C Cllas asssic ic Ta Tag gss for men’s men’s voices
Compiled by David Wright Assisted by Jim Bagby, Bagby, Kevin Keller K eller,, and David Krause
PREFACE Barbershop tag singing is surely one of the finest traditions traditi ons arising from vocal harmony. A tag is a short passage consisting of an arrangement’s ending, or coda, which is taught and sung in sessions of informal chordringing. The tag allows four singers to quickly blend their voices in a few seconds of blissful harmony without the burden of learning an entire song. This manual is an anthology dedicated to the perpetuation of this practice. We have endeavored to chronicle the tag-singing of today and yesterday by collecting the “classic” tags—those tags—t hose which have become lore by virtue of having been repeated and passed along from harmonizer to harmonizer. Most of these tags originated within the barbershop community, but a few from neighboring vocal styles have been embraced by barbershoppers and are therefore included as well. It should be noted that some of the tags contain chords which are not accepted in a barbershop contest. We have simply recorded the tags the way they are usually sung, with no editorial “corrections”. An effort was made to determine the origin of each tag, but this proved to be an impossible task. The source of many of these little gems seems lost in the murky past, perhaps never to be ascertained. When possible we have identified the tag’s arranger and an approximate date of origin; if the tag was popularized by a particular performer, we have so indicated. The tags appear in no particular order, and no consistent method was applied in labeling them. (Sometimes the tag is identified by its first line, sometimes by the song title, sometimes both, sometimes neither.) The index which appears at the end is hopefully thorough enough to enable the user to locate any particular tag. In some cases there exists more than one common version versio n of a tag, in which case we have attempted to select the one which is most traditional, occasionally notating alternatives alternat ives using grace notes. Accordingly, we have generally opted for the popular version even when it differs from the arranger’s original. Barbershop harmony is typically typ ically sung by singers of the same gender; hence a men’s version and a women’s version have been created. Often the most appropriate interval of transposition between the men’s key and the women’s key is a tritone, so a tag written in B-flat for men transposes to E for women. It is not unusual to find men and women singing tags together, and in this case they may choose to “split the difference” in selecting a suitable key by singing it approximately a minor third above where it is written for men, or a minor third below where it is written for women. Many of these tags contain recognizable portions of copyrighted songs and arrangements. Therefore this manual may not be sold for profit. We are advised that, since a tag is not a “performable unit”, uni t”, the manual may be legally copied and used for educational purposes. Barbershop choruses will find the tags useful in warm-ups and as exercises in vowel matching, tuning, balance, and vocal production. However, anyone wishing to use this or any copyrighted material in public performance must obtain a legally cleared arrangement. This manual is an ongoing project, to be updated and appended from time to time. The date of the latest revision appears at the top of page one. Many thanks are due to a number of people who assisted us in tracking down information. We would appreciate the help of anyone who can provide missing origins and/or dates of the tags in this collection, and we welcome suggestions for tags which should be included in future updates. I wish to specifically recognize and thank my colleagues Jim Bagby, Kevin Keller, and David Krause for serving as an editorial board for this project. David Wright
[email protected] i
PREFACE Barbershop tag singing is surely one of the finest traditions traditi ons arising from vocal harmony. A tag is a short passage consisting of an arrangement’s ending, or coda, which is taught and sung in sessions of informal chordringing. The tag allows four singers to quickly blend their voices in a few seconds of blissful harmony without the burden of learning an entire song. This manual is an anthology dedicated to the perpetuation of this practice. We have endeavored to chronicle the tag-singing of today and yesterday by collecting the “classic” tags—those tags—t hose which have become lore by virtue of having been repeated and passed along from harmonizer to harmonizer. Most of these tags originated within the barbershop community, but a few from neighboring vocal styles have been embraced by barbershoppers and are therefore included as well. It should be noted that some of the tags contain chords which are not accepted in a barbershop contest. We have simply recorded the tags the way they are usually sung, with no editorial “corrections”. An effort was made to determine the origin of each tag, but this proved to be an impossible task. The source of many of these little gems seems lost in the murky past, perhaps never to be ascertained. When possible we have identified the tag’s arranger and an approximate date of origin; if the tag was popularized by a particular performer, we have so indicated. The tags appear in no particular order, and no consistent method was applied in labeling them. (Sometimes the tag is identified by its first line, sometimes by the song title, sometimes both, sometimes neither.) The index which appears at the end is hopefully thorough enough to enable the user to locate any particular tag. In some cases there exists more than one common version versio n of a tag, in which case we have attempted to select the one which is most traditional, occasionally notating alternatives alternat ives using grace notes. Accordingly, we have generally opted for the popular version even when it differs from the arranger’s original. Barbershop harmony is typically typ ically sung by singers of the same gender; hence a men’s version and a women’s version have been created. Often the most appropriate interval of transposition between the men’s key and the women’s key is a tritone, so a tag written in B-flat for men transposes to E for women. It is not unusual to find men and women singing tags together, and in this case they may choose to “split the difference” in selecting a suitable key by singing it approximately a minor third above where it is written for men, or a minor third below where it is written for women. Many of these tags contain recognizable portions of copyrighted songs and arrangements. Therefore this manual may not be sold for profit. We are advised that, since a tag is not a “performable unit”, uni t”, the manual may be legally copied and used for educational purposes. Barbershop choruses will find the tags useful in warm-ups and as exercises in vowel matching, tuning, balance, and vocal production. However, anyone wishing to use this or any copyrighted material in public performance must obtain a legally cleared arrangement. This manual is an ongoing project, to be updated and appended from time to time. The date of the latest revision appears at the top of page one. Many thanks are due to a number of people who assisted us in tracking down information. We would appreciate the help of anyone who can provide missing origins and/or dates of the tags in this collection, and we welcome suggestions for tags which should be included in future updates. I wish to specifically recognize and thank my colleagues Jim Bagby, Kevin Keller, and David Krause for serving as an editorial board for this project. David Wright
[email protected] i
TABLE OF CONTENTS C ONTENTS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 11. 12. 12. 13. 14. 15. 15. 16. 17. 17. 18. 18. 19. 20. 21. 22. 23. 24. 25. 25. 26. 26. 27. 27. 28. 29. 29. 30. 31. 31. 32. 33. 34. 35. 36. 37. 38. 39. 39. 40. 41. 42. 43. 43. 44. 45. 45. 46. 46. 47. 47. 48. 49. 49. 50. 51. 52. 53. 53. 54. 54. 55. 56. 56. 57. 58. 59. 60. 60.
I Love Love To Sin Sing g ’Em ’Em p. 1 Lone Lonely ly For For You Am I p. 1 Way Way Down South (Where The Black-Eyed Black-Eyed Susans Grow) p. 1 Dann Danny y My Boy Boy p. 2 My Hear Heartt Is Free Free p. 2 Flower Flower From From An Old Bouque Bouquett p. 2 I’ll I’ll Be Seei Seeing ng You p. 3 Wedding edding Bells Bells Are Breaki Breaking ng Up p. 3 Lone Loneso some me Rose Rose p. 3 The Sunshi Sunshine ne Of Your Smile Smile p.3 When When I Leav Leavee The The World orld Behin Behind d p. 4 My Dia Dianne nne p. 4 Smile p. 4 Cry (I’m (I’m Sorry Sorry I Made Made You Cry) Cry) p. 4 Hear Heartt Of A Clow Clown n p. 5 Please Please Don’t Don’t Give Give My Daddy Daddy No No More More Wine p. 5 Oh Lida Lida Rose Rose p. 5 Dark Darkne ness ss On The The Del Delta ta p. 6 Who’ll Who’ll Take My Plac Placee When When I’m Gone? Gone? p. 6 Sunshi Sunshine ne Is Is Biddi Bidding ng The The Day Day Good Goodbye bye p. 6 We’ll e’ll Just Just Be Be The The Same Same Old Old Frie Friends nds p. 6 Nobody’s Nobody’s Waiting aiting There There With With A Smile (I (I Hate To To Go Home Alone) p. 7 Foolish Foolish Over Over You (Each (Each Time Time I Fall In Love) Love) p. 7 Last Night Was The End Of The World p. 7 Back Back In My Home Home Town own p. 8 Frie Friend ndsh ship ip And And Lov Lovee p. 8 Run, Run, Run, Run, Run Run p. 8 Drink Drink To To Me Only Only With With Thine Thine Eyes Eyes p. 9 Gone Gone Are Are The The Memo Memori ries es p. 9 Goodby Goodbyee Forev Forever er,, It’ It’s Over Over I Know Know p. 9 Mela Melanc ncho holy ly Baby Baby p. 10 Lullab Lullabye ye And Goodni Goodnight ght p. 10 Sleepy Sleepy Time Time Down Down South South p. 10 Give Me Your Hand To Hold Hold In In Mine Mine p. 10 10 Don’t Don’t Leave Leave Me, Dear Dear Old Old Mammy Mammy p. 11 11 Annie Annie Does Doesn’t n’t Live Live Here Here Anymor Anymoree p. 11 11 We’ll e’ll Buil Build d A Rainbo Rainbow w p. 11 Roses Roses I Brin Bring g To You p. 12 Snow Snowfl flak akes es p. 12 Who’ll Who’ll Dry Dry Your Your Tears When You Cry? Cry? p. 12 So Tire Tired d Of Waiting aiting For You p. 12 Darlin Darling, g, That That Someo Someone ne Is Is You p. 13 13 Irel Irelan and, d, My Irel Irelan and d p. 13 Jean p. 13 Iris Irish h Moth Mother er p. 14 Silv Silver ery y Moon Moonli ligh ghtt p. 14 Fri Friends ends p. 14 Buddy Buddy,, Can You Spar Sparee A Dime Dime p. 15 All All By By Mys Mysel elff Alon Alonee p. 15 Back Back In The Old Routin Routinee p. 15 For Life Life Is Interw Interwove oven n p. 16 Love Letters Letters Straight Straight From Your Heart p. 16 16 When When I Lost Lost You p. 16 Autu Autumn mn Leav Leaves es p. 17 Rhapso Rhapsody dy Of New York p. 17 Lone Lone Prai Prairi riee p. 17 Johnny Johnny Doughb Doughboy oy Found Found A Rose Rose p. 18 I Know Know We’ll e’ll Meet Meet Again Again p. 58 Old Bones Bones (I’d (I’d Like Like To To Do It It Agai Again) n) p. 18 Thro Throug ugh h The The Years ears p. 19
61. I’m So Alone Alone In A Crowd Crowd p. 19 62. She Stole Stole My Heart Heart Away (An Old Old Fashioned Fashioned Girl Girl In A Gingham Gown) p. 19 63. In Dixieland Where I Was Was Born (On The Mississippi) p. 19 64. 64. The The Old Old Domi Domini nion on Line Line p. 20 65. Spring Spring Brough Broughtt Me Flower Flowerss p. 20 66. New York Ain’t Ain’t New York Anymore Anymore p. 20 67. 67. Sonn Sonny y Boy Boy p. 21 68. What Miracle Has Ha s Made You You The Way You Are (Gigi) p. 21 69. To Reach Reach The Unreachable Star (The Impossible Dream) Dream) p. 21 70. 70. My Old Old Ken Kentu tuck cky y Hom Homee p. 21 71 Their Their Hearts Hearts Were Full Full Of Of Spri Spring ng p. 22 72. 72. Bye Bye Oh Bye Bye Oh p. 22 73. 73. As Time Time Goes Goes By p. 22 74. 74. Pal Pal Of My Drea Dreams ms p. 23 75 I Clos Closee My My Eyes Eyes (I Heard Heard You Singin Singing) g) p. 23 76. 76. For For Me And And My Gal Gal p. 23 77. Please Please Don’t Don’t Leave Leave Me p. 23 78. There’ There’ss No No Plac Placee Like Like Home Home p. 24 79. 79. Moth Mother er’’s Boy Boy p. 24 80. Don’t Be Blue Blue When Raindrops Raindrops Come Along p. 24 81. 81. Midn Midnig ight ht Rose Rose p. 25 82. 82. Some Somewh wher eree p. 25 83. Bright Bright Was The Night Night p. 25 84. 84. Wher Wheree Is The The Boy Boy p. 26 85. My Love Love Is Your Love Love p. 26 86. And Left Left Me Lonely Lonely Nights Nights (Happy (Happy Days Days And Lonely Lonely Nights) p. 26 87. 87. Wher Wheree Is Love Love p. 27 88. Now There’ There’ss No Time For Toys p. 27 27 89. Over Over Troub Troubled led Waters aters p. 27 90. 90. Fogg Foggy y Lond London on Town own p. 27 91. 91. Litt Little le Pal Pal p. 28 92. Ev’ry Ev’ry Time Time I See See You You I Cry p. 28 28 93. The Shadow Shadow Of Your Smile Smile p. 29 94. Show Show Me Where Where The The Good Good Times Times Are p. 29 95. 95. Tamm ammy p. 29 96. Hush, Hush, Litt Little le Baby Baby (Sum (Summer mertim time) e) p. 29 29 97. 97. Mick Mickey ey Mous Mousee p. 30 98. Lord, Lord, You You Made Made The The Night Night Too Long Long p. 30 99. Baby Baby, You’ You’re re The One I Love Love p. 30 30 100. 100. Sure, Sure, They They Calle Called d It It Irel Ireland and p. 31 101. 101. Till Till Love Love Come Comess My My Way p. 31 102. 102. You’re ou’re The One Who Made Made Me Me Cry Cry p. 31 31 103. 103. I’ll I’ll Take Take Care Care Of Your Cares Cares p. 32 32 104. Drop Me A Line, Line, Say That You’re ou’re Fine (Do You You Really Really Love Me?) p. 32 105. 105. While While Swee Sweett Dream Dreamss Rest Rest You p. 33 33 106. 106. First First You Gott Gottaa Have Have Heart Heart p. 33 33 107. 107. Mam’ Mam’se sell llee p. 33 108. 108. Happ Happy y Trai Trails ls p. 34 109. Please Please Don’t Take Take My Sunshine Sunshine Away (You (You Are Are My Sunshine) p. 34 110. 110. Afte Afterr Today oday p. 34 111. 11. Chee Cheerr Up, Up, Char Charli liee p. 34 112. 112. Just Just When When I Thou Thought ght I Was Was Thro Through ugh p. 35 113. 113. No More Hurryi Hurryin’, n’, Worryi Worryin’ n’ (Down Where Where The The South South Begins) p. 35 114. 114. For My Beautiful Beautiful Lifelong Lifelong Friends Friends p. 35 115. 15. My Roma Romanc ncee p. 35 116. 16. Dixi Dixiee p. 36
ii
Classic Tags for men’s voices
Compiled by David Wright Assisted by Jim Bagby, Bagby, Kevin Keller, Keller, and David Krause latest revision 2/28/01
1. I Love To Sing ’Em
jœ œ ‰J ‰œ . œj œ
b b b V b 44 Œ
œJj n œœ .. œJ Jœj œ . œ J œ
I love to sing ’em,
? b b b b 44 œ I
love
to sing ’e ’em,
œ # œ n œ b b nœ ˙ b b b V b
I
n‰ Jœj œœ ‰œ . œj œ I
love to
love
Give me those
? b b b b œœ n œœ b b œœ œœ œ˙ œ
Oh,
œ . A œ œ œœ œ œœ
ring ’em,
to ring
Œ œ n œ b œ œ œ Œ˙ n œ œ œ œœ œ
bar - ber - sho shop cho chords. rds.
œjJœ j œJ Jœ œ
love
those
œ . Jœ n œ œ b œ œ œ
’em,
I
˙˙
˙ #˙ j b œ N œ œ b œ w œ . œj œ .
bar bar - berber- shop shop
give
bar - be ber - shop,
chords! sing - i n’ n’,
ring - i n’ n’
w chords!
ww
chords!
Mac Huff
2. Lonely For You Am I
œ œ ˙ . œ œ b b œ ˙ 3 œ œ œ n œ œ V b b 4 Lone-ly,
so
lone - ly
for
you
am
I
œœ œ œ ˙˙ œœ n ˙ . ˙ . lone - ly ly for
you
am
I.
? b b b b 34 œ œ œœ œœ œ œ ˙˙ œœ n ˙˙ .. A œ œ œœ ˙ œœ ˙˙ .. ˙˙ .. 3. Way Down South (Where The Black-Eyed Susans Grow)
˙ b b b b 4 b n b V 4˙
˙˙
˙w
œ n œ œw œ ˙
n ˙w b ˙
, , ? b b b b b b 44 ˙˙ n ˙ ˙œ b œ œ b n œ œœ œœ œœ b b œœ ˙˙ ∫ b ˙˙ Way
down
ww
south.
-1-
ww
Renee Craig Sung by the Cracker Jills, 1957
4. Danny My Boy
œœ œ œ ˙ . ˙ Œ ˙ .
˙ . ˙ . œ œ œ b 3 ˙ . V b 4 Dan - ny
my
boy,
Dan - ny
? b b 34 œ œ œ n ˙˙ .. ˙˙ .. 5. My Heart Is Free
. b œ œ . œ œ œ b b 4 V b b 4 œ My
heart
is
free,
? b b b b 44 œœ œœ œœ nn œœ ..
my
boy;
my
boy.
A œœ œœ œœ ˙˙ .. ˙˙ Œ b b ˙˙ ..
˙˙ ..
Bob Bohn Sung by the Easternaires, 1955
œJj œœj J I
œ b œ ˙˙
n˙
b ˙
way
down
, œœ œœ n ˙˙ , A ˙ ˙
long
to
be
˙ œ œ œ œ œ œ b œ œ 4 b œ œ b Œ œ œ V b 4 œ ˙ œ œ b œ ? b b b 44 œ œ b œ œœ Œ œ œœ in
our
sweet - heart
wn ˙ ˙ home.
˙˙
˙ ˙˙ Dave Stevens
6. Flower From An Old Bouquet
There
˙˙ ..
bow
-
er,
you’re
. ∫ ˙ A w ˙ œ œ b n œ b œ . œ ˙ œ w V b b ,, . ˙ ? b b b ˙ . œœ œœ ˙ œ b b w˙ old
bou
-2-
-
just
œ œœ ˙˙ nn œœ ,, œœ n œœ ˙˙ ## œœ
my
flow - er
˙
w
˙
ww
œœ œœ
from an
quet.
Nancy Bergman Sung by the After Five Four, 1968
7. I’ll Be Seeing You
œ œ œ œ Ó # V 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ ? # 44 Ó I’ll be
look - ing at the
look - ing at the
œw wœ
moon,
moon,
you
œ œ œ wœ œ œ b œ w˙ ˙ wÓ œ œ w˙ b ˙ œ œ œ œ w œ œ œ ˙w ˙ Ó œœ œœ ˙˙ ˙˙ but I’ll be
look - ing at the
see - ing
I’ll be
ww ˙˙ Ó
see - ing
you.
ww ˙˙ Ó
moon,
Bobby Gray, Jr., 1976
8. Wedding Bells Are Breaking Up
œ b œ n œ 4 œ œ œ b œ œ V 4 Those
wed - ding bells
are
break - ing
? b b 44 b œ œ œ œœ # b œœ œ 9. Lonesome Rose
œ œ b œœ 4 V4 ? 44 œœ œœ œœ Love
will
come
U œ U b b œœ œœ u u U œ U œ œ œ b œ œ u u up
œ ww your
3
N n ˙w ˙ ˙ A ˙ b ˙œ œ œb œ ww
that
old
gang
lone lone
b œœ w w
mine.
˙w˙˙ ˙ w˙ ˙ ˙ ˙˙ œ˙ b œ b œ œ ww 3
ww
3
S. K. Grundy, 1959 Sung by the Four Pitchikers Grace note version sung by the Gas House Gang, 1993
b w
way,
of
ww
- some
-
b b ˙w b ˙
ww
w
some
rose.
wb ˙ ˙
lone,
lone
-
ww
some
w ww Ed Waesche, 1985
10. The Sunshine Of Your Smile
# œ . # œ # 4 # Œ Œ V 4 Œ Œ # ? # # # 44 œ ˙ œ œœ ..
My world
Your
smile
jœ œ J n jœ œ œJ œ
˙ œœ œ , , ˙˙ œœ œ œ
for - ev - er:
the
-3-
w œ œœ ‹ œ ‹ ww , , # œ N w˙ œ œ w w œœ ‹# œœ
sun - shine
of
your
smile.
Bill Diekema Sung by the Confederates, 1956
11. When I Leave The World Behind
Œ b 4 V b b 4 œ
when
I
leave
the
world
be
-
hind.
when
I
leave
the
world
be
-
hind.
œw œ œ œ œw œ œ œ œ w
w ∑
Be
-
hind.
? b b b 44 Œ
b œ œ œœ œ
∑
12. My Diane
V 44 œ œ I’m in
? 44 œ # œ
˙ w ˙ ˙ œ œ œ ## œ N œœ œ b œ œœ ˙˙ ˙˙ ww heav - en when I
see
you
smile,
˙œ . œ œ b œ b œ ww
œ Œ œ œœ # ww N ˙ # ˙˙ ww œœ Œ œœ œ ˙w ˙ ˙˙ # ˙ ww smile for
me,
my
13. Smile
w # 4 ΠV 4
b wœ . ‰ œJ œ . œ . j . Œ œ w b œ . œ œ . ? # 44 œ Jœ œ œ b œ . ‰ œJ darn ya,
Smile,
A
smile
is
still
worth
-
Cry,
# . # ˙ # # 3 # V #4
Cry Cry,
˙ . ? # # # # # # 34
œ˙ . ˙ œ nœ
-
w w w
ane.
˙. ˙. ˙.
smile!
while,
14. Cry (I’m Sorry I Made You Cry)
Di
˙˙ Ó ˙˙ Ó Œ Œ
Bobby Gray, Jr., 1986 Sung by the New Tradition
, œ˙ . n œ œ œ , n œ n œ œœ I
made
you
cry
I
made
you
cry
˙. ˙˙ ..
Brian Beck, 1983 Sung by the Side Street Ramblers
-4-
15. Heart Of A Clown
if
I
had
the
heart
of
a
clown.
I
had
the
heart
of
a
clown.
N ˙ œ Œœ œ Œw œ œ œ b ˙w œ œ w w ˙œ b œ œ Œ Œ œœ œœ b œœ ˙˙ b œœ œ ww ww
# ˙ œ # œ 4 Ó ˙ V 4 œ #œ ? 44 Ó ˙˙ ## œœ œœ Sure,
I
of a
had the
clown.
heart
Lloyd Steinkamp Sung by the Western Continentals, 1968
16. Please Don’t Give My Daddy No More Wine
# œ 4 # V 4 œ ? # # 44 œœ
Please
œœ œœ
don’t
. ˙ # œ # # Œ œ V ˙. # ˙ . N œ ? ## ˙ . Œ œ wine.
He
œœ œœ
œœ œœ
give
œœ œœ
may
my
œœ œœ
be
j# œ J œœj J
œ œœ
dad - dy
œœ N œœ .. œœ œœ ..
no
œ. œœ ..
good,
no
jœ œ œJ œ œœj œœ J
but he’s
˙˙ ˙˙
œ œœ
more
mine,
wine,
œœ œœ
no
all
mine.
all
mine.
œœ œœ
more
œœ ˙w # ˙ w œœ ˙ ˙œ œ œ ˙ ˙ ˙ w mine.
all
mine,
3
17. Oh Lida Rose My
Rose
b œ b œ N w œ œ w ˙ œ b œ 4 œ w œ Œ V b 4 œŒ Œ œ ? b 44 Œ Œ œ œ b œ wœ œ b ˙ Œ b œœ œ œ ww Oh
Li - da
Rose,
won’t you
-5-
be
mine.
˙. Œ ˙˙ .. Œ
œJj œ . jn œ œ . J
18. Darkness On The Delta
≈ Œ V b 44 n Jœ Jœ . # Jœ ? b 44 ≈ Œ
Oh, let me
lin - ger
œ œ. œ in the
œ œ. œ
jœ œ . œ . œ J Œ jœœ œœ. . œœ. . œœ J Œ
shel - ter
of
œ # œ œ˙ œ œw œ n œ œ w
the
˙. Œ œœ b œœ #n œœ b œœ ˙œ b ˙ b ˙ œ ˙˙ .. Œ
night.
œœ œ œœ œ œ
Sung by the Bluegrass Student Union, 1978
jœ œ . J œ. j œ Jœ œœ ..
19. Who’ll Take My Place When I’m Gone?
b n ˙ œ 4 b V 4 œ ? b b 44 ˙ œœ Who’ll
œœ A ˙
take my
place
œ b œ
wŒ ˙ . # wŒ ÓÓ . b ˙ œ ÓÓ .
gone,
gone,
gone,
when I’m
˙.
N wŒ ˙ .
gone,
gone,
w
gone.
gone.
gone,
gone.
˙ n œ ÓÓ . b ˙ A œ ww
gone,
gone,
gone.
Sung by the Dealer’s Choice, 1973
œ # Jœj j œ Jœ
œ œJj œ j œ œJ œ
20. Sunshine Is Bidding The Day Goodbye
œ ˙ 4 b V 4 ? b 44 œœ ˙
Sun - shine
is
bid - ding
the
day
good
œ
21. We’ll Just Be The Same Old Friends
V b b b 44 n ˙˙ A ˙˙ ? b b b 44 ˙˙ n ˙˙ We’ll
just
œœ œ œ
be
œœ œ œ
the
˙ . œ œœ ˙. œ œ ˙ œ
same
old
-6-
b ww
œ -
nw
bye.
˙w
ww
˙
friends.
w˙ ˙ , , œ œ ˙ œ œ ˙
friends,
ww
old
friends.
ww
Carl Dahlke, 1965 Sung by the Auto Towners
