Barberpole Cat Songbook Vol II Digital Rev021417 PDF

Barberpole Cat Songbook Vol. II (TTBB)(Ebook Version) - Stock No.
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Print version available - Stock No. 209322
Barberpole Cat
Songbook Vol. II
After You’ve Gone

Bright Was The Night
Caroline
(When It’s) Darkness On The Delta
Drivin’ Me Crazy
From The First Hello To The Last Goodbye
Goodbye, My Coney Island Baby / We All Fall
Hello Mary Lou (Goodbye Heart)
I Don’t Know Why (I Just Do)
I’ve Been Workin’ On The Railroad
Lida Rose /Will I Ever Tell You
Over The Rainbow
© 2015 Barbershop Harmony Society

110 Seventh Avenue North
Nashville, Tennessee 37203-3704
U.S.A.
www.barbershop.org
FOREWORD
A New Generation of Barberpole Cats
In 1971, International President Ralph Ribble launched a new Society are basically de facto Polecats. We have your original works - like the
activity known as the Barberpole Cat Program, which became a Norm Starks piece - as well as tried-and-true favorites.
standard repertoire for Barbershoppers worldwide. This common
literature has helped many quartets start with an instant 12-song “Why isn’t __________ in this book?” Although we studied sales data
repertoire. It has given us perfect songs for our choruses to start chapter over previous years, polled our top arrangers, and discussed this with
meetings singing songs, and helped Barbershoppers from different the publications team, not every great song can work in a collection
continents sing more than just a tag with a new barbershop friend at a such as this. Indeed, there were some songs we did want to include but
convention. Many of these songs have been used as materials for could not obtain the license required to be included in the publication.
Singing Valentine programs, TV spots, or contest vehicles – even by our Those favorites are likely still in the catalog but could not be added to
international champion quartets! In short, it has been perhaps one of this compilation effort due to copyright holder restrictions. However,
the greatest tools in barbershop culture. all songs in this book are available as singles from the Harmony
Marketplace.
The Barberpole Cat Program And Song Book has been the number one
publication for more than forty years. The Barbershop Harmony “Why aren’t there any tags in this book?” So many tag resources exist in
Society has fielded requests for a sequel to this monumental songbook. barbershop and are already at your fingertips - everything from the
There have been many attempts to make such a collaboration over the Classic Tags book, tag apps, and websites which offer countless tags. We
years, but have stalled over various reservations: found it much too difficult to select only a few of our favorites to
include in this publication.
Do we make arrangements of public domain songs in order to keep
our costs low? “Are all the songs in this book contestable?” Just because a song is in this
Should we write new standards? (After all, barbershopper and book does not clear it for contest. Although many are songs you will
composer Norm Starks wrote Sweet and Lovely in 1971.) have heard on the contest stage, the old axiom of “ask before you sing”
How would we decide what is worthy of the new “canon”? still applies.
Let’s start by first stating that this songbook does not replace the “Is there a pin or other recognition for completion of this book?” The
original. No matter how good a sequel is, it rarely overtakes the original. original Polecat book was designed as a training program. Along the
We expect the original Polecat book to be considered the classic: the way to earning the pin, a singer learned part independence, tuning, and
material that builds our musicianship, gets us acquainted with the other elements of basic musicianship. Far more than earning a pin or a
barbershop chords, and is in easy access to the broadest possible certificate, he gained insights into barbershop culture: tags, quartetting,
audience of Barbershoppers. and the chapter experience. The Barberpole Cat Songbook Vol. II has
no official pin or recognition at this time. This book is designed to
The Barberpole Cat Songbook Vol. II is designed to bridge the gap enhance and deepen musicianship, using musical selections longer and
between Polecat songs and music at a difficulty level that many of our slightly more difficult than the original Polecat book.
Harmony Brigades sing. It is music for when you want to sing
something everybody knows but can’t decide what to learn. As we’ve “Are there learning tracks for my part?” Yes. All learning media are made
discovered with our Brigades, our membership is ready for common for each voice part. They will include a part-predominant teaching track
repertoire songs that are a little more difficult. This book is designed for for each song.
the member who has “graduated” from the standard Polecat book. So,
where Down Our Way and Heart of My Heart are simpler, one-to-two We hope you will enjoy this songbook for years to come!
page songs, the contents of this book “up the ante” a little bit. You’ll find
songs in this songbook you are already familiar with. Indeed, for many Music Publications Department
chapters, Boston Common tunes, or Hello Mary Lou (Goodbye Heart) Barbershop Harmony Society
Table of Contents
After You’ve Gone 2
Bright Was The Night 8
Caroline 12
(When It’s) Darkness On The Delta 15
Drivin’ Me Crazy 20
From The First Hello To The Last Goodbye 26
Goodbye, My Coney Island Baby / We All Fall 30
Hello Mary Lou (Goodbye Heart) 34
I Don’t Know Why (I Just Do) 40
I’ve Been Workin’ On The Railroad 44
Lida Rose /Will I Ever Tell You 49
Over The Rainbow 59
2
AFTER YOU'VE GONE

(1918)
as sung by Four Voices
Lyrics by HENRY CREAMER Music by TURNER LAYTON

Arrangement by DON GRAY
Intro ŒÂ = Œ Ç‰
j j j
b b c œœ.
1
œœ œœ œœ 2
n œœ œœ œœ  3
‰ œœ œœ œœ œœ
Tenor
Lead V J J J
j ‰ œ œj n œ
Can't be - lieve we're break - in' up. Ain't no chance for
j
? bb c œ œœ n œœ œœ A œœ œœ œ  œ œœ
œ J œ œ œ œ œ
J
Bari
Bass
There ain't no
j j j
bb 4 n œœ œœ œœ   œœ œœ ‰ œœ œœ œœ œœ œœ w
5 6
V J J J w
mak - in' up. Ba - by, don't treat me this way.
j j j
? b œ œœ
A œ œ  œœ œœ ‰ œ œœ n œœ  œœ œœ
œ w
œ Nœ nœ œ œ
b J œ  J
J
way, this way. 'Cause
j œœ .
b œœ œœ œœ œœ n œœ œœ œœ
3
œ
7 8
Vb ‰ J Œ
3
You're gon - na be lone - ly some - day.
‰ j
œ œœ œœ œœ œ œ œ  bœ
3
? bb œ œœ œ œ œ œ bœ œ Œ
3
you're
This Arrangement © 2015 by DON GRAY as contained in Barberpole Cats Songbook Vol. II
International Copyright Secured All Rights Reserved
Used by Permission
3
After You've Gone
Chorus
j
b œ œœ œœ œœ  œœ œœ œœ œœ œœ b œœ . œ œ œœ œ 
10
J .
9
b
11
V œ œ 
œ œ
Af - ter you've gone and left me cry - in', af - ter you've gone,
j œ 
? b b œœ œœ œœ œœ  œ œœ œœ œœ œœ œœ .
œ .
œ œ
œ œ
œ
œ œ 
J
j j j
bb
12
œ œ œ œ œ œ ‰
13
nœ œœ œœ œœ   œœ œœ
V œ œ œ œ œ œ œ J
J J
there's no de - ny - in' you'll feel blue,
j j j
? b b n œœ œ
œ
œ œ œ œ
œ œ œ œ ‰
Aœ
œ
œœ œœ œœ  œœ œœ
J J J
j j j
b Aœ œ œœ  œ œœ œ œœ œ œ œ
Vb œ œ ‰
14 15
J œ œ œ œ œ
J J
you'll feel sad. You'll miss the dear - est pal you've
j j ‰ œj œ œ
? b œ œœ
œ œœ œ
œ. œ œœ
œ
œ
œ
œ
œ
œ
b J J J ‰ œ œ œ J
3
You're gon - na miss
j j j
bb ‰ œœ œ œ œ œœ .. œ œœ œœ œœ  œœ œ œœ œ œœ b œ
18
œ œ J œ ‰
16 17
V J œ œ œJ œ
ev - er had. Now, there'll come a time, now, don't for - get it,
j b œ œj œ . j
? b b ‰ œœ œœ œ œ œ . œœ œœ œœ œœ  œœ œœ œœ œœ œœ œœ
J ‰
J J
4
After You've Gone
j
b œ œ œœ œœ 
20
œ œ œ œ œ œ  
Vb œ ‰
19
œ œ œ œ œ œ
21
œ J
there'll come a time when you'll re - gret it. Some - day,
j
œ œ œ œ œ œ œ 
3
? bb œ nœ œ œ œ œ œ
œ œ œ œ œ œ ‰ 
n 
œ œ œ œ  J
j
bb œœ œ œ œœ œœ
22 b œœ 23
‰  n Jœœ
œœ œœ n  œœ n  œœ œœ œ
œ
V œ œ
when you grow lone - ly, your heart will break like mine and
j œ œ
? b b œœ n œœ œœ n œœ œœ b œœ ‰ œ
œ œœ œœ  œ
œ
œœ œ
œ
J
j
b œœ  œ œ œœ œœ œœ
V b œœ œœ œœ  œœ œœ œœ œ œœ œœ
24
‰
25 26
œ œ œ
J
you'll want me on - ly af - ter you've gone, af - ter you've gone a -
œ œ œ œ œ œ j
? b b œ œ œ n œœ œœ n œ
œ œ œ œ œ œ nœ ‰ œ œœ œœ
œ œœ œœ
J
Reprise
way, you've gone a - way. And so, there'll
bb 27 w œ bœ œ œw Œ œ œ     29 œ œœ œœ œœ 
3
28
V  œ
b
B =A

way. There'll come a day
way, you've gone a - way. And so, there'll
? b  b œœ b œœ b œ œ Œ œ œ  œœ œ œœ œœ 
3
b œ œ œ œ  œ
3
5
After You've Gone
j
    30 œœ œœ œœ œœ œœ œœ ‰ œœ
31
œœ œœ œœ œœ 
V  J
when you will miss me. Re - mem - ber the day
j œœ 
?  œ œœ œ œœ œ œœ œœ œ œœ œœ
 œ œ œ ‰ J œ
Œ One Œ
  œ  œ
day
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n n œœ œœ œœ
32 33 34
V 
when you could kiss me. One day you will grow lone - ly.
 œœ œœ œœ œœ œœ œœ œœ œ  œœ  œœ œœ œœ n œœ œœ œœ
?  Œ œ Œ

    ‹  œœj œœ œ ‹ œœ œœ ‹ œœ œ œ œ œ œ œ œœ 
3
 ‰ J œ Œ œ œ œ
35 36 37
V œ œ œ
3
Your heart will break. You'll want me on - ly af - ter you've gone,
j œ œ œœ œœ ‹ œ œ œ œ œ
3
?     ‰ n œ œœ œ œ
œ
Œ
œœ œ œ œ œ ‹œ
 J œ œ œ œ œ  œ
3
j œœœ n œœœ œœœ

 œœ  œœ œœ n œœ œœ   œœœ
 ‰ ‰
38 39 40
V J
af - ter you've gone a - way, gone a - way.
j  œ œ nœ œ
?  œ ‹œ œ œœ œœ  n œœ œœ œœ œœ
 ‰ œ œ œ
J
w ‰
6
After You've Gone
j j j
Tag
N œ œ
œœ œœ 42 œ œœ
you've
 œ œœ œœ œœ ‹ œœ n œ 
3
œœ   Œ  œœ œœ œœ
43
 J
41
V J J
3
You told me good - bye; now it's your turn to cry af - ter you've
j j  you've,
j
3
?  œœ œ œ œ œ œœ œœ œ œ n œœ 
œ œœ œœ œœ
 J œ œ œ œ œ œ J Œ
3
J
af - ter you've gone
    44 œ . œ œ œ œ œœ n w œœ œ   .. Œ œœ n n  .. a ww

45 46 47 48
V
gone a - way, gone a - way!
af - ter you've gone
 w. Œ
nn w
œœ œ œw n  . a ww
?     œ . œ œ œ œ œ
œ

gone a - way!
Optional ending - measures 45 - 48 (as performed by Four Voices)

way!
œw n  . a w
n w  w . w
x x x
 œ œ œ

45 46 47 48
V Œ
way, gone a - way!
œ n. aw
?  nn w œ œ œ   ..
Œ œ n. w

way,
7
After You've Gone
Reprise
j
Optional measure 26 - 28 (as performed by Four Voices)
bb 26 ‰ œ œ œ œœ œœ œw Œ œ œ 
 œœ œœ œœ œœ 
œ œ œ
27 28
V
J Bb = A

af - ter you've gone a - way. There'll come a day
j
? b b ‰ œ œœ œœ
œ œœ œœ œœ Œ œœ œœ  œ
œ œ œ œ 
œ œ œ 
J 
____________________________________________________
Performance Notes
John Turner Layton (1894-1978) and Henry Creamer (1879-1930) worked and performed together during the vaudeville era.
Together they wrote such enduring hits as Way Down Yonder in New Orleans and Dear Old Southland.
After You've Gone has been performed by such greats as Al Jolson, Sophie Tucker and Louis Armstrong, and was the first song
recorded by Benny Goodman. In 1942 it was featured in the film For Me And My Gal, starring Judy Garland.
Don Gray has arranged countless songs over the years, many of which have been published by the Barbershop Harmony Society
(BHS). Don is also a seasoned, avid quartet performer—indeed, he is hardly ever without a foursome. His best-known group, the
Roaring 20s, won several international medals. Don served as an Arrangement and Music judge for over 30 years and still
assists the judging community in various advisory roles.
This particular arrangement was made famous by Four Voices, the 2002 BHS international quartet champion. Changes to Don's
arrangement made by Four Voices are noted as options.
As a final note: Questions about the suitability of this or any other song/arrangement should be directed to the judging
community and measured against current contest guidelines. Ask before you sing.
8
BRIGHT WAS THE NIGHT

as sung by The Gas House Gang
Words and Music Anonymous

Arrangement by DAVID WRIGHT
Verse by DAVID WRIGHT
Verse freely
 4 œ œ œœ œœ  ww œœ œœ œœ n œœ .
V 4 œ œ . Œ
2 3 4
Tenor
Lead
Saw her stand - ing there, moon - beams in her hair,
œœ œœ .
?  4 œœ œ œœ œœ ww œœ œœ
. Œ
Bari
Bass 4 œ
j j
 œœ œœ  œ œœ œœ œ œ. œ œ œ œ. œœ œœ 
œ œ œ  œ œ. Œ
5 6 7 8
V œ œ. J J
j
star - light in her eyes so fair, sweet ra - diance all a - round her.
œ œ . j œ
?  œœ œœ œœ œœ œœ œ Nœ œ œ. œ 
œ œ. œ œ œ œ. œ Œ
J J œ 
hold soul
.
 œ . 
 9 œ œ œœ  œœ œœ œœ n œœ œ  bœ . ‰
œ
V œ œ œ
10 11 12
 œ ‰ œ
J
Ev - er will I hold so deep with - in my soul the
hold soul

?  œœ œœ œœ œœ w .
œ
œœ œœ œœ œ
œ 
œ.
œ. ‰
This Arrangement © 1991 by DAVID WRIGHT

Used by Permission
9
Bright Was the Night
 13 œœ œœ  œ œ œœ N œ  œ . , j found her.
‰
œ œ œœ N œœ  œœ œœ œœ œ œ œœ . œ
14 15 16
V œ œ. J J ‰
lov - ing vow she whis-pered low that ver - y night I found her. There
j
?  œœ œœ œœ œœ
, found her.
œœ œœ œ. œœ œœ   œœ œœ œœ N œœ .. ‰
œ. J 
œ œ.   n 21 Œ œ œ . œ œ
Chorus Bright was the
,
 17 œ œ œ œ  .. œœ n œœ  œ œ. ‰ .
œ œ œ œ 
18 19 20
V œ œ œ w
nev - er was a night so splen - did, so right. Bright was the night,
, nœ nœ .
Bright was the
 .
?  n œœ œœ œœ œœ n . œ œœ n  œ œ . ‰  n Œ œœ œœ .   œœ œœ
. œ
j j œ
œœ ..  œj œ œ
night, moon shin - ing bright.
 œ œ œ w  œ œ bœ
‰ œ ‰ œ œ œ œ œ
22 23 24 25
V  œ œ w œ œ
J J J
moon shin-ing bright. Yes, it was there I met my
night,
j
moon shin - ing
j
bright.
j j
œ bœ œ œ œœ .. œ œ  œ
œ
?  œ
œ ‰ Œ Œ œ
œ œ .
œ œ .

œ œ ‰ œ œ œ
J J J J œ œ
j
sweet-heart, Sue, my Sue.
j me,
j
prom-ised
œ œ œ œ. Nœ  ,
œ  œ œ œ  œ œ.
. ‰
26 27 28 29
V œ w  œ œ œ w
J
sweet - heart, Sue. She prom-ised me
j j
œ œj  œ .
me, she prom-ised
Nœ . w   œ œ œ œ.
? œ œ œ. œ œ  ‰ œ bœ œ  œ  œ.
œ J , J
sweet-heart, Sue, my Sue.
J me, prom-ised
10
me
j j j j j
œ. œ œ . œ œ œ œ œ œ œœ , œœ œœ œ
V œ. œ b œ. Œ. œ œ œ œ
30 31 32
œ J J
J J J
that she would, that she would be, she prom - ised
j j Œ. j j j
œ œ. œœ
me
œ œ œ N œœ œ
? œœ .. œ œ .
œ
œ w œœ , b œœ œœ
J J œ
J J
me that she would be,
œ  œœ œ œœ   . nœ ,
b œœ œ œ .  œ œ œœ   œœ
V œ
33 34 35
œ
she would be my bride some - day, some fine
œ œ  œœ N œ œœ , b œœ b œœ n œœ
? œœ œ œ
bœ œœ œ b œœ œœ  œœ
œ œ bœ . ‰ œ œ œ œœ n œœ
Tag
‰ œJ œ œ œ
,  œ bœ n œœ
œ
36 37 38
V œ
j
day. She prom - ised she would be my bride
‰ œ œ œ œ œ œ œ
? b œ œ œ N œ bœ œ
,
œ. œ œ œ
œ
‰
œœ .. b œ œ w. w . ww ww
day!
œw  bœ  œ 
‰ Œ
39 40 41 42 43 44
V
some - day, some fine day!
œ b b œœ ww ww
? w . œ. b N  .. b œœ   ..
œ œ. ‰ bœ Œ
11
_____________________________________________________
Performance Notes
This arrangement is fondly dedicated to Glenn Howard, who learned the chorus of this song from barbershop harmonizers in 1919.
It is through Glenn that this song comes to us; its previous origin is unknown. Howard is the only person to have attended every
SPEBSQSA international convention from the initial one in 1939 through 1991. The Gas House Gang introduced this wonderful
arrangement at the 1992 convention, and it is presented here as they performed it. Sadly, Glenn Howard had passed away just prior
to that convention.
David Wright is one of the most talented and sought-after arrangers in the world of barbershop harmony. His arrangements have
been sung by international quartet champions including The Gas House Gang, Vocal Spectrum, and Ringmasters, as well as
chorus champions such as The Vocal Majority, the Ambassadors of Harmony and the Masters of Harmony. He is currently the
associate director of the Ambassadors of Harmony and arranges much of their repertoire.
As a final note: Questions about the contest suitability of this or any song/arrangement should be directed to the judging
12
CAROLINE
as sung by the Boston Common
Words and Music by RANDY NEWMAN Arrangement by LARRY COLE, WALLY CLUETT
and the BOSTON COMMON
Chorus
oo
3 . #  .. . . . .
∑ .
4 5
V4 . . . .
1 2 3 6
Tenor
Lead
Car - o - line, please be

oo
∑ .  .. . . . .
? 43 . . . . .
Bari
Bass œ œ œ .
bum bum bum
oo
.
7 8
 #.
10
 .. n  ..  . .
V .
12
 Œ . œ .
9 11 13
mine. You're my kind of girl.

oo
#.  N. . . . .
? .  Œ . .
. b. .
oo Car - o - line, - o - line,
 œ . 16
 . # œ . œ œ  œ .
Œ
14
V . .  . . .
15 17 18 19 20
Car - o - line,
Car - o - line, Car - o - line,
.  .. œ 
?  œ

. œ 
 Œ
Œ œ œ
.
œ œ œ
œ œ œ .
.
Car - o - line,
© 1970 (Renewed) UNICHAPPELL MUSIC INC.
This Arrangement © 2014 UNICHAPPELL MUSIC INC.
All Rights Reserved
Used by Permission of ALFRED MUSIC
13
Caroline
Caroline
of,
21 .
.  œ ..  #. #  .. N  ..  ..
V   œ   Œ .
22 23 24 25 26 27 28
please be mine. You're my kind of

of,
..  œ #.  N. .. .. .
?   œ Œ .
.   b .
29 Œ
oo Car - o - line girl.
 # œ . œ œ œ  .. œœ œœ œœ
V . ∑
30 31 32 33
girl. And when it's

Car - o - line, Car - o - line girl. doo doo doo
œ œ œ .. œ œ œ œ œ œ
? Œ œ   .. œ œ #œ # œœ œœ œœ
oo girl.
34 œ j
V œ œœ .. œœ # œœ œœ œœ # œœ # œœ œœ œœ œœ œœ œœ
35 36 37
J
spring - time, and day - light sur - rounds you, and there's no one a -
j
? # œœ œœ .. œœ Nœ œ œœ œœ œ œœ œœ # œœ œœ œœ
J œ œ œ
a tempo
j U
rit. Car - o - line,
# œœ œ. œ N œ  .  .
V œ. œ œ œ #œ  Œ . . #œ œ œ œ
38 39 40 41 42 43
J
round you but me; Car - o - line, Car - o -
œ. j
œœ œ œ œ # œœ 
- line,
? œ. œ  Œ ∑ ∑ .
J u
of,
.  œ .  #. #  .. N  ..  ..
V .  œ .  Œ .
21 22 23 24 25 26 27 28
please be mine. You're my kind of

of,
.  œ #. N. . .
?  .  œ

Œ .
.
.  . b. .
Œ 
oo Car - o - line girl.
# œ . œ œ œ  .. œœ œœ œœ
V . ∑
29 30 31 32 33
girl. And when it's

Car - o - line, Car - o - line girl. doo doo doo
? Œ œ œ œ œ . œ œ œ  . œ œ œ # œœ œœ œœ
 . œ œ #œ
.
oo girl.
j
œ œœ .. œœ # œœ œœ œœ
V œ # œœ œœ œœ # œœ œœ œœ œœ
34 35 36 37
J
spring - time, and day - light sur - rounds you, and there's no one a -
j
? # œœ œœ .. œœ Nœ œ œœ œœ œ œœ œœ # œœ œœ œœ
J œ œ œ
a tempo
j U
rit. Car - o - line,
# œœ œ .. œ N œ  .  #œ . œ œ
V œ œ œ œ #œ  Œ . . œ
38 39 40 41 42 43
J
round you but me; Car - o - line, Car - o -
j
œœ œ. œ œ œ # œœ 
- line,
? œ. œ  Œ ∑ ∑ .
J u
14
Caroline
.  œ .  #. #  ..
V œœ œœ # # œœ
48
.  œ .  Œ .
44 45 46 47 49 50
line, please, please be mine. You're my
.  œ œ #.  N. .
? œ œ œœ .  œ  Œ .
. .
of, oo Car - o - line girl.
N  ..  .. Œ   ..  ..
. # œ . œ œ œ
56
V
51 52 53 54 55
kind of girl.
of, Car - o - line, Car - o - line girl.
. . œ œ œ . œ œ œ
?
b. .
Œ œ  .
.
 .
.
.
oo girl.
_____________________________________________________
Performance Notes
Randy Newman is a renowned singer, pianist, arranger and composer. He has won two Academy Awards, three Emmys, four
Annies and six Grammys. Newman was inducted into the Songwriters Hall of Fame in 2002, honored as a Disney Legend in
2007 and inducted into the Rock and Roll Hall of Fame in 2013. He wrote both the film score and signature song You've Got a
Friend in Me—reportedly in one day—for the 1995 film Toy Story. Each was nominated for an Academy Award. The
Barbershop Harmony Society has several of Newman's songs in its catalog, including When She Loved Me; You've Got a Friend
in Me; Short People; If I Didn't Have You; Seems Like Home; Dayton, Ohio 1903; and I Will Go Sailing No More.
Founded in 1971 at the home of friend and coach Lou Perry, the Boston Common won a record number of finalist medals on
their way to the first place in 1980. They developed a distinct, solid sound and style unlike their contemporaries and performed
all over the world. One lasting element to the Common was the accessibility of their music. Because the range the Common sang
in was and is accessible to the everyman, many a barbershopper has cut his teeth on Boston Common charts such as Don't Blame
Me, I'm Sitting on Top of the World, That Old Quartet of Mine, and From the First Hello to the Last Goodbye.
Sing this arrangement gently, with great legato, highlighting the simple, elegant melody. Although the Boston Common sang this
song in D flat, feel free to pitch it where it best fits your lead singer/section.
As a final note: Questions about the contest suitability of this or any other song/arrangement should be directed to the judging
15
(WHEN IT'S)
DARKNESS ON THE DELTA

Words by MARTY SYMES Music by JERRY LEVINSON
and AL J. NEIBURG Arrangement by the
BARBERSHOP HARMONY SOCIETY
Chorus ŒÂ = Œ Ç‰
oo
Œ w w
Vb C œ œ œ œ. œ œ œ œ œ. œ œ œ
1 2
Tenor
Lead
J J
When it's dark - ness on the del - ta, that's the
w #w
oo
Bari ?b C Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass
3 3
bum - buh bum - buh bum - buh buh-buh-buh bum - buh bum - buh bum - buh buh - buh - buh
# wœ œ œ œ. œ œ #
Vb
4
. œ œ
3
J
time my heart is light. When it's
?b n wœ œ œ œ œ œ œ #œ n
œ œ œ œ œ œ œ œ œ œ
bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh
oo
Nw wœ œ. œ
Vb œ œ. œ œ œ œ
5
œ
6
J J
dark - ness on the del - ta, let me
oo
? b n wœ b œ . œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ
© 1932 (Renewed) MUSIC SALES CORPORATION, CHAPPELL & CO., INC., and HALLMARK MUSIC CO.., INC.
© 1933 (Renewed) KEITH PROWSE MUSIC PUBLISHING CO., LTD. For the United Kingdom, Ireland, Hong Kong, Israel, Singapore, and South Africa Only
US Rights for HALL MARK MUSIC CO. INC. Controlled and Administered by SPIRIT TWO MUSIC, INC.
This arrangement © 2014 MUSIC SALES CORPORATION, CHAPPELL & CO., INC., and HALLMARK MUSIC
This arrangement © 2014 KEITH PROWSE MUSIC PUBLISHING CO., LTD. For the United Kingdom, Ireland, Hong Kong, Israel, Singapore, and South Africa Only
All Rights Reserved International Copyright Secured
Reprinted by permission of Hal Leonard Corporation on behalf of KEITH PROWSE MUSIC PUBLISHING CO., LTD.
Used by Permission of MUSIC SALES CORPORATION and ALFRED MUSIC
16
Darkness on the Delta
Œ
V b œ b  .
8
œ œ
7
œ œ œ œ œ œ bœ .
lin - ger in the shel - ter of the night. Fields of
?b   .
œ œ œ œ œ œ Œ
œ œ œ œ œ œ œ
bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh bum
oo
w w
b
V œ œ. œ œ œ œ œ. œ œ œ
9 10
J J
cot - ton all a - round me, voic - es
oo
? b wœ œ œ œ œ œ œ œ œ #w
œ œ œ œ œ œ œ
œ œ
3 3
bum - buh bum - buh bum - buh buh - buh - buh bum - buh bum - buh bum - buh buh - buh - buh
# wœ œ œ œ.
12
œ œ #
b . œ œ
11
V J
sing - in' sweet and low, Lord, I'm
? n wœ œ œ œ œ œ œ #œ n
b œ œ œ œ œ œ œ œ œ œ
oo
Nw wœ œ. œ
Vb œ œ. œ œ œ œ
13 14
J œ
J
luck - y that you found me where the
oo
?b nw b œ . œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
œ œ
17
Reprise (second time)
flow.
œ œ j
V b œ
b . .. œ œ œ œ œ œœ ..
b œ œ œ
15
Œ
16 17
œ œ œ œ œ œ bœ . J
mud - dy Mis - sis - sip - pi wa - ters flow. Loung -in' on the lev - ee,
j œ.
flow.
?b   . Œ .. œ
œ œ
œ œ
œ œ
œ œ
œ œ œ œ œ œ œ œ . œ œ.
J
bum - buh bum - buh bum - buh bum - buh flow.
j Œ
night - in - gales a - bove.
œœ œœ b œœ œœ œœ œ . œ # œ œ œ w œ #œ nœ
Vb œ œ œ
18 19 20
J œ. 
list - 'nin' to the night - in - gales 'way up a - bove.
j
night - in - gales a - bove.
? œœ œœ œœ œœ œœ œœ .. œ œ œ b œ
b œ œ œœ  Œ
J œ
j j
œœ œœ œœ œœ n œœ œ . œœ œœ œœ œœ n œœ œ . œœ œœ œœ œœ œœ
Vb J œ. J œ.
21 22 23
Laugh - ter on the lev - ee, no one's heart is heav - y. All God's chil - dren got
n œ œ œ œ j œ. n œœ œœ œœ œœ œj œ . n œœ œœ œœ œ œ
?b œ œ œ œ œ
œ œ. œ œ. œ œ
J J
j j Œ
mm - buh mm - buh mm - buh mm - buh
œœ œœ # œœ œœ œ œ œ œ œ œ œ œ
Vb œ œ œ œ. œ œ œ
24 25
J J J
some - one to love. When it's dark - ness on the
j j
mm - buh mm - buh mm - buh mm - buh
? b œ œœ
A œ # œ œœ
œ œœ œœ œ œ œœ œœ œœ œ œ œ
J Œ œ œ
J 3
bum - buh bum - buh bum - buh buh - buh - buh
18
mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh
œ œ œ œ œ œ œ œ # œœ œ œœ œ œœ œœ . œ œ
Vb œ œ. œ œ œ
26 27
J J
del - ta, on - ly heav - en is in
#œ œ œ œ œ œ œ œ N œœ œœ œ œ œœ œœ œœ œœ
?b œ œ œ œ œ œ œ œ œ
œ œ
3
bum - buh bum - buh bum - buh buh - buh - buh bum - buh bum - buh bum - buh bum - buh
28 # œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ œ œ
b . œ œ œ œ. œ œ œ
29
V
J
sight. When it's dark - ness on the
? œ œ #œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
1.
mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh night.
œ œ œ œ œœ œ œ œ œ œœ œ œ b œ œœ œ œ œ N œ œ Œ ..
V b œJ œ . œ œ
30 31 32
œ œ œ œ œ bœ .
del - ta, let me lin - ger in the shel - ter of the night.
mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh night.
œ
? b A œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ #œ œ Œ .
.
œ œ œ œ œ œ œ œ œ œ œ
bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh bum - buh night.
19
j
2.

mm - buh mm - buh mm - buh mm - buh night. Tag
œ b œœ œœ œ œ œœ œœ .. œœ œœ œœ
V b œœ œœ œœ  nœ œ #œ
33 34 35
œ œ bœ ‰ J J
lin - ger in the shel - ter of the night. Oh, let me lin - ger in the
mm - buh mm - buh mm - buh mm - buh night.
j
?b œ œ œ œ œ œ œ œ  n œœ œœ .. œœ œœ œœ
œ œ œ œ  J
œ œ œ œ 
bum - buh bum - buh bum - buh bum - buh night.
j
œœ œœ .. œ œ œœ # œ œ œ wœ œ n œ œ b ww ww
Vb J Œ œ œ œ
36 37 38 39 40
shel - ter of the night!

j
œœ œœ .. œœ œœ œ œ œœ œ # œœ # œœ b œœ œ b  b 
œ w
?b J Œ œ œœ œ œ w
j
Optional key change
j
mm - buh mm - buh
œœ œœ œœ œœ œœ œœ œ œœ b œœ Œ œ œ œ œ
Vb J œ œ œ bbbbbb œ œ.
24 25
J J
All God's chil - dren got some -one to love. When it's dark - ness
j j
mm - buh mm - buh
n œœ œœ œœ œœ œ A œ œœ œœ b b œœ œ œ œ œ
?b œ œ œ œ
œ œ J Œ bbbbbb
J
bum - buh bum - buh
_____________________________________________________
Performance Notes
Written in 1932 during the Great Depression, Darkness on the Delta provided music listeners with some happiness during a dark
era. The song was a hit for singer Mildred Bailey and was covered in 1933 by both Ted Fio Rito & His Orchestra and Chick Bullock
& His Orchestra. It was revived in 1953 by the Country All Stars and by Don Lanphere in 1995.
Darkness on the Delta has been a standard for barbershop ensembles for many years. Its classic barbershop chord progressions and
exciting tag have made it a staple for shows and afterglows. As you sing this arrangement, call to mind the 1930s, when there was
little electricity on the Mississippi Delta. As darkness fell, folks along the Delta enjoyed an easier, less complicated life. Invite your
audiences to do the same.
community and measured against current guidelines. Ask before you sing.
20
DRIVIN' ME CRAZY
as sung by OC Times
Words, Music and Arrangement by

BOB DISNEY
Chorus 1 ŒÂ = Œ Ç‰ quick tempo
j j j
bb œ œ œ œ œ œœ œœ œœ œœ œœ .. œœ œœ œœ
Vb b c œ
1 2
œ œ œ œ J J J
Tenor
Lead
j j j
With the beat, beat, beat of a heart - beat and the
? b b c œœ œ œ œ œ œ œœ œ œ œ. œ œ œ
Bari
bb œ œ œ œ œ œ œ œ. œ œ œ
J J J
Bass
j j5 x
b b nœ œœ b œœ œœ œœ úú œœ n œœ œœ A œœ œœ œœ œœ œœ œœ
x x
V b b œ n # œœ
3 4
J J
bang, bang, bang of my brain, got a girl that's driv - in' me cra -
j j œ
? b b b œœ n œœ œœ œœ œ œœ úú œœ œœ œœ œ #œ œ œ œœ œ
b œ J J œ nœ œ œ
j j
b b b œ œœ ..
œ œ
‰ œ
œœ 7 œ œœ œœ œœ b œœ œ œœ ww
6
b
J œ
œ
8
V J
j j
- zy, and I think I'm gon - na go in - sane.
œœ œœ .. œ œ œ œœ œœ œœ œœ œ œ w
? bb b J ‰ œ œ œ œ
b J œ w
© 1989 by ROBERT DISNEY

Used by Permission
21
Drivin' Me Crazy
j j
b b œ œ œœ œœ œœ œœ œœ .. œœ œœ n œœ œœ ‰ œœ œœ œœ œœ
V b b œœ
9 10 11
œ œ J J
You think love is a fool's game? Well, bud - dy, may - be you're right.
j j œ
? bb œ œ œ œ œ œ œ œ. œ œ œœ œœ ‰ œœ œ œœ œœ
bb œ œ œ œ œ œ œ œ. œ œ J
J
j j 13 œx j j
bb œœ œœ œœ œœ œœ œœ œœ .. œ œ
x
V b b úú œœ n œœ œœ A œ
x
‰ œ œ
12 14
J J J J
j j
Got a girl that's driv - in' me cra - zy, and I
j j œ œœ œœ .. œ œ
? b b úú œœ œœ œœ œ #œ œ œ œœ œ J ‰ œ œ
bb J J œ nœ œ œ J
œ j
b b
bb œ
15œ œœ œœ œœ b œœ œœ œ œ 16
œ b œœ .. œœ œœ úú úú
œ œ
17
V
J
think I'm gon - na see her to - night. 'Cause it's the blue eyes
j
œ œ œ œ.
? b b b œœ œœ œœ œœ œœ œœ œ œœ œœ úú úú
b œ œ œ.
J
j j Œ
b b b b b œœ
œœ œœ œ
charms,
œ œœ œ œœ úú ú. œ
19 20
V
18
œ
J œ Œ œ
J
and all the girl - y charms, and now to -
j j
charms,
? bb b œœ œœ œœ œ œ œ œ ú ú.
b œ œ œ œ ú ú. Œ
J J
22
Drivin' Me Crazy
j
– night's arms, yes,
b b nœ n # œœ œœ úú œœ n œœ œœ œœ .. A wú
x x
Vb b œ ú
21 22 23
J
night's the night she's in my arms.
j
– night's arms,
œœ œœ ..
yes,
? b b b œœ n œœ œœ úú œœ œœ ú
ú #ú
b J nú
in my arms.
j j x j
b ú . œ œœ œœ œœ œœ œœ .. œœ œœ
x x x
b œ œ œ œ œ œ
Vb b Œ
24 25 26
œ œ œ J
One day you'll find a girl - y, and
j
in my
j
arms.
j
? b b b œœ # œ œ œ Œ œ œ œ œ œ œ œ œ. œ œ
b J nœ œ œ Aœ œ œ œ œ œ œ œ. œ œ
J J
b j j 29 œx œœ
x
œœ œœ œœ œœ
x
V b b b n œœ n # œœ œœ œ œœ úú œœ n œœ œœ A œ
27 28
œ J J
then you'll un - der-stand that a girl can drive a man cra -
j j œ
? b b œœ n œœ œœ œ œœ úú œœ œœ œœ œ #œ œ œ œœ œ
bb œ J J œ nœ œ œ
j j
b b b œ œœ ..
œ œ œœ 31œ œœ œœ œœ b œœ œœ œ œ 32
ú œ.
‰ œ
30
V b J J œ œ œ ú œ.
j j
- zy, and she'll have you in the palm of her hand.
œœ œœ .. œ œ œ œ œ ú œ.
? bb b J ‰ œ œ œœ œœ œœ œœ œœ œ
b J œ œ ú œ.
23
Drivin' Me Crazy
j j j
# # # 33 a œ
Chorus 2
b b œ œ œ œœ œœ œœ œœ œœ .. ‰ œœ œœ
Vb b œ
34
N œ œ œ J J
J
A beat, beat, beat of a heart - beat
j j j
and a
? bb œ ### Nœ œ œ œ œ œ œ œœ . œ œ ‰œ œœ œ œœ
bb œ Nœ œ œ œ œ
J
pit - ter, pit - ter, pat - ter and a
j
in my brain,
j
bang
### #œ ‹œ Œ œ œ œ ú œœ œœ œœ œœ œœ œœ
œœ n œ
x x x
œ #œ ú œ œ œ
35 36
V
37
œ J J
bang, bang, bang in my brain, got a girl that's driv - in' me cra -
j j
bang in my brain,
# œœ œœ œ ú œ
? ### œœ # œœ œœ
Œ J œ ú œ ‹œ œ œ œœ œ
J œ #œ œ œ
j j
œj n œœ ..
in - sane.
#
# # œ œœ ..
œ
‰
œœ œœ 39œ œ œ œœ n œ œ œ úœ œ
J œ œ œ œ œ œ
38
œ
40
V J
J
- zy, and I think I'm gon - na go in - sane. 'Cause it's the
j j
œj œ .
in - sane.
œœ œœ .. œ œ œ œ œœ œœ œœ œ œ úú
? ### J ‰ œ œ œ œ œ œ
J œ œ.
J
# # # 41wú j j 44 Œ
oo ah oo girl - y charms,
nw œ œ œ úœ
œ ú œ
ú œ œ œ ú. œ
42
V
43
Œ J œ J ‰ œ. œ
blue eyes and all the girl - y charms, and now to -
oo ah oo
j
girl - y charms,
j
? # # # ww ww ú œ œ œ ú.
ú œ œ œ ú. Œ
J J
24
Drivin' Me Crazy
j
– night's the night, oh, yeah,
# # # 45# œœ œœ œœ .. N œœ Œ œœ Œ
# ‹ œœ œœ œú œ œ œœ # œœ
x x
46
V
47
J
night's the night she's in my arms, yes,
j
– night's the night, oh, yeah,
? ### œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œ
J œ Œ #‹ œœ Œ
j j j
# # # œœ œœ b n œœ úú œ œ œœ œœ œœ œœ .. œœ œœ
x xx x
b
b œœ œ 50
J
48 49
V J œ œ œ J
j
in my arms. One day you'll find a girl - y, and
j j
? # # # œœ œœ œ ú œ œ œ œ œ œ œ œ. œ œ
nœ ú b
b œ œ œ œ œ œ œ œ. œ œ
J J J
j 53 œx œœ
x
œœ œœ œœ œœ
x
b 51 n œœ n # œœ œœ œœ œ n úú ‰ n œœ œœ A œ
3
b
52
V œ J
3
then you might un - der - stand that a girl can drive a man cra -
j œ
? b b œœ # œœ œœ œœ œ úú œ œœ œ œ œœ œ
3
œ
œ ‰ œ J œ
#œ
nœ œ œ
3
j j
œ œœ ..
hand.
œ œ œœ œœ œœ œœ œ
b ‰ œ œœ b œœ œœ œ œœ úú
54
Vb J
55 56
J
- zy, and she'll have you in the palm of her hand.
j j hand.
œœ œœ .. œ œ œ œ ú
? bb J œœ œœ œœ œœ œœ œœ
‰ œ œ
J
œ œ ú
25
Drivin' Me Crazy
Tag
j
hand.
b úú œ œ œ œœ b œ œ œ œ w œ œ . œ œœ
Vb œ œ œ œ œ œ œ œ œ œ œ œ œ. œ
57 58 59
Œ J J J
She'll have you in the palm of her hand. She's gon - na have you in the
j
hand.
? b
ú œ œ œ œ œ œ œœ œ w œ œ. œ œ
b ú œ œ œ œ œ œ œ w œ œ. œ œ
J
j
œ œ. wú wœrit..
hand.
b b œœ 60
Œ nœ œ . Aœ œ . œ nœ .
V J J J
61 62
‰
j j j
palm of her hand, of her hand, of her
bœ œ . N úú b œ œœ ..
œ œœ .. œ # œœ ..
? b b œœ Œ b œ œ.
J
b
‰ J œ b
J
b úú .. úúú n b œœ
#œ œœœ www www
Vb Œ
63 64 65 66
hand, her hand!
úw. Œ ú
úw #œbœ œ
œ
w
ww ww
w
? b
b
hand!
_____________________________________________________
Performance Notes
Bob "Diz" Disney started singing when he was 10 years old and joined the Barbershop Harmony Society in 1962, at age 15. Diz has
penned over 40 original compositions and more than 200 vocal arrangements. He is a three-time Mid-Atlantic District quartet
champion, and his quartet the B&O Connection earned a third-place medal in the 1979 international contest. Over the years he has
directed both men's and women's barbershop choruses, and has been a sought-after coach, arranger and composer.
Drivin' Me Crazy was written in 1989 and originally performed by another of Diz's quartets, Arcade, the 1992 Mid-Atlantic District
champion. Though originally intended to be an afterglow tune, this song is now frequently heard in shows and contests. It was
recorded and performed in competition by OC Times, the 2008 international quartet champion. It was also recorded by our 1992
champ, Keepsake.
Sing this piece smoothly, paying close attention to the rhythms that drive it. Though Drivin' Me Crazy is published primarily as sung
by OC Times, this version has been modified in a few places to make it more singable and to resemble more closely Diz's original
composition. The spots where OC Times breathes are faithfully notated, though your group certainly may make different choices.
The high notes sung by OC Times in the tag are provided as an option.
As a final note: Questions about the suitability of this or any other song/arrangement for competition should be directed to the
judging community and measured against current contest guidelines. Ask before you sing.
26
FROM THE FIRST HELLO

TO THE LAST GOODBYE
as sung by the Boston Common
Words and Music by JOHNNY BURKE Arrangement by LOU PERRY

Verse freely
3 œœ  œ œ œ œ œœ œ   Œ
Vb 4  œ œ œ œ œ  
1 2 3 4
œ
Tenor
Lead
Our song was a song of to - mor - row. Our
œœ  œœ œœ œ œ œœ œ  
Bari ? b 43 bœ œ œ   Œ
Bass
b N œ œ œœ œ œ  ..   œœ
œ
5 6 7 8
V  œ œ œ
hearts were as high as the sky. But
 œ œ œ œ œ  .. 
? œœ
b 
b œ œ œ œ œ
bœ œ œœ
V 
b œ œ œœ œœ œœ   ..
9 10 11 12
œ œ œ œ
songs are for - got - ten, and skies of - ten gray.
? b  œœ œœ œ œ œœ œœ œœ œœ
œ œ b œœ n

© 1956 (Renewed) MARKE-MUSIC PUBLISHING CO., INC.,

LIMERICK MUSIC CORPORATION, REGANESQUE MUSIC and MY DAD'S SONGS, INC.
All Rights on Behalf of MARKE-MUSIC PUBLISHING CO., INC. Administered by WB MUSIC CORP.
This Arrangement © 2014 MARKE-MUSIC PUBLISHING CO., INC.,
LIMERICK MUSIC CORPORATION, REGANESQUE MUSIC and MY DAD'S SONGS, INC.
All Rights Reserved
27
From the First Hello to the Last Goodbye
Chorus
j
V œœ
b œ œœ n  œœ œœ œœ .. A œœ  œœ  œœ œœ  ..
13 14 15 16 17
œ J
Nev - er - the - less, there is this I can say: From the first
j
? b œœ œœ œœ  œ œœ œœ .. œœ  œœ  œ œœ .
œ J œ .
 .. .
V b   .. N . œ nœ œ . œ nœ œ
18 19 20 21 22 23 24
. œ œ œ . . œœ œ
hel - lo to the last good - bye, it's been
?b .  . œ œ œ . . . œ œ œ
. . œ œ œ N . . . œ œ œ

n œœ  .. œ
V   œœ N     œ
b   œœ œœ
25 26 27 28 29 30
œ  œ
aw - f'ly nice to know you. So ex - cuse the part - ing
  œœ  .  œ n œ
? œœ .  œ œ
b  œ œ bœ  œ
b œ œ bœ   ..  . N . œ nœ œ
œ œœ œœ
31 32 33 34 35 36
V  . . œ œ œ
sigh. And I'll watch you go with my
? A œ œ  œ  œœ œœ . .  . œ œ œ
b  œ  . . . œ  œ œ
28
. . Œ Œ Œ
V b  . . œ  œœ b œ
37 38 39 40 41 42
. . œ œ œ  
head held high. You've been dear and sweet, a
? . . . œ  œœ 
b N . Œ Œ   Œ
. . œ
Nœ œœ   œœ .   œ œ
V b œ  œœ n œœ n  œœ . œ œ
43 44 45 46 47 48
plea - sure to meet, a spe - cial treat, say I, from the
œ œœ œ  .  œ œ
?b œ œ  œœ œ   œœ b .  œ œ
 œ 
last,
b N .  œœ  ..   n  œœ œœ N  ..
.
49 50 51 52 53
V
first hel - lo to the last
.
last,
?b  œ .   œ œœ œœ œ œœ
. n  œ .  œ
U
to the last good - bye.
54  Œ Œ
V b  55
œ œ
56
œ œ œ
57
 ..
58
 ..
œ . .
good - bye.
to the last good - bye.
? b  Œ Œ œœ œ b œœ œ b œœ  .  .
œ œ . .
u
29
Optional ending
last, to the
N  .. œ œ œ  . œ œ
œ œ
Vb
53 54 55
last good - bye!

last, to the
œœ œ œœ œ . œ œ œ œœ
?b  œ
last good - bye!

œ . œ œ  ..  ..
Vb
56 57 58
last good - bye!
b œœ œœ b œœ  ..  ..
?
b
_____________________________________________________
Performance Notes
Johnny Burke was a successful musician, active from the 1920s to the 1960s. He started working at the Irving Berlin Publishing
Company selling pianos and moonlighting as a pianist in dance bands and in the vaudeville scene. Burke collaborated as the lyricist
with many successful musicians, most notably Jimmy Van Heusen. Among his best remembered songs are Pennies From Heaven,
Imagination, Moonlight Becomes You, and Swingin' on a Star, the last of which won Burke an Academy Award.
Arranger Lou Perry is considered one of the finest barbershop arrangers the Barbershop Harmony Society ever had. Known for
writing very singable arrangements, his style is studied by both the new arranger as well as the veteran. Lou wrote many lasting
arrangements, among them being From the First Hello to the Last Goodbye, That Old Quartet of Mine, Little Pal, and Smilin'
Through.
From the First Hello is one of the most enduring barbershop arrangements. Its gentle range makes it an excellent song for the
everyman, yet its profound lyric keeps it in the repertoire of the most polished ensembles. A signature song for the Boston Common,
this arrangement features a beautiful, straight-forward lyric with no frills or unnecessary movements. Although the Common used
the lower ending, a secondary, more climactic tag emerged as a viable option.
30
GOODBYE, MY CONEY ISLAND BABY

/ WE ALL FALL Medley
Arrangement by the
BARBERSHOP HARMONY SOCIETY
GOODBYE, MY CONEY ISLAND BABY Words and Music by LES APPLEGATE
% j j
j j
b 4 œ œœ œœ œœ œœ œœ œœ n œœ ‰ n œœ ..  Aœ œ œœ œœ œ
Vb 4 œ œ œ œ
1 2 3
J J J J
Tenor
Lead
j j
Oh, good-bye, my Con-ey Is-land ba - by. Fare - well, my own true
j j œ.  œ œ œœ œ œ
? b b 44 œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ.  œ œ œ œ
Bari
J J
Bass
J J
j j
love, true love.
b b4œ
V . œ œ Œ
5
œœ œœ œœ œœ œœ œœ n œœ 6
‰ n œœ .. 

J J
love. I'm gon - na go a - way and leave you,
love, true love.
œ œ Œ j j
? b œœ n  œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ.
‰ œ.


b
J J
love, true love. My hon - ey,
j j
b nœ œ . œ œ œ œ œ
V b œ œ. œ œ œ œ œ
7 8
∑
9
œœ œœ œœ œœ œœ œœ n œœ
J J
nev - er to see you an - y, I'm gon - na sail up - on that
j j
? b b œœ œœ .. œœ œœ œœ œœ œœ œ . œ œ œ ∑ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
J J
nev - er gon - na see you an - y,
© 1948 (Renewed 1975) by MILLS MUSIC, INC.

Exclusive Worldwide Print Rights Administered by ALFRED MUSIC
This Arrangement © 2014 MILLS MUSIC, INC.
All Rights Reserved
31
Goodbye, My Coney Island Baby / We All Fall Medley
j
ritard (2nd time only)
Œ
b b 10‰ n œœ œœ  A œ œ œœ œœ œœ
œ œ  œœ   .. œ
11 12
V J 
fer - ry boat, nev - er to re - turn a - gain. So
a - gain, re - turn a - gain.
j œ n œ œ œœ œ
? b ‰ œœ œ  œ œ œ œ b œœ œ œ  œœ œœ œœ
b œ  œ œ Œ
J
j j
freely (2nd time only) a tempo (2nd time)
œ œ n œj œ
So long for-ev - er.
b 13 œ ∑ œ œœ œœ œ œœ œ œœ œœ
b œ. ‰ J œ nœ
14 15
V J  ∑
‰ . œj œ œ œ  œ œ œ
good - bye. Good-bye, my Con - ey Isle,
j
Fare - well.
? b  bœ œ . ∑ nœ  œ œ
b
∑  Œ ‰ J
bm bm de -
j
To Coda ﬁ j
b œœ œœ œœ œœ n œœ œœ œœ œœ œœ œ œœ œ œœ œœ œ
Vb ‰ ‰ J œ nœ œ
16 17
‰ . œj œ N œ ‰ œj œ N œ œ  œ œ œ œ
good - bye, my Con - ey Isle, good-bye, my Con - ey Is - land,
? bb  œ  œ œ œœ w
œ
hi de - ho
WE ALL FALL (1911) Words and Music by JOE GOODWIN and GEORGE W. MEYER
j j œ
b œ œ œ œ ‰ œJ œœ œœ œœ œœ œœ
n œ ‰ Jœ œœ œ œœ œœ œœ
A œ
Vb œ œ œ œ
18 19 20
We all fall for some girl that dress-es neat, some girl that's got big feet;
? bb œ œ œ œ ‰ œj œ œ œ œ œ ‰œ . œj œ œœ œœ œœ œ
œ œ œ œœ œ. œ œ œ œ œ J œ œ
J
some girl some girl we
32
j j
b œ ‰ œJ œœ œœ œœ œœ œœ
n œ
V b ‰ œJ œœ œœ œœ œœ œ
œ œœ œ œœ œœ
21 22 23
œ
we meet her on the street. Then we'll join the ar - my of mar-ried boobs,
j
? b ‰ . œ œ œ œ œ œœ ‰ œj œ œ œ œ œ
b œ œ œ œ œœ œœ œœ œœ œ œ. œ œ œ œ
J J
meet ar - my
b b n œœ œœ œœ œœ ∑ œœ œ œœ œœ
24 25 26
V œ
to the al - tar, When it's o - ver,
? b b œœ œœ œœ œœ œ œ œ œ ∑œ œ œ œ œœ œœ œœ œœ œ
just like lead - ing lambs to slaugh - ter. oh
j U
rit.
b n œ œ œœ œœ œœ œ A œ œ œœ œœ œœ  œœ ww
V b ‰ Jœ œ œ œ
27 28 29
œ
oh boy, we get it good; bach - 'lor days we then re - call.
‰ œj œ œ œ œ œ
re - call, we then re-call.
œ n œ œ œœ œ bœ œ œ  œœ œœ 
? bb œ . œ œ œ œ œ œ œ œ œ œ œ
J u
boy,
D.S.%al Coda
slower
U j œj U
b b N œœ œœ œœ œœ œœ œœ œœ œœ
30 31
n œœ œœ œœ œœ œœ œœ  œœ 32 œœ œœ œ œœ œœ 
V J J
Rich man, poor man, beg-gar man, thief, doc - tor, law-yer, mer-chant, chief, we all are bound for,
j j
? b b n œœ œœ œœ œœ œœ œœ œœ œœ A œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ 
u J J u
33
ﬁ Codaj
b œ œ œ œ œœ œœ œœ ww w w
Vb ‰ J œ œ œ
œ œ œ w w
33 34 35 36
j
good-bye, my Con - ey Is - land babe!
‰ œ œ œ œ œœ œ œ wœ
? bb w œ œ œ œ œ w w
w w
– ho Bye, my Con-ey Is-land babe!
_____________________________________________________
Performance Notes
Joe Goodwin (1889-1943) and George Meyer (1884-1959) wrote We All Fall in 1911. Goodwin also wrote Baby Shoes; Gee, But I
Hate To Go Home Alone; I'm Knee Deep In Daises; When You're Smiling; and Everywhere You Go. Meyer gave us When You're a
Long, Long Way From Home; My Mother's Rosary; Where Did Robinson Crusoe Go with Friday on Saturday Night?; For Me and
My Gal; Mandy, Make Up Your Mind; and many others.
Les Applegate is best known noted for writing Coney Island Baby. Applegate was a professional entertainer in vaudeville,
minstrel shows, burlesque shows, radio and movies. He sang bass in a number of quartets, developing and coaching many others,
years before the Barbershop Harmony Society was formed.
A 1945 issue of the Society's official magazine, The Harmonizer, contained this letter from Les: "I swell with pride when I come
to Coney Island Baby. It was not unusual back in tabloid show days to frame a song to fit a certain situation in a play, not
originally written by the author. Sometimes a tune was 'framed up' overnight to feature a certain character doing a lead part and
tried out the next day in the show.
"Such a situation arose in Muncie [Indiana] in 1924, when we were doing a condensed version of the musical comedy No, No,
Nanette. The second act called for the male performers to bid Nanette a mock farewell on the beach and it seemed better theatre
for them to sing it rather than speak it. Nanette, being a swell baby—on a beach—and the only beach we knew of being Coney
Island, I put them together and the result was Coney Island Baby. When it was rehearsed and revamped a bit it made a very
appropriate number. In later years I used the song with numerous quartets at a faster tempo and for comedy effects."
What Applegate doesn't tell us is that We All Fall is another song that had been written by Goodman and Meyer back in 1911. He
had "borrowed" it and used it in his medley. We don't know if permission was granted or not for incorporating We All Fall, but
this medley has become one of the most popular barbershop arrangements ever.
This medley—one which Applegate may have put together himself—has become one of the most popular barbershop
arrangements of all time. The traditional way of interpreting it is to keep a steady tempo the first time through. On the repeat, be
sure to slow measures 11-12, holding the last chord in 12. Sing measures 13-14 freestyle, going back to tempo at the bass pickup
to measure 15.
34
HELLO MARY LOU

(GOODBYE HEART)
Words and Music by GENE PITNEY Arrangement by DAVID WRIGHT

and CAYET MANGIARACINA
Verse 1
b b C œ 1
œ œ œ 2
 œœ œœ œœ 
3
œ œœ œœ œœ
Tenor
Lead V œ œ œ œ œ
Passed me by one sum - mer day, flashed those big brown
? b C œœ œ œ œ œ œœ œ  œ œœ œ œ
Bari
b œ œ œ œ œ  œ œ œ
Bass
j
b œ œœ œœ .. œœ 5 œœ œœ œœ œœ œœ œœ œœ œœ n œ œœ w n
Vb œ œ
4 6 7
J
eyes my way, and, oh, I want - ed you for - ev - er - more.
j œœ œœ œ
? b bœ œ œœ .. œœ œ œ
œ
œœ œœ œ œ œ œ  
b bœ œ J œ
b b 8  .. Œ
9
œ œœ œœ œœ
10
 œœ œœ œœ 
11
bœ œœ œœ œœ
V œ œ
I'm not one that gets a - round, swear my feet stuck
Œ
? b b œ . œ œ œ œœ œœ œœ œœ œœ œœ œ 
œ 
œœ œœ œœ œœ
œ œ œ
Now, ba - by,
Copyright © 1960, 1961 SONGS OF UNIVERSAL, INC. and UNICHAPPELL MUSIC, INC.
Copyright Renewed
This Arrangement Copyright © 2014 SONGS OF UNIVERSAL, INC. and UNICHAPPELL MUSIC, INC.
All Rights Reserved Used by Permission
Reprinted by permission of Hal Leonard Corporation
35
Hello Mary Lou
j
b b œœ
b œœ b œœ œœ .. œœ N œœ œœ n œœ œœ b œœ œœ œœ œœ œœ
12 13 14
V J
to the ground. And though I nev - er did meet you be -
j œœ œœ œœ
? bb œœ œœ œœ œœ .. œœ œ œœ œœ œœ œœ œœ
J œ
Chorus 1
b
b w
15

16
œœ œ œ œ
17
 œ œ œ 18
w
V œ œ nœ  œ œ œ w
fore, I said hel - lo, Mar - y Lou,
? b b    œ  œ œ œ w
Œ œ  œ œ œ  œ œ
good - bye,
b  œœ . œ œœ œœ œœ œœ œœ œœ œœ n œœ œ œœ
b Œ  . œ
19 20 21 22
V
good - bye, heart. Sweet Mar - y Lou, I'm so in love with
Œ  œ . œ œ œ œœ œœ œœ œ œ œ œ œ
? bb w œ œ œ œ œ œ œ œ
Œ
heart. I said, sweet
23  
b
b w n 24
Œ œ 25
 œ œ œ 26
w
V œ  œ œ œ w
you. I knew, Mar - y Lou,
œ . Œ  œ œ œ w
? b b  œ
J
œ œ œ
œ
œ w  œ
Œ
you. I'm in love with Mar - y Lou. that
36
Hello Mary Lou
j j j
b Œ  œœ œœ œœ œ 28
 œ œ n œœ  n œœ œœ b œœ  œœ œœ ..
Vb œ  œ œ
27 29 30
J J J
j
we'd nev - er part, so hel - lo, Mar - y Lou, good - bye,
Œ j œ  œ œ j
? b  œ œœ œœ œ  œ œ œ  œ œ œœ  œœ œœ ..
b J J œ  œ œ J
we'd
Verse 2
j j ‰ j ‰
heart, good - bye, heart. nn - dote nn - dote
b  ..
V b w œ œ . Œ œ œ œ œ
31 32 33
œ œ œ œ
heart. Saw your lips, I
j j
œœj œœ ..
heart, good - bye, heart. nn - dote nn - dote
? bb   .. œ œ ‰ œ œ ‰
  Œ  œœ œ
J
doom doom doom
j ‰ j j j
œœ ‰ œœ œœ ‰ œœ ‰ œ
nn - dote doe nn - dote nn - dote nn - dote doe
b  œ œœ
V b  œœ œœ œ
34 35 36
œ. œ œ
J
heard your voice. Be - lieve me, I just had no choice. Wild
j
œ ‰  œ œ
j
œ ‰ œœ
j
œ ‰ œj ‰ œ
nn - dote doe nn - dote nn - dote nn - dote doe
? bb œ œ bœ
œ œ b œ œ
doom doo - be doom doom doom doom doom doo - be doom
j‰
oh nn - dote nn - doe
b b 37wœ œ œ œ œ
38
œ œ n œ œ
39 œ
w œ nœ œ
V
hors - es could - n't make me stay a - way.
j
oh nn - dote nn - doe
œ
? b b wœ œ œ œ œ œ œ œ œ œ œ œ œœ . œ ‰ œœ . œ œ
J
doo - be doo - be doo - be doo - be doo - be doom doom doom doom doo be
37
Hello Mary Lou
 ..
day
bb Œ œ œ œ œ œ  œœ œœ 
40 41 42
V œ œ œ œ œ 
Thought a - bout a moon - lit night,
day doom doo - be doom doo - be doom doo - be doo - be doom
? b œ . Œ œœ œ œ œ œ œ œœ œœ œœ œ œ œœ
b œ œ œœ œ œ œ œ œ œ œ
œ œ
day bum bum bum
b
V b b œœ œœ œœ œœ œœ b œœ œœ b œœ œœ
43 44
arms a - bout you good an' tight. That's

doom doo - be doom doo - be doom doo - be doo - be doom
? bb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b N œœ œœ n œœ œœ œœ A œœ œœ œœ œœ
48
b w  œœ
45 46 47
V
all I need to see for me to stay.
ah doom doo - be doom doo - be day
? bb   ww œ œ œ œœ œœ œœ œ
  œ œ œ œ
Chorus 2 good - bye, heart.
b  œ œ œ  œ œ w . œ
V b œœ œœ n œœ œ .
52
 œ
49 50 51
 œ œ œ w Œ
Hey, hey, hel - lo, Mar - y Lou, good - bye, heart. Sweet
 œ œ œ w Œ  œ . œ
? b  œ œ œ w œ œ œ
b œ  œ œ œ  Œ
good - bye, heart. I said, sweet
38
Hello Mary Lou
53 œ œœ œœ œœ œœ œœ œœ n œœ œ œ w 
b
b œ
54
œ
55
n 56
Œ œ
V œ
Mar - y Lou, I'm so in love with you. I
Œ œ
? b œœ œ œœ œœ
œ
œœ œ œ œ œ œ
œ œ
 œ . œ œ œ œ œ
b œ J
you. I'm in love with Mar - y
j j j
we'd nev - er part,
b  œ œ œ œ œ n œ œ .  œ œœ œœ œ 60
 œ œ œœ
Vb  œ  œ œ
57 58 59
œ œ œ   Œ J J
j
knew, Mar - y Lou, we'd nev - er part, so hel - lo,
j œœ  œœ nœ
? b w œ œ œ  
œ œ .
Œ

œ œ œ
œ œ œœ œ
b œ œ J J J
Lou. we'd nev - er part,
 œ j j
œ œ  œœ œ . b œ bœ . 
bb
61
 œ
62
œ œ  J œ.  œ b œ. Œ
63 64
V 
J
j
Mar - y Lou, good - bye, heart, good - bye, heart.


nœ
œ
œ bœ  œ œ.   œj n œ . n
? b œ œ  œ œ.  n œ b œ.  Œ
b J J
Tag
b b œ 65
n  œœ œœ b œœ 66
 .. Œ
67
b b œœ œœ œœ œœ 68
œœ N  œœ
V œ
Hel - lo, Mar - y Lou. I'm in love with you. Yes, hel -
? b b œœ A œ œœ œœ  ..
Œ b œœ œœ œœ b œœ œœ n  œœ
 œ
39
Hello Mary Lou
 œ œ œ ww b œœ œœ œœ n œœ œœ n œœ œœ œœ
b n  œ bœ
70
œ
72
Vb Œ
69 71
lo, Mar - y Lou. Right from the start I said hel -
nœ œ Œ bœ œ œ œ
 œ œ œœ w œ œ w œw œ œ œ
? b œ
b Œ
Mar - y Lou, good - bye, heart!
j ww ww
b A  œœ œœ b œœ 74
 b œœ œœ ..
Vb
73 75
J
76
lo, Mar - y Lou, good - bye, heart!

j
b w œ œ œ w œ œ. ww ww
? b
b
___________________________________________________
Performance Notes
Gene Pitney (1940-2006) was an American singer and songwriter. Among the 16 Top 40 hits he sang were Blue Angel, Only Love
Can Break a Heart, Town Without Pity and (The Man Who Shot) Liberty Valance. He also wrote such tunes as Rubber Ball,
recorded by Bobby Vee; He's a Rebel, by the Crystals; and the Ricky Nelson pop classic Hello Mary Lou.
David Wright, hailing from St. Louis, Mo., is well-known in the barbershop world as an arranger, composer, director, coach, singer,
judge and historian. His quartet the Quadratic Equation won the Central States District championship in 1979. David has long
been a key member of the St. Charles (Mo.) Ambassadors of Harmony, a three-time (and counting) winner of the Barbershop
Harmony Society's (BHS) international contest. David was the primary architect of the Music category and served as its first
category specialist in the BHS's contest and judging system. He is a member of the BHS's Hall of Fame and a recipient of the Joe
Liles Lifetime Achievement Award. David's arrangements have been performed by many men's and women's international
champions, as well as everyday groups all around the world.
An effective performance of this arrangement will feature a lively tempo and an accentuated rhythm. Within this framework,
performers should feel free to experiment with lyrical inflection and variations in rhythms to give the phrases personality. This
barbershop standard is bound to be a favorite of your group and your audiences.
40
I DON'T KNOW WHY

(I JUST DO)
Words by ROY TURK Music by FRED E. AHLERT

Arrangement by MEL KNIGHT
j
ŒÂ = Œ Ç‰
j j
Intro
b œœ œœ œœ œœ œœ œœ œœ  n œœ œœ œœ  n œœ œœ œ œ .
Vb c œ œ.
1 2
J J J
Tenor
Lead
j
My mind is kind - a haz - y. I must be go - in' cra - zy.
b œœ j j œ œœ œœ œœ n œ œ .
? bb c œœ œœ œœ œœ œœ œœ œ œ œ.
Bari
J œ œ J
J
Bass
j Chorus 1
j
bb 3 N n œœ œœ .. œœ œ œ b œœ
œ œ
4
 
5
œ œ œ œ œ. œ
V J œ œ œ œ œ. œ
J
j j
Ba - by, what can I do? I don't know why I
? bb A œœ œœ .. œœ œœ œœ œœ œ œ œ 
œ œ
œ œ œ œ œ. œ
J œ œ œ œ œ. œ
J
bm bm bm bm
b œ œ œœ œ  œ œ œ
œ œ œ n œœ œœ œœ œœ Aw
3
b
6 7 8
V œ œ œ œ œ  w
3
love you like I do. I don't know why, I just do.
do, I just do.
œ œ œ œ nœ bœ œ 
? bb œ œ œ n œ œ  œ œ œ  œœ œœ œœ œœ
3
œ œ œ œ œ  Nw
3
TRO-© Copyright 1931 (Renewed) Cromwell Music, Inc. (ASCAP), New York, NY, Pencil Mark Music (ASCAP), Mamaroneck, New York, Azure
Pearl Music (ASCAP)/Beeping Good Music (ASCAP)/David Ahlert Music (ASCAP)(Administered by Bluewater Music Services Corp., Nashville, TN)
All Rights for Pencil Mark Music Administered by BMG Rights Management (US) LLC
All Rights for Azure Pearl Music, Beeping Good Music and David Ahlert Music Administered by Bluewater Music Services Corp.
International Copyright Secured
All Rights Reserved Including Public Performance For Profit Used by Permission
Used by Permission of BLUEWATER MUSIC SERVICES CORP. on behalf of Azure Pearl Music, Beeping Good Music and David Ahlert Music
41
I Don't Know Why (I Just Do)
j
bb 9 œœ œœ œœ œœ œœ . œœ œœ œœ œœ œœ  œœ œœ œœ œœ œœ œœ œœ
.
10 11
V
J
j
I don't know why, you thrill me like you do. I don't know why, you just
œ œ œ œ œ. œœ œ œ œ œ  œœ œœ œœ œœ œœ œœ œœ
? b œ œ œ œ œ. œ œ œ œ 
b J
do, yes, you do.

j j j
b 12 œ œ b œ œ  œœ  œœ œœ n œœ œœ œœ œ n  b œœ .. œ
b . nœ
13 14
V
‰ Jœ J J œ
J
do. You nev - er seem to want my ro - manc - ing. The
j j j j
? bb œ . œ  œ œ œœ  œœ n œœ œœ œœ A  œœ .. œ
œ œ b œ œ  œ nœ J J œ
J
do, yes, you do.
on
j -
j ly
j
b œ œ n œ œœ œœ A œœ œœ n œ b œ œ œ œ œ œ. œ
V b œ œ œ œ œJ
15 16 17
J œ bœ œ œ œ œ œ. œ
J
on - ly time you hold me is when we're danc - ing. I don't know why I
j
j œ œœj
on - ly
? b b œœ œœ œœ œ œœ œœ œ œ œ œ œ œ œ. œ
J œ bœ œ œ œ œ œ. œ
J J
œœ œœ b œœ 
do. It's true.
œ œ œ œ  œœ œœ œœ œ nœ 
3
b b œw 
œ œ œ bœ 
18 19 20
V
3
love you like I do. I don't know why, I just do.
œ œ œ
do. It's true.
? b b n œœ œœ œœ b œœ n 
3
œ œœ œœ œœ œœ   œœ  
œ œ œ œ 
3
42
Chorus 2

I don't know why I do. I don't know why, I just
œ œ
 œ œ œ œ œœ . œ œ œ ‹œ œ œ œ œ œ œ  œœ œœ œœ
21 22 23
V œ œ œ œ œ œ
J
I don't know why I love you like I do. Oh, I don't know why, I just
œ œ
I don't know why I do. I don't know why, I just
?   œ œ œ œœ œ œ œ
  œ œ œ œ œ œ œ ‹ œœ œ œœ

do, I do. Don't know why you thrill me too. I
 N œw œ œ  œœ œ œœ œ œœ
.
œ œ œœ œ œœ œ œ œ
24 25 26
V J
do. I don't know why you thrill me like you do.
do, I do. Don't know why you thrill me too. I
œ œ œ  œ œ œ œ
?  œ œ œ  œ œ œ œ œœ œœ œœ œœ

j j
 œœ ‹ œœ œœ  œœ œœ œœ  œœ
don't know why, you just do, you do.
 œœ œ œœ œ œœ œœ œœ œ. ‹œ 
27 28 29
V  ‰ œJ J J
I don't know why, you just do. You nev - er seem to want my ro -
j j
don't know why you just do, you do.
?  œœ œœ n œ œœ  œœ œœ œœ  œ  œ  œœ œœ ‹ œœ  œœ œœ œœ
 œ œ J J
j 31 on - ly j j
 œ nœ œ nnnn
   n œœ .. œ œœ
œ
œœ  œœ œœ œœ 32 N œœ
œ J œ œ nœ n
30
V œ J
J
manc ing; the on - ly time you hold me is when we're danc - ing.
j j j
on - ly
?  N œ œœ .. œ œ œœ œœ œœ œœ œœ œœ œœ n œœ nnnn
 œ œ œ J n
J J
43
j
Tag
œ œ œ œ œ. œ œ œ œ œ   œœ b œœ
V œ œ œ œ œ. œ œ œ bœ 
33 34 35
œ
J
I don't know why I love you like I do. I don't know
œ œ j 
œ œ œ œ œ  œ
? œ œ œœ œœ œœ .. œ œ œ œ bœ n  œœ œ
J
j j j j
love you the way
I
36  œœ œœ .. 37
ww 38
œw œ œ œ œ.
V J
why, I just do.
j j j j
œœ œœ .. ‰ œj œ œ œ . j
I don't know why I love you the way I
?  J w œ œœ œœ œœ œœ b œœ ..
J J J
do.
j
Optional ending
œ
b œ œœ .. N ww
do. do.
w ww 
V  œ œ.
39 40 39 40
J J
I just do. I just do.
do. do.
j w
? ww w  Nœ œ.
w w w
do.
____________________________________________________
Performance Notes
Lyricist Roy Turk (1892-1934) collaborated with songwriter Fred E. Ahlert (1892-1953) to write many well-known popular
songs. These include Mean to Me, Walkin' My Baby Back Home and I'll Get By, to mention just a few.
Mel Knight has had a number of arrangements published by the Barbershop Harmony Society. In addition to arranging, Mel
has been a chorus director, coach and quartet singer, currently with the 2000 International Senior Champion, Over Time.
This arrangement should be sung in a smooth, laid-back swing style from beginning to end. The optional ending may be used
should a quartet or chorus choose to use a more consonant ending.
44
I'VE BEEN WORKING ON THE RAILROAD

(1894)
TRADITIONAL Arrangement by ROGER PAYNE

U j
j
b œœ œœ .. n œœ œœ . œœ
Intro freely
b œ œœ œœ œœ œœ .
Vb c œ
1 2
Tenor
Lead J J
Hel - lo, neigh - bor, wel - come a - board. Yes,
j j
a - board, all a - board.
j œ bœ œ
? b c œ œ œœ œœ .. œœ œœ œœ œœ œ b œ n œœ b œ
Bari
b œ œ J J J
Bass
u
a - board, a - board.
j j
a tempo
œ
œ A  œœ œ n œœ
Chorus 1
j
bb œœ œœ 4 A œœ œœ œœ  œœ .. œ œœ œ œœ œœ œœ
3 5
V J J œ œ
J
ev - 'ry - thing's fine all a - long the line. I've been work - in' on the
N œœ j j j
œœ œœ œœ œœ œ œ œœ  œœ .. œ œ œ œ œ œœ
? bb J œ œœ œ œ œ œ œ œ
J J
j
b œœ œœ  œœ .. œœ œ bœ ww
b J œ œ
6 7 8
V
j
rail - road all the live - long day.
? b b œ œ b  œœ . œœ œœ œœ  
. œ œ
J
live - long, live - long day.
This Arrangement © 2015 by ROGER PAYNE c/o S.P.E.B.S.Q.S.A., Inc.
Used by Permission
45
I've Been Working on the Railroad
b 9 ‰ œœ j œœ  œœ œ n œœ œœ
V b œ œœ œ œœ œœ œœ 10
œ
11
n œœ œœ œœ œœ
œ œ
J
I've been work - in' on the rail - road just to pass the time a -
j œœ œœ n œœ œœ
a -
? b ‰ œ œ œ œ œ œ œœ œ A œœ œœ œœ œ
b œ œ œ œ œ œ œ
J
j
b b A ww
12
‰ œœ
13
œœ n œœ œœ œœ œœ 14 œ
 œ 
V J 
way. Can't ya hear the whis - tle blow - ing,
‰ j
way, a - way.
? b œœ œœ œœ œ œ. œ œœ b œœ n œœ œœ œœ bœ œœ 
b œ J œ 
Oh, can't
j j
b œ œœ
œ œœ œ œ œ œ  ww j
b J œ œ œ œ ‰ œœ œœ b œœ œœ œœ œœ
15 16 17
V J J
j j
rise up so ear - ly in the morn. Can't ya hear the cap - tain
? b b œ œœ
œ œœ œœ œœ œœ œœ   œ j
 œœ œœ œœ œœ œœ
‰ œ
J J J
U
j
rit. a tempo
œœ
blow your horn!"
b œœ n  œœ ‰ n œœ b œœ
V b œœ œw œ 
18 19 20
J
shout - ing, "Di - nah, blow your horn!"
j
your, blow your horn!"
œ b
? b b œœ œ b  œœ œœ
‰
œœ œœ œœ œœ 
J
u
46
b . œ œ œ  œ. œ œ œ n œ A œœ . œ œ œ n œ b œ
V b œœ . œ œ œ  œ. œ œ œ . œ œ œ œ œ
21 22 23
œ
Di - nah, won't you blow, Di - nah, won't you blow, Di - nah, won't you blow your
? b b œ .. œ œ œ b  œ œ
œ œ œ œ œ .. œœ œœ œœ œœ œ
œ œœ .. œœ œœ œœ œœ œ
œ œ
Di - nah, Di - nah, won't you blow, Di - nah,
b
b  .. œ œ œ . œ œ œ 
Œ œ. œ œ œ 
24 25 26
V œ. œ œ œ
horn. Di - nah, won't you blow, Di - nah, won't you blow,
nœ œ
Di - nah, Di - nah, won't you blow, Di - nah,
? b b  .. œ œ œ .. œ b œœ œœ  œ œ
 Œ œ œ œ œ 
j j
Chorus 2
œ œ. œœ œ œœ œœ œ
b œ ‰ n œœ b œ 28ww bb b 29 œœ
V b J œ. œ
27
J
j
come on, blow your horn. I've been work - in'
nœ bœ . j œ œ œ
your, blow your horn.
? bb œ œ .
J
œ b œ
‰ œ b œ œ œ b  bb b œœ . œ
œ
œ œ œ
œ
J J
your horn. I've been work - in' on the
j
œ œ œœ .. œœ œœ œœ 
bbb
30
œ œ b œœ œœ 31 32  
V J
j
rail - road 'cause I'm a rail - road man.
œ œ b œœ œœ .. œœ œ b œœ 
? bb œ œ J œ 

b
47

j
b b ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ  œœ œœ œœ œœ œœ œœ œœ œœ
b 
33 34 35
V J
j
I've been work - in' on the rail - road, click-et - y - clack, click-et - y - clack
œ œ œ œ œ œœ
? b b ‰ œœ œ œ œœ œ
œ n œ  œ œ n œœ œ œ œœ
œ œœ œ œ œœ
b J
rail - road just to make those trains go
 j œœ
b . œ œ nœ   ‰ œœ œœ  œœ œœ œœ œœ n œœ n n œœ œœ
V b b œœ . œ œ  œ 
36 37 38
J
B b = A
fast as I can. Can't ya hear the whis- tle, whoo, whoo, whoo, whoo,
j
? b b A œœ .. œœ œœ   œœ   ‰ œœ œœ n œœ  œœ œœ œœ  œœ n œœ  œœ œœ
b  J
j j œ
 n œœ œœ œ œœ 40‹ œœ œœ œœ  ‹ œ œ œ œœ œ
 ‰ œ ‰ œœ œ œ
39 41
V J J œ
j
rise up. Man, I hate get - tin' up. Can't ya hear the cap - tain
j œ nœ œ œ œ
?  œœ œ œ œ œœ œ œ  œ
Nœ ‰ œ œ œ œ ‰ œ œ œ œ œ œ
 J J
  œ œœ ‹  œœj  n n œœ
j
œœ œœ œœ
œ Œ ‰ ‰
42

43 44
V  J J
shout - ing, "Get to work, get to work!" Yes,
a œ Œ j j
?  œ œ œ
‰ œ œ  œ œ n‰ . œ œ œ œœ
  .
"Get to work, get to work!"
48
j
 œœ
Tag
 œ. ‹ œœ œœ œœ n œœ œœ œœ 
 œ.
45 46
V J
j
I'll be work - in' on the rail - road all
œ. œ œœ œœ œœ œœ œœ œœ œœ œ œœ
?  œ J œ
 J
U
day.
 wœ . nœ œ n wœ œ. 
 J
47
V
48
‰ u
j
day, live - long day!
œœ . ‰ nn œœ œœ œœ œœ .. 
?  œ œ J
 u
all the
_____________________________________________________
Performance Notes
I've Been Working on the Railraod is a 19th-century American folk song. Its origins are unknown, but it may have been adapted
by Irish railroad workers in the West from an old hymn. Regardless of how the song came to be, most of us have sung it as
children at school or camp.
The late Roger Payne created this arrangement to sing in contest with a brand-new barbershopper, and it proved to be such a huge
success that it was quickly picked up by many quartets from novices to champs. Roger's arrangements are widely sung and
include the previously published One for My Baby.
The song should be sung at a moderately fast tempo. Your audiences are sure to be delighted by your performance of this
traditional song.
49
LIDA ROSE / WILL I EVER TELL YOU

8 parts men/women
Words and Music by Arrangement by MO RECTOR

MEREDITH WILLSON and NANCY BERGMAN
Intro ŒÂ = Œ Ç‰
œœ œœ # œœ œœ ú b úú œ œœ œ œœ # ww
Vb c Œ Œ œ œ
1 2 3 4
ú
Tenor
Lead
Men So here is my love song, not fan -cy or fine.
Œ œ
?b c Œ œ œ œ œ ú ú ú œœ œœ b œœ w
ú
ú
Bari
Bass œ œ œ œ ú ú
not
N œœ # œœ œœ œ œ œ ú ú # úú ww
b Œ ú
5 6 7 8
V œ œ œ ú
Li - da Rose, oh, won't you be mine, be mine?
œœ œœ œœ œ œ œ ú úú # úú ww
?b Œ œ œ ú
œ
Chorus 1
œ œ œ œ # œœ # œœ œœ œ œ œœ œœ œœ œœ œœ n # œœj œœ ..
Vb Œ œ #œ œ
9 10 11
œ œ œ J
Li - da Rose, I'm home a - gain, Rose, to get the sun back in the
?b Œ
œ n œœ œœ
œ
œœ
# œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœj œœ ..
J
© 1957 (Renewed) FRANK MUSIC CORP. and MEREDITH WILLSON MUSIC

This Arrangement © 2014 FRANK MUSIC CORP. and MEREDITH WILLSON MUSIC
All Rights Reserved
50
Lida Rose / Will I Ever Tell You
w œœ # œ œœ œ n œœ # # œœ œœ œœ œœ œœ œœ œœ
V w
b Œ œ
12 13 14
œ
sky. Li - da Rose, I'm home a - gain, Rose, a - bout a
œœ n œ œœ b œœ œ œ
? w Œ #œ # œœ n œœ # œœ # œ œ œœ n œœ # œœ
b w
j
œœ œœ œ œœ bw úú úú ú. œœ b œœ œœ .. œ œœ œ œœ
b nœ w œ œ
15 16 17 18 19
V ú. J
j
thou - sand kiss - es shy. Ding, dong, ding! I can hear the chap - el bell
œœ œœ # œœ œœ ú bú. œ œ N œœ .. œœ œœ œœ œ
? ww ú
ú. bœ
b ú ú œ œ J
j
b # ww Nú ú ú. œ œ œ œœ œœ œœ ‰ œJ n # œœ œœ b œœ
œ œ
ú
20 21 22 23 24
V ú ú. œ œ œ œ
j
chime. Ding, dong, ding! At the least sug - ges - tion I'll pop the ques - tion.
?b w nú ú nú. œ œ Aœ nœ bœ œ œœ # œœ œœ œ œ
w ú ‰ J
ú ú. œ œ œ œ œ œ œ œ
b Œ
œ œ œ œ # œœ # œœ œœ œ œ œœ œœ œœ œœ œœ n # œœj œœ .. ww
œ #œ œ
25 26 27 28
V J
œ œ œ
Li - da Rose, I'm home a - gain, Rose, with - out a sweet - heart to my name.
? b Œ œœ n œœ œœ œœ
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœj œœ .. ww
J
51
œœ # œ œœ œ n œœ # # œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ
Vb Œ œ
29 30 31
œ
Li - da Rose, now ev - 'ry - one knows that I am hop - ing you're the
? œœ # n œœ œœ b œœ # œœ n œœ # œœ # œœ œœ œœ n œœ # œœ œœ œœ # œœ œœ
b Œ
úú # úú œ
Vb
b Œ N œœ œœ # œœ œœ ú b úú œ
Œ œ œ
œ œ
œ œ
# ww
32 33 34 35 36
ú
same. So, here is my love song, not fan - cy or fine.
úú Œ
?b ú
ú
œ œ œ
Œ œ œ œœ œ
ú
ú úú ú œ œœ œœ b œœ w
ú
ú
not
N œœ œ œœ œ œ œ ú
V b Œ #œ œ œœ # n œœ œœ œ œœ # n œœ œœ œ œœ œœ ww
37 38 39 40 41
œ œ œ ú œ œ œ
Li - da Rose, oh, won't you be mine? Li - da Rose, oh, Li - da Rose, oh, Li - da Rose.
? b Œ œœ œœ œœ œ œ œ ú
œ œ ú
œ œ œ œ œ
œ œ œœ œœ œœ œ œœ œœ wú
œ œ œ œ œ ú
Chorus 2
& b úú .. œœ úú .. œœ ww úú œœ œœ
x
# ww
42 43 44 45 46
Tenor
Lead
Women Dream of now, dream of then. Dream of a
Ê b ú. œ œœ ww œœ œœ
ú. œ # ww úú .. úú
Bari
Bass
52
ú úú Œ œœ # œœ œœ úú œ úú .. Œ œœ œœ œœ
x x
49 x
&b nú œ œ
47 48 50 51
œ #œ œ
love song that might have been. Do I love you? Oh, yes, I
Ê b # úú ú
nú Œ œ n œœ œœ bú œ n œœ œ ú ..
œ ú Œ œœ b œœ œœ
œ ú œ
& b œœ ú ..
52 53
∑ 54
n úú úú
55
Œ n œœ œœ œœ A œœ n œœ b œ œ
56
ú Œ œ œ #œ œ œ œ
love you. And I'll brave - ly tell you, but on - ly when we dream a -
Ê b œ ú. ∑ úú úú Œ œœ œœ œœ œœ œ œ œ
œ ú. œ œ œ
& b ww ú. œœ úú .. œœ ww
# ww
57 58 59 60 61
ú.
gain. Sweet and low, sweet and low,
Êb w ú. œ w úú .. œœ ww
w ú. œ #w
n úú úú Œ œœ # œœ œœ úú . # œ œ œ úú ..
x x x 65 x
& b úú œœ œœ
62 63 64 66
œ œ
how sweet the mem - 'ry, how long a - go. For - ev - er,
Êb ú œœ œœ # úú ú Œ œ n œœ œœ b úú œ # œœ N œœ úú ..
ú nú œ .
53
œœ œœ b œœ œœ ú . ∑ úú úú
&b Œ úú ú
67 68 69 70 71
ú. Œ œ œ #œ œ ú
oh, yes, for - ev - er. Will I ev - er tell you? Ah,
Êb Œ œ œ œ œ ú. ∑ ú ú ú úú
œ œ œ œ ú. ú ú ú
Chorus 3
& b ww ww ú. œœ
72 73 74
ú.
Tenor
Lead
Women no. Dream of
Ê ú. œ
b ww w
Bari
Bass
w ú. œ
œœ # n œœ œœ œœ # n œœ œœ œ œ œ œ
Vb Œ œ ú Œ œ #œ œ
72 73 74
Tenor
Lead
œ ú œ
Men
Li - da Rose, oh, Li - da Rose, oh, Li - da Rose, I'm
œ œ œœ
? œœ œœ œœ œ œœ œœ œœ ú œ n œœ œ
Bari
Bass b Œ œ ú
Œ
&b úú .. œœ ww
# ww
75 76 77
now, dream of then.
Êb œœ ww
# ww úú ..
œœ œœ n # œœj œœ .. ww
V b # œœ # œœ œœ œ œ œœ œœ œœ
75 76 77
œ œ J
j œ
home a - gain, Rose, to get the sun back in the sky.
œ œœ œœ œœ œœ œœ œœ œœ
? b #œ œœ œœ # œ œ ..
œ ww
J
54
n úú úú œœ # œœ œœ
x
&b úú œœ œœ Œ
78 79 x 80
Dream of a love song that might have
Êb úú œœ œœ # úú ú Œ œ œ œœ
nú œ nœ
œœ # œ œœ œ œœ œœ œœ œœ œœ œ œœ
Vb Œ œ n œœ # # œœ œœ œœ œœ nœ
78 79 80
œ
Li - da Rose, I'm home a - gain, Rose, a - bout a thou - sand kiss - es
?b Œ
œœ # n œœ œœ b œœ # œœ n œœ # œœ # œœ œœ œ n œ # œ
œ œ œ œœ œœ # œœ œœ
81 x
úú úú .. œœ œœ œœ œœ
&b œ œ œ Œ ú.
82 83 84
œ #œ œ ú.
been. Do I love you? Oh, yes, I love you.
Ê b bú œ n œœ œœ úú .. Œ œœ b œœ œœ œ ú.
ú œ œ ú.
j
b ww úú úú ú. œœ b œœ œœ .. œ œœ œ œœ
Vb œ œ
81 82 83 84
ú. J
j
shy. Ding, dong, ding! I can hear the cha - pel bell
ú bú. œ œ N œœ .. œœ œœ œœ œ
?b ww
ú
úú
ú. œ œ bœ
J
55
∑
&b n úú úú Œ n œœ œœ œœ A œœ n œœ b œ œ
85 86 87 88
Œ œ œ #œ œ œ œ
And I'll brave - ly tell you, but on - ly when we dream a -
Êb ∑ úú úú Œ œœ œœ œœ œœ œœ œœ œ
œ
b
85 # w Nú ú ú. œ œ œ œ œ œ
w ú œ
86 87 88
V ú ú. œ œ œ œ œ
chime. Ding, dong, ding! At the least sug - ges - tion
w nú ú nú. œ œ Aœ nœ bœ œ
?b w ú
ú ú. œ œ œ œ œ œ
& b ww ú. œœ
# ww
89 90 91
ú.
gain. Sweet and low,
Êb w ú. œ
w ú. œ # ww
j
Œ œœ # œœ œœ
œ œ œ œ œ
V b ‰ œJ n # œœ œ b œ # œœ # œœ œœ œ œ œœ œœ œœ
89 90 91
œ œ œ œ
j
I'll pop the ques - tion. Li - da Rose, I'm home a - gain, Rose, with - out a
œ n œœ œœ œœ # œœ œœ œœ œœ
? b ‰ œJ # œœ œœ œœ
œ œ
œ Œ œ œœ œœ œœ œœ
56
œœ n úú úú
x x
& b úú ..
x
ww úú œœ œœ
92 93 94 95
sweet and low, how sweet the mem - 'ry,
Ê b ú. œœ ww úú œœ œœ # úú ú
ú. nú
j
b œœ œ
œ n # œ
œ œœ .. ww Œ œœ # œœ œœ œ n œœ # # œœ œœ œœ œœ œœ œ œœ
œ
92 93 94 95
V J œ
sweet - heart to my name. Li - da Rose, now ev - 'ry - one knows that I am
?b œœ œœ # œœj œœ .. ww œœ # n œœ œœ b œœ # œœ n œœ # œœ # œœ œœ œ n œ # œ
œ œ œ
J Œ
&b Œ
96
œœ # œœ œœ
97 x
úú . œ
98
œ úú .. 99
Œ œœ œœ b œœ
#œ œ œ
how long a - go. For - ev - er, oh, yes, for -
Êb Œ œ n œœ œœ b úú œ # œœ N œœ úú .. Œ œœ œœ œ
œ . œ
b œœ
96 œœ n œœ œœ 97
b úú # úú 98
Œ N œœ
œœ # œœ œœ 99
ú b úú
V ú
hop - ing you're the same. So, here is my love song,
úú œ œ œ œ ú
? b œœ œœ # œœ œœ ú
ú Œ œ œ œ œ ú
úú
57
∑ úú úú
& b œœ úú .. úú ú
100 101 102 103
Œ œ œ #œ œ ú
ev - er. Will I ev - er tell you? Ah,
Ê b œ ú. ∑ ú ú ú úú
œ ú. ú ú ú
œ œœ œ œœ # ww Nœ
Œ œ # œœ œœ œ œ œ ú
Vb Œ œ œ
100 101 102 103
œ œ œ ú
not fan - cy or fine. Li - da Rose, oh, won't you be
Œ œ
?b ú œœ œœ b œœ w
ú ú Œ
œœ œœ œœ œ œ œ ú
œ œ ú
œ
not
&b ww ww ww ww
104 105 106 107
no.
Êb ww ww ww ww
œœ œœ # n œœ œœ œœ # n œœ œœ œœ œœ ww w
107
Vb œ œ w
104 105 106
œ œ
mine? Li - da Rose, oh, Li - da Rose, oh, Li - da Rose.
?b œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ ww
œ œ œ ww
58
___________________________________________________
Performance Notes
Meredith Willson was a composer, conductor and playwright. Although he composed many popular songs, two symphonies
and two Oscar–nominated film scores, he is best-known for writing the book, music and lyrics to The Music Man. Willson
put years of time and effort into this classic musical, including over 40 revisions and 30 original songs, and his efforts
definitely paid off. The production ran for an impressive 1,375 performances on Broadway, won five Tony awards and has
twice been adapted for film. The 1962 movie featured the Barbershop Harmony Society's 1950 quartet champion, the Buffalo
Bills, in the role of the school board quartet.
Lida Rose is one of the most recognizable barbershop songs of all time. The stereotypical image of barbershoppers clad in
straw hats and striped vests was certainly reinforced by The Music Man. Many a barbershopper had his first taste of the style
while performing in this musical.
Inexorably linked to Lida Rose is its partner song, Will I Ever Tell You? Mo Rector and Nancy Bergman teamed up to create
this arrangement, an excellent choice for double ensemble (or men's group with a female soloist). A male quartet could
perform this piece alone by skipping measures 37-100.
The late Mo Rector, a prolific arranger for the Barbershop Harmony Society, was its first double gold-medal winner, singing
bass in the Gaynotes (1958) and Mark IV (1969). Mo sang in a touring company of The Music Man in the 1960s and in
1985 formed the Good News! gospel quartet. That foursome recorded numerous albums and published over a dozen
songbooks. Among Mo's secular arrangements are Ma! (She's Making Eyes at Me), Cruising Down the River and I'd Give a
Million Tomorrows.
Nancy Bergman is a gifted barbershop arranger, coach, chorus director and singer. Her quartet the Mississippi Misses was the
1954 Sweet Adelines International champion. Nancy began arranging in the 1950s with the help of veteran arranger Floyd
Connett. She has more than 500 arrangements to her credit and continues to create music for both male and female quartets
and choruses.
59
OVER THE RAINBOW

as sung by the Second Edition
Words by E.Y. HARBURG Music by HAROLD ARLEN

Arrangement by ED WAESCHE
j
Verse freely
b œ œ
œ  œ œ b œ œ œœ N œœ œœ Œ œ œœ b œœ œœ œ œ
b
V b C ‰ œ œ œ œ œœ
1 2 3
Tenor
Lead J œ œ œ œ œ œ
When all the world is a hope - less jum - ble and the rain - drops tum - ble all a -
j œ bœ œ
? b C ‰ œ œœ n œœ œœ œœ œœ œ b œœ œœ œœ
œ œ œ œ œœ  œ œ
œ nœ œ
bb J œ œ
Bari
Bass
Œ

a
bbb  n œ œœ b œœ œ œ .
3
 N bœ Nœ œ 
4 5 6 7 8
V w   œ œ œ w œn œ 
3
round, heav - en o - pens a mag - ic lane, mag - ic lane.
a
? b w   œ œ œ œ œ . ∫œ œ œ 
3
b b A  b œ œ bœ œ œ . bœ œ n œ œ ‰ Jœ
3
And
j
bb ‰ œ œœ  œœ œœ
œ b œ œœ œœ œœ œœ œœ Œ œ œœ b œœ œœ œ œ
V b
9 10 11
J œ œ œ œ œ œ
When all the clouds dark - en up the sky-way, there's a rain - bow high - way to be
‰ œj œ œ œœ œ bœ œœ œ œ œœ  œ œ
? bb
b œ œ nœ œ œ
œ œ œœ b œœ œœ œœ œ œ n œ œ
Œ
when
© 1938 (Renewed) METRO-GOLDWYN-MAYER INC.
© 1939 (Renewed) EMI FEIST CATALOG INC.
All Rights Controlled and Administered by EMI FEIST CATALOG INC. (Publishing)
and ALFRED MUSIC (Print)
This Arrangement © 2014 EMI FEIST CATALOG INC.
All Rights Reserved
60
Over the Rainbow
b   œœ œœ œ œœ bœ œ
Vbb w N  œ ww Œ œ œ œœ œœ œ œ
12 13 14 15 16
  œ œ
found, lead - ing from your win - dow pane to a place be - hind the
? bb  n n  n œ œ œœ œœ A ww œœ œœ œœ œœ n œœ œœ
b A    œ œ Œ
sun, doo - yond the rain, the rain.
b b w  œ . b œœ n œœ A w. œ
x
ww
x
b œ
17 18 19 20
V J ‰ œ œ œ
sun, just a step be - yond the rain.
sun, doo - yond the rain, the rain.
w  .. n œœ b œœ  ..
? bb A   œ
bœ
w
w
b
Chorus
  œœ œ œ œœ   
b bb œ  œœ œ  w n
21 22 23 24
V  
Some - where o - ver the rain - bow, 'way up high,
  œœ œœ n œœ œœ b œœ    
? bb   
b
bb b 25A   œ œ œ n œœ œ Aœ œ œ œ œœ œ bœ nœ bœ
œ
26 27 28
V œ œ œ œ œ œ œ w

there's a land that I heard of once in a lul - la - by.
  œ œ œ œœ œ n œ œœ œœ b œ œ œ ∫œ œ œ
? bb œ œ nœ œ œ bœ œ
b œ bœ œ œ
61
Over the Rainbow
b b 29 Œ  
Some - where
xœ œ œœ œ  œœ œœ œœ  œ œ n
b œ œ w
30 31 32
V  
Some - where o - ver the rain - bow skies are blue,
œœ œ n œœ œ b œœ   œ bœ 
? b œ œœ œ n œ œ œ  œ œ 
bb Œ
Some - where
b b 33 A  œ Œ
b  œ œ n œœ œœ Aœ œ œ  n œœ  œœ œœ œ
34 35 36
V  œ œ œ œ œ œ œ œ ‰ J
and the dreams that you dare to dream real-ly do . . . Some-
  œœ œœ œ œœ œ n œ œœ œœ b œœ œœ œ n œ œœ Œ
x
? b œ œ
bb nœ
come true.
be - hind,
b œ œ œ œ œ œ bœ œ N œœ œœ œœ b œœ n œœ œœ œœ œœ w 
Vbb œ œ œ œ œ œ œ œ
37 38 39
day I'll wish up - on a star and wake up where the clouds are far be - hind me.
be - hind,
? bb œœ œœ œ œ œœ œœ n œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ  b ∫ 
b œ œ
‰
doo
b 40 œ
œ . œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ
V b b . œ œ n œ œ œ œ œ œ œ œ
41 42
‰ J œ œ œ œ
Where trou-bles melt like lem - on drops, a - way a - bove the chim-ney tops, that's
œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ n œœ
doo
? bb  œœ .. œ œ œ œ œ œ œ œ
b ‰ œ œ œ œ œ œ œ
62
Over the Rainbow
 n  A  œ b œ b b 45 œœ  .. œœ œ n œœ œœ œœ
V bbb b b bb œ
43 44 46
where you'll find me. Some - where o - ver the rain - bow
  œ œœ b b œ œ œœ n . œœ œ n œ œœ b œ
? b  Nœ
bbbbbb . œ œ œ
bb
   n A  œ
b b  w œ œœ n œœ œ
V b b bb   œ œ
47 48 49 50
 œ
blue - birds fly. Birds fly o - ver the rain - bow.
 N   œ œ
  œœ œ œ
? bb b b
bb   ∫  œ nœ œ œ
I? doo
b b 51 A œ œ œ ∫œ œœ ‰œ œ œ œ œ œœ xœœ œœ b œœ
Vbbb b œ œ œ œ  . œ. J
52 53
‰
Why then, oh, why can't I? If hap - py lit - tle blue-birds fly be -
I? doo
nœ œ œ œ œ
? bb b b œ œœ  œœ .. ‰ œ œœ n n œœ n œœ
bb œ œ œ
U U
I, why can't I?
b b b b œœ b œœ œœ œœ  œœ œœ n œœ œœ 55 ∫ œw  œ œ œ ww
b
54 56
V b
yond the rain-bow, why, oh, why can't I?
I, why can't I?
œ n œœ œ œœ  œ œœ œœ œ ∫ œ œ œ œ ww
? bb b b œ ∫œ  œ
bb u u
63
Over the Rainbow
Optional key change
44 b 
œ œ n     45 œ œ  œœ œ ‹ œœ œœ œœ
b b b  46
œ
V
find me. Some - where o - ver the rain - bow
 œ nœ
? bb  n   
œ 

œœ œœ  œœ œœ
b œ
    47  
   N  œ œ œœ  œœ œœ
w
48 49 50
V   œ œ
blue - birds fly. Birds fly o - ver the rain - bow.
    œ œ œ œ œ
?   
  n  œ aœ œ œ œ
‰
I? doo
    51N œ œ œ œ œœ  . œ. œ œ œ œ œ œ  œ œœ
œ
52 53
V œ œ œ œ œ œ œ œ
‰ J
Why then, oh, why can't I? If hap - py lit - tle blue-birds fly be -
I? doo
?      œœ œ œ nœ œ  œœ .. œ œ œ œ œ œ œ nœ
œ ‰ œ œ œ ‹œ œ
œ œ œ
U U
I, why can't I?
    54 œ œ œ œ œ œ œœ œœ 55 n œ  œ
w œ œ ww
œ œ œ œ œ œ
56
V
yond the rain - bow, why, oh, why can't I?
I, why can't I?
nœ œ œ œ
?     œœ  œ œœ
œ œ œ œœ œ nœ  œ
nœ œ
œ œ ww
œ
u u
64
Over the Rainbow
___________________________________________________
Performance Notes
Over the Rainbow, from the timeless movie The Wizard of Oz, won an Academy Award for composer Harold Arlen and
lyricist E.Y. "Yip" Harburg in 1939. Born Hyman Arluck in Buffalo, N.Y., Arlen (1905-86) gave the world such hits as
Stormy Weather, I Gotta Right to Sing the Blues, I've Got the World on a String, Blues in the Night and Come Rain or Come
Shine. Yip Harburg (1896-1981), born Isidore Hochberg in New York City, penned the lyrics to numerous popular classics,
including It's Only a Paper Moon, April in Paris, If This Isn't Love and Brother, Can You Spare a Dime?
Over the Rainbow was initially deleted from the film after a preview because MGM head Louis B. Mayer and producer
Mervyn LeRoy felt that it "slowed down the picture" and "[sounded] like something for Jeanette MacDonald, not for a little
girl singing in a barnyard." However, the persistence of associate producer Arthur Freed and Garland's vocal coach/mentor,
Roger Edens, finally carried the day.
Ed Waesche was a premier arranger, coach, quartet singer, certified Arrangement and Music judge, and president of the
Barbershop Harmony Society. Among Ed's other many fine arrangements are Midnight Rose, (I'm Afraid) The Masquerade Is
Over, Sentimental Gentleman from Georgia and Heart.
Sing this song of hope with the deep feeling it deserves. Ed's arrangement was carefully crafted to provide you, the
performer, with a built-in plan for dynamic variety. Simply let your crescendos and diminuendos go where the chart leads
you. And Ed's embellishments are masterful as well. Anytime you sing more than one note on a given word or syllable, look
for a way to alter the feeling slightly to tell the story more effectively.
The key change at measure 45 is wonderfully dramatic but will put some singers into a range they may not be able to handle
with good vocal quality. The alternate key change makes this section easier to handle, so be sure to choose the option your
ensemble can perform more effectively. Most of all, have a marvelous time singing this all-time great song.
Barberpole Cat Songbook Vol. II (TTBB)(Ebook Version) - Stock No. 209329
Print version available - Stock No. 209322
These publications and more are available from the Barbershop Harmony Society:
Title Stock#
Under The Boardwalk* 8605
God Bless America 7641
This Little Light Of Mine/Do Lord Medley 8628
Goodnight, Sweetheart, Goodnight 8613
Can You Feel The Love Tonight? 8203
There’s No Business Like Show Business 7724
I’ll Be Home For Christmas* 7626
Over The Rainbow 8837
Lazy Day* 203006
Happy Together* 8639
*Also available in SSAA voicing
To order these arrangements and more,

visit www.barbershop.org or call 800-876-SING

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Barberpole Cat Songbook Vol. II (TTBB)(Ebook Version) - Stock No.

After You’ve Gone

© 2015 Barbershop Harmony Society

AFTER YOU'VE GONE

Lyrics by HENRY CREAMER Music by TURNER LAYTON

You're gon - na be lone - ly some - day.

Your heart will break. You'll want me on - ly af - ter you've gone,

j œœœ n œœœ œœœ

Optional ending - measures 45 - 48 (as performed by Four Voices)

BRIGHT WAS THE NIGHT

Words and Music Anonymous

Saw her stand - ing there, moon - beams in her hair,

This Arrangement © 1991 by DAVID WRIGHT

Car - o - line, please be

mine. You're my kind of girl.

oo Car - o - line, - o - line,

please be mine. You're my kind of

girl. And when it's

please be mine. You're my kind of

girl. And when it's

line, please, please be mine. You're my

of, oo Car - o - line girl.

DARKNESS ON THE DELTA

mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh

mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh mm - buh

shel - ter of the night!

Words, Music and Arrangement by

© 1989 by ROBERT DISNEY

hand, her hand!

FROM THE FIRST HELLO

Words and Music by JOHNNY BURKE Arrangement by LOU PERRY

Our song was a song of to - mor - row. Our

© 1956 (Renewed) MARKE-MUSIC PUBLISHING CO., INC.,

plea - sure to meet, a spe - cial treat, say I, from the

last good - bye!

last good - bye!

last good - bye!

GOODBYE, MY CONEY ISLAND BABY

© 1948 (Renewed 1975) by MILLS MUSIC, INC.

HELLO MARY LOU

Words and Music by GENE PITNEY Arrangement by DAVID WRIGHT

arms a - bout you good an' tight. That's

Chorus 2 good - bye, heart.

lo, Mar - y Lou. Right from the start I said hel -

lo, Mar - y Lou, good - bye, heart!

I DON'T KNOW WHY

Words by ROY TURK Music by FRED E. AHLERT

do, yes, you do.

love you like I do. I don't know why, I just do.

I'VE BEEN WORKING ON THE RAILROAD

TRADITIONAL Arrangement by ROGER PAYNE

I've Been Working on the Railroad

LIDA ROSE / WILL I EVER TELL YOU

Words and Music by Arrangement by MO RECTOR

Men So here is my love song, not fan -cy or fine.