
know)
you-(where
YOU
_
must
must
go)
where the
your dream takes your heart),wherethe
++ (Your dream
will lead you on.)
When
you fi -n'lly
find
-
you'll
that - place
?l
f
I
Bblc
GTsus
find
all-
you
need,
-
where
the
dream-
takes -
-
(Where the dream
-
dream
takes
-
you.
\-___r-
Go where your heart is meant to
-
T
you may find
(you may find) some
dream.
there
(some -
(Where
T
bod
your
-
y
there); some
-
one
dream takes your heart.)
to
Walt Disney Pictures Presents a Pixar Animation Studios Film Monsters, Inc.
Moderately (]-J =
Music and Lyrics br RANDY NEWMA\
r-l¡
I
.\ )
Eb
Sulley:lf I were a rich-
man
with 3
77 I
nlf
R
/
++
lt)
O 2001
\
/alt Disney Music Company and Pixar Talking Pictures All Rights Reserved Used by Permission
a milJion or
two
22s
pbe
A bo
- some, (
ta)
Spoken: ) Mike
:
(lt coulcl lnppen,)
Sullet
l'{o v:a.v !
a
-
-
?
t-
'cau se dreams
-------1
6
do come
++1
true.
+
2+
8vb
J
-)
would-n't
have
have
-
Would-n't
you.
.i
noth
-
in'
if
I
J
if
did-n't
noth - in'. Mike (Spoken): Can I tell t,ou sontething?
I
-i
I did-n't
Mike: For years
I
have
226
your graceand
vied SulLey (Spoken):
your
charm.
(You're green with it.)
-
r-j loves
-
you.
you
-
Sal/eyr
-------¡
Yes, I
hr rr
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.,
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Mike: Hey, I n-neyer told you this,
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-31
228
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J
Sulley: Looks good on
Mike: bttt I would-n't have
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know
do.
Mike: Wht' do \ou keep singing my part'l
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don't have to
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,--3 ---t it I'll
Sulley:
Both: both know it,s
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J
.,
J
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-
+
WaIt Disney Pictures Presents A Pixar Animation Studios Film Monsters, Inc. Music and Lyrics by Randy Newman
Sulley:
Mike: Sulley:
Mike: Sulley:
If I were a rich man with a million or two, I'd live in a penthouse in a room with a view. And if I were handsome, (Spoken:) No woy! (Spoken:) It could happen. 'Cause dreams do come true,
I wouldn't have nothin' if I didn't have you. Wouldn't have nothin' if I didn't have, Wouldn't have nothin' if I didn't have, Wouldn't have nothin'.
Mike:
(Spoken:) Can I tell you something? For years I have envied (Spoken:) You're green with it. Your grace and your charm.
Sulley:
Everyone loves you, you know. Yes, I know, I know, I know.
Sulley:
Mike: Both:
Mike:
But I must it it, big guy, you always come through. I wouldn't have nothing if I didn't have you. You and me together, that's how it always should be. One without the other don't mean nothing to me, nothing to me. (Spoken:) Yeah, I wouldn't be nothin' if I didn't have you to serve. I'm just a punky little eyeball and a funky optic nerve. Hey,
I
never told yotr this.
Sometimes I get a little blue, Sulley:
(Spoken:) Looks good on you.
Mike:
But I wouldn't have nothing if I didn't have you.
Sulley:
(Spoken:) Let's dance! (Spoken:) Look, Ma, I'm dancing! Would you let me lead? Look at that! It's true! Big guys are light on their feet. Don't you dare dip me. Don't you dare dip me. Don't you dare dip me. Ow! I should hcme stretched.
Mike:
wouldn't be nothin' if I didn't have you.
Sulley:
Yes, I
Mike:
(Spoken:)
Su1ley:
I wouldn't know where to go, (Spoken:) Me too, because 1... Wouldn't know what to do. (Spoken:) Why do you keep singing my part? I don't have to say it (Spoken:) I'll say it anyway. (Spoken:) 'Cause we... ...both know it's true. I wouldn't have nothin' if I didn't have, I wouldn't have nothin' if I didn't have, I wouldn't have nothin' if I didn't have you. Wouldn't have nothin' if I didn't have you. (Spoken:) One more time. It worked! Don't have to say it, (Spoken:) Where'd everybody come from? 'Cause we both know it's true.
Mike: Sulley:
Mike: Both: Sulley:
Mike: Both:
Mike: Sulley: Mike: Sulley: Mike: Both: lvfike: Su11er':
I
know what you mean, Sulley, because...
(Spoken:) Let's tske
it
home, big guy!
I wouldn't have nothin' I wouldn't have nothin' I wouldn't have nothin' ...you.You. You. A, E, I, That means you. Yeah.
if I didn't have, if I didn't have, if I didn't have... O,
, I - ', .,:.: llrirlev \fuslc Company and Pixar'lhlkjng I . :- - :, ..:.::'. ¿J L seai bV Permission
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231
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rá&§,v-áa¡ E¿aEa ffia*§
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From Walt Disney's Lilo & Stitch
Words and Music by ALAN SILVESTR| and MARK KEALI'l HO'OMALU
no
no-
Lead:
lin
A11.
On
ger
-
ing
gold-en sand -
in
place place
the o-
is
where
-
the the
I'd rath - er I'd rath - er
*Chorus: than Chortts: than
cean blue. - Chorus: Lnd I'd lay, Chorus: and.
-
be be -
sun sun
if I iflon
yond yond
R
ght.
R".errrc I
.cd ur P,
¡
had
my surf-board out the sea-shore dry,
one
ly
ho ho
O 2002 Walt Disney Musrc Company
lll
on on
-.ru
wish
had
rl n
come
my
-
at wet,
sea,
free.
l'd way All: l'd true Lead:
zon. zon.
Chonts:
A - wi - ki - wi - ki, mai - lo hi lo hi. La -wemaii - la - Ia i ka la ha - na-ha-na. Me_ ke kai ho
- pa he -'e i ka pu -'e
Chorus:La
ALI: Fly
All: It's
time
lng
by
to
try
on
-
a
the
war
wal
roll - er roll - er
coast coast
-
Lead:
A - wi' ki-wi - ki, mai- lo - hi-lo -
- we mai i ko pa No wor-ry, no_ fear. Ain,t
hi.Chorus:La
All:Hang loose,- hang ten,howtsit shake- a-shak - a.
t:-_E /l
To Coda
Pi' - i Put-tin' in,
Lead:
na lu-lu Ia Ia-ha-la-ha.Chorus:O_ ka mo_a na ha - nu - pa-nu - pa. cut-tin, out. Front side. back side, goof-y-foot-edwipe out. _
cut - tin'up, cut - tin'back,
+.e Dl-D
t)-l
i ka la ha-na-ha na. Chortts;Me_ ke kai
Lead: La
ho - en
-e-
i ka pu-,e
Chorus: Ha - wai
Let's
go
jump -
in',
surf's
- up
and pump - in'.
with the mo
tion of the
o
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$
234
cad
Whirl -pools
- ing, swirl - ing.Chorus:Ha - wai - ian roll - er coast -
er
D.C. al Coda
CODA
+
Lead:
Lead:
La - la
He - le -
he
le mai ka -
kou
e.
Chorus: Ha -
wai - ian
á'esa ru"*ɧ.É E€*e-* (|im's Theme) From Walt Disney's Treasure planet
Words and Music by JOHN RZEZNIK
a
am
ques
do you think see
the things
tion
you'dthey
-
to
the
not
an
to be ['m a I can
an
Irm a boy? AII you want
un - der neY - er
^+1 ,lf-r
or a moYou can't take Now you know
do
think learn \ran[ lo tell you can you
-=-ment
that's
me me
and and
you,d _ what's _ .\'ou
_
ev-er nev - er
who I
held
throw
I'm
IN
me
not
your arms.
And
a - wav. a - fraid.
And And
\.-i say?
shown? _
am._
.0) \\ 1,J,. o. .rr-, , .- | .Ir. \rlRc -Ré.., é, {..j r .-..rr.
I won't
lis
Yeah, you stand Can you help
ten here-
me_-
-v-
an on your be
a
236
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way.-
own. _ man?
You'll re - move
me
They don't know They can't break
ffi€,
'cause
me
AS
neY -
and
b"\:=
And
er be what you want
Irm long as
_i _f
And
want
I
-
a
mo
-
ment
_ to be real.,
not
I
me
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know who I am.
want to touch things
-
to
can the world
They're the
I S,ü II O (» F,'m7
To Coda To Coda
( They don't knou'
tt ev can't see ( r',,' the one
{
fr€, fre,
'cause
now,
'cause
D.C. al Coda
I
(3rd Ending)
but
CODA
I
Irm
ones,
Ftm
see.
Yeah,
the world
keep on dream-ing for
is
words are just whis-pers and lies
CODA D.S. al Coda
II
+
F#m7
['ll
nev - er be
Esus AID
-
. i, From Walt Disney pictures, Brother Bear
Words and Music by PHIL COLLINS
There There
oh,
all
cause out
But
out
are
will
you'll
Iearn
this
.iour
in you'll
there there
some some
where where,
(O
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\. Ri;n'.
it's day
all light
wait finds
240
if if
you you
be be
D/F#
watch-ing o -ver
you.
.Iust
take
a
through
my
A(add4)
DFfr z----.
just
take
a
To Coda
look
$6
through
-
242
D.S. al Coda
look through
my
_
know there's a
bet -
ter place.) Just take
a
244
)
c
through
f'-------f
--f
-==----
look through my
Optional Ending Repeat and Fade
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.--
r'-)1-3
§
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From Walt Disney,s Old yeller
Words by CIL CEORCE
Music by OLIVER WALLACE
Moderately bright D
Yel Yel
fan -
cy
an-y
do it troub -Ie
free with chase he
and he
- ler - ler
was was
a
mon - grel,
a
hun - tern
- out a fam - 'ly knew just how to
prove there's noth- ing
al - ways found it
eared tear - int lop -
7
mon - grel; hun - ter;
I
in
\------tree.
to
But he could up and And when he hunt - ed
it,
dou - ble,
and that's and that's
O lq5- \\.rlt Disne¡ Mu,ie Curilpan¡ Di-1,- Í^o^q:
ol' f:n",l"d-
how
a
when old
good
Yel
dog should
Ier
had
\----// be!
YeI-ler,
come back, Yel-ler!
-
dog-gone
dog
in
the
\-=--// West!-
wiii---
Yel - ler was Yel - ler's just
fight - er. pup
-
py.
In an - y scrap he [t's plain to see he
knew
just what
has a
root - in' toot - in'
a a
fight - er,
to
do. _
A
tree.
The
fam - 'ly
PUP.
PY,
a a
lit - tle lop- earer
rough and im -
heart good
read -
age of
y his
fel - low, PaP' PY'
al - though his coat was he's fris - ky and he's
was true blue. pup should be.
yel - low, hap
-
py,
Yel - Ier,
his and
bold that's
come back,
-
\-----// West!
<><> \-----/-/
dog-gone dog
in
Tex
the
w-
r€>
\ ------
.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
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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