pippin magic to do • extraordinary • no time at all • with ... opened on broadway on october...
TRANSCRIPT
Arranged byLISA DeSPAIN
Moderately (q = ca. 120)
Moderately (q = ca. 120)
© 1972 (Renewed), 2000 STEPHEN SCHWARTZAll Rights Administered by EMI BMPC CORP. and JOBETE MUSIC CO., INC.
Print Rights for EMI BMPC CORP. Controlled and Administered by ALFRED MUSICAll Rights for JOBETE MUSIC CO., INC. Controlled and Administered by EMI APRIL MUSIC INC.
This Arrangement © 2014 STEPHEN SCHWARTZAll Rights Reserved. Printed in USA.
Sole Selling Agent for This Arrangement: Alfred MusicTo purchase a full-length performance recording of this piece, go to alfred.com/downloads
Music and Lyrics bySTEPHEN SCHWARTZ
for S.A.T.B. voices and pianowith optional SoundTrax CD*
Choral Highlights from the Broadway Musical
PIPPINMagic to Do • Extraordinary • No Time at All •
With You • Corner of the Sky
SOPRANOALTO
TENORBASS
PIANO
4
MAGIC TO DO
Em9 F#m7/E Em9
mf
Woo,
mf
mf
F#m7/E Em9 F#m7/E
* Also available for S.A.B. (41811) and S.S.A. (41812). SoundTrax CD available (41813).
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woo.
opt. SOLO
Join us, leave
Em9 F#m7/E Em9 F#m7/E
your field to flow er.- Join us, leave your cheese to so ur.
(end solo)
-
Em9 F#m7/E
ALL
Join
mp
us, come and waste an ho ur- or
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two.
mp 3
C#m7 G#m73
Dmaj9 A/B
3
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Doo dle- ee- doo.- Jour
opt. SOLO
ney,- jour ney- to a spot ex -
Em9 F#m7/E
cit- ing,- mys tic- and ex ot- ic.
(end solo)
- Jour
ALL
ney- through
Em9 F#m7/E C#m7 G#m7
our an ec- dot- ic- re
3
vue.- We’ve got mag-
3
3
Fmaj7
3
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ic- to do, just for you. We’ve
got mir a- cle- plays to play.
A E/G# F#m7 E A
E/G# Dmaj9
We’ve got parts to per form,- hearts to warm,
A
E/G# F#m7¨9 E
kings and things to take by storm
as we go a long.- We’ve got mag-
as we go a long- our way.
Cmaj7 Fmaj7 Cmaj7 Fmaj7 A/B
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ic- to do, just for you. We’ve
got mag ic- to do,
Mag ic- to do, mag ic- to do, mag ic- to play.
A E/G# F#m7 E A E/G#
just for you. We’ve got foi bles- and fa bles- to por tray- as
F#m E A E/G# F#m7 E
we go a long- our
A Bsus B
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47 Shuffle
Shuffle
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way,
way,
our way.
woo.
way,
way,
our way.
woo.
B¨ A¨/B¨ E¨sus/B¨ E¨ B¨ A¨/B¨ E¨sus/B¨
swing theeighths
E¨/G
mf
I’ve
EXTRAORDINARY
got to
(swing the eighths)
be some one- who lives all of his life in su per- -
B¨(swing the eighths)
Fm9 B¨ Fm9 B¨ B¨/A¨ E¨/G
la- tives.- When you’re ex tra- or- di- nar- y,- you got ta- do ex -
G¨maj7 F Cm9 F
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tra- or- di- nar- y- things.
Oo
The fact that I’m dif f’rent- is
B¨ µ B¨ Fm9
oo So why does n’t- an y- bod- y- see it but me? I’m
eas y- to see. So why does n’t- an y- bod- y- see it but me? I’m
B¨ Fm9 B¨ B¨/A¨ E¨/G G¨maj7
ex tra- or- di- nar- y,- I need to do ex tra- or- di- nar- y-
F Cm9 F B¨
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things. Oo
things.
opt. SOLO
Ev ’ry- so of ten- a man has a day he
B¨7 G¨ G¨maj7
oo doo
tru ly- can call his. Well, here I am to
B¨ Fm7 B¨ C Dm7 E¨dim7
Oh,
seize my day if some one- will just tell me when it
(end solo) ALL
is! Oh,
C7/E F7
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give me my chance, and give me my wings. And don’t make me
3
think a bout
3
-
3 3
B¨ Fm11 B¨ Fm11 B¨ B¨/A¨ E¨/G
ev ’ry- day
3
- things. They’re so sec ond- ar- y- to
3
G¨maj7 F Cm7
some one who is ver y- ex tra- or- di- nar- -
F Cm7 F E¨ B¨/D Cm7
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y.-
Oh,
NO TIME AT ALLf
it’s time to start liv in’,-
f
B¨
E G#m A B
f3
time to take a lit tle- from the world we’re giv en.- Time to take time, for
3
3
E G#m A B E F#m7
spring will turn to fall in just no time at all.
E/G# A G#7sus G# F#m7 E/G# A A/B E
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Oh, it’s time to start liv in’,- time to take a lit tle- from the
3
3
F Am B¨ C F Am
3
world we’re giv en.- Time to take time, for spring will turn to fall
B¨ C F Gm7 Am7 B¨
in just no time at all. In just no time at all
A7sus4 A Gm7 F/A B¨ B¨/C F F/A Gm7 F/A B¨ B¨/C F
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99 Gently (q = ca. 72) (straight eighths)
Gently (q = ca. 72) (straight eighths)
102
105
In just no time at
all.
WITH YOU
F/A Gm7 F/A B¨ B¨/C
G5
mp
C/G G5 C/G3 3 3 3
opt. SOLO
My
mf
days are bright er- than morn ing- air,
G D/F# Em
mf
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ev er- green- pine and au tumn- blue.
Cmaj7 D Bm
But all my days were twice as fair if
Em Gsus/E F
I could share my days with you.
Em Am7 Dsus D
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My
opt. SOLOmf
nights are warm er- than fire coals,
G D/F# Em
in cense- and stars and smoke bam boo.-
Cmaj7 D Bm
Oo+ALTO
mf
But nights were warm be yond
- com pare- if
But nights were warm be yond- com pare- if
Em Gsus/E F
41810
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Oo,
I could share my nights
with
with
you;
you;f (end duet)
To
f
I could share my
+BASS
nights
mf Oo
with
with
you;
you;
f (end duet)
To
f
Em Am7 Dsus E
f
dance in my
3
dreams, to shine when I need the
3
D A/C# C#m
sun; with you to
D G Gsus G
41810
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SOLO
And
mp
oh, my
hold me when
3
dreams are done. Oh,
p
3 p
F C C/B Am7
p
dear
a tempo
est- love, if you will take my love,
oo
a tempo oo
oo
oo
oo
a tempo
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41810
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136 Slightly martial (q = ca. 96)
Slightly martial (q = ca. 96)
then all my dreams are tru ly- be gun.
rit.
-
(end solo)
oo oo
oo
rit.
oo oo
Am Am7 Cmaj9
rit.
Dsus D
CORNER OF THE SKY
Doo
f
doo doot doo doo, doot doo Doot doo doo
f
G F/G Csus/G C G
f
41810
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Doo doo doot doo doo doot doo doo doot doo doo
C/E Bm/D Am/C
doot doo doo doot doo doo
C Cmaj7 Dsus
G Am/G G Am/G
41810
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Ev
mf
’ry- thing- has its sea son,- ev ’ry- thing- has its time.
G Am/G Gmaj7 F/G
Show me a rea son- and I’ll soon show you a rhyme.
C G/B Am G/C D
Cats fit on the win dow- sill, chil dren- fit in the snow.
mf
F Fmaj7 B¨maj7 E¨ E¨maj7 Am7
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152 153
154
Why do I feel I don’t fit in
an
an
y
y
-
-
where
where
-
-
I
I
go?
go?
Ah
Dm Dm/C B¨ F/A G7 F C/E
Oo
So man y- men seem des tined- to
Esus E7
A Bm/A
set tle- for some thing- small. But I won’t rest un til- I know
Amaj7 G/A D A/C#
41810
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I’ll have it all. So don’t ask where I’m go ing- just
Bm A/D E G Gmaj7 Cmaj7
lis ten- when I’m gone. And far a way- you’ll hear me sing ing-
F Fmaj7 Bm7 Em Em/D C G/B
soft ly- to the dawn: Riv ers- be long- where they can ram-
A7 G D/F# A/E D Dmaj7
41810
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166
ble,- ea gles- be long- where they can fly;
Esus C#m C#m7
I’ve got to be where my
D A B‹/A
spir it- can run free, got to find my cor ner-
E/G# E F#m A/E D A/C# G/B A
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of the sky.
Em Em/G
A Bm/A A Bm/A
Doo doo doot doo doo doot doo doot
rit.
doo doo.
A G/A D/F# D A9
rit.
41810
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About the Show
Pippin opened on Broadway on October 23, 1972, and became a genuine hit,running for 1,944 performances. Pippin tells the story of a young man’s searchfor complete fulfillment. The son of King Charlemagne, Pippin initiallybelieves that he should follow in his father’s footsteps and become a soldier, butthe glories of war elude him. He then indulges in the pleasures of the flesh,which also proves fruitless. His stepmother, Fastrada, subtly convinces him todethrone Charlemagne by killing him. Pippin complies, but when the peasantsbegin to rebel, he realizes that he is unequipped to be a ruler. Escaping to thecountryside, Pippin is taken in by a young widow, Catherine, who puts him towork on her farm. Feeling trapped and still discontent, Pippin once again fleesto find his “corner of the sky.” Throughout all, Pippin is beguiled by themysterious and magical Leading Player, who eventually attempts to convincethe young man that the only path to pure fulfillment is to sacrifice himself ina spectacular blaze of fire. Pippin ultimately realizes that the perfectlyextraordinary existence he seeks cannot be attained, so he shuns the LeadingPlayer and chooses the simplicity of a life with Catherine and her son. On April25, 2013, the new production directed by Diane Paulus opened, and later wonthe 2013 Tony Award® for Best Musical Revival.
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About Stephen Schwartz
Stephen Schwartz was born in New York City on March 6, 1948. While still inhigh school, he studied piano and composition at the Juilliard School of Musicand in 1968, he received a Bachelor of Fine Arts degree in drama from CarnegieMellon University. It was during his years at Carnegie Mellon that he began tocompose works designed for the stage, including a piece called Pippin, Pippin.After graduating, Schwartz returned to his native New York and accepted aposition as a producer for RCA Records. Shortly thereafter, he began workingin the theatre when one of his songs was used for the play Butterflies Are Free.The first of his shows to be produced was the exuberant Godspell, based onthe gospel of St. Matthew. Second was Pippin, and when The Magic Showappeared two years later in 1974, Schwartz had the rare honor of threesimultaneously running Broadway shows. In the fall of 2003 Wicked arrivedon Broadway, once again showcasing his knack for writing songs that appealedto a new generation of theatergoers.
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