Charlie Chaplin the Songs of Charlie Chaplin

THE

SONGS OF

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THE SONGS OF

C~af{Qie C~apQiVl This collectors' edition, which has never been available before, is comprised of songs written by Charlie Chaplin. All are derived from the music he composed for his films.

1 SMILE (from MODERN TIMES)

2

2 SING A SONG (from THE GOLD RUSH). . . . . . 3 NOW THAT IT'S ENDED (from A KING IN NEW YORK)

4 8

4 WEEPING WILLOWS (from A KING IN NEW YORK)

10

5 MANDOLIN SERENADE (from A KING IN NEW YORK) 6 FALLING STAR (from THE GREAT DICTATOR)

12 14

7 WITHOUT YOU (from A KING IN NEW YORK)

20

8 YOU ARE THE SONG (from THE GENTLEMAN TRAMP)

25

9 BEAUTIFUL, WONDERFUL EYES ( from CITY LIGHTS) 10 THE SPRING SONG (from A KING IN NEW YORK)

28 30

11 ETERNALLY (from LIMELIGHT) . . . . . . . . . . 12 THE TERRY THEME-piano solo (from LIMELIGHT)

32 34

BOURNE CO./ New York Copyright ©l992 by Bourne Co., New York International Copyright Secured. All Rights Reserved Printed in U.S.A. Cover photo copyright Roy Export Company Establishment

2

SMILE from MODERN TIMES

Lyric by JOHN TURNER and GEOFFREY PARSONS

Music by CHARLIE CHAPLIN

--

Moderately, with great warmth

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tho' your

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e - ven

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it's break-ing,

tho'

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Adim Gm

Gm

D7-9

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When

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there

cl~ds

are

in

the

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SMILE

fear a'nd sor - row,

through your

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,

You'll I

-

slee

the

s'un

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come shin - ing

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SMILE I

'T

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and

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thru

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may - be

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If

you

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f~r

you.

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by,

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get

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you'll

sky,

Copyright 1954 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

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Light

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..

up your

face with glad-ness, Hide

($)

t

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f

r'

...,

l!!

tho'

a

may

tear

be

ofT

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c;

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Al

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sad ness.

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Gm

Abdim

trace of

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ev - 'ry

Gm

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so

near,

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time

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4

SING A SONG from THE GOLD RUSH

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bub - bles~ af - ter.

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trou- bles, Are laugh-ter, And

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Most If

all May

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our days

'IT'"

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cares you'll

and re

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drift fol

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all our world - ly turn your tears to

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on joy

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•

Lyric and Music by CHARLES CHAPLIN ABE LYMAN and GUS ARNHEIM

.

@Copyright 1925 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

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sor - rows, mem-ber,

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to

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mor - rows;

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don't you let them So In - stead of ask - ing

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fret pit

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you, y,

Or Just

some say

they day you're sit

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get pret

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gray, stop see, that

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skies are you will

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laugh your cares a wond-'rous mel - ()

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REFRAIN

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As dark as

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8

NOW THAT IT'S ENDED from A KING IN NEW YORK by CHARLES CHAPLIN

Valse Lente

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B~dim B~7

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·

Copyright 1957 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

of

~.-/

our

--.....,

Gdim

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ness, But the

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goes on and

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goes on L.

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the

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of our

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old -fash-ioned

song,

I

dream, When I

When I

,bS

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rto-

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you.

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10

WEEPING WILLOWS from A KING IN NEW YORK by CHARLES CHAPLIN

-----..

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Slow Blues ~

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©Copyright 1957 by Bourne Co" New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

a

.

way,

But you

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of

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love _ _

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a-dore you, I

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torment me so?

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Youhavtl mtlin yourpow-er, tlv-'ry moment,tlv-'ryhour Leaveme I

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a bpdl bothni~htand day_

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12

MANDOLIN SERENADE from A KING IN NEW YORK Lyric by GEOFFREY PARSONS and JOHN TURNER

Music by CHARLES CHAPLIN

Slowly, with expression

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mU6-ic bturts, and I hear man-do

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Bring-ing me a mem 1ry of the 1

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whenlirbt I

joy

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Play-ing on the strings of my heart, whenyou'rtl ntlar, man-do ~

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CHAPLIN &MUSIC by David Robinson

© 1989

which was from the start marked by a strong rhythmical, balletic character. Music played an important part in the presentations of the Kamo comedy sketch company with whom young Chaplin toured the vaudeville circuits before going into pictures. He recalled that Kamo would achieve comic contrast by accompanying the grossest slapstick with delicate 18th century airs. As soon as he was able to afford instruments, Chaplin taught himself to play the violin and cello, and spent hours improvising on piano and organ. In 1916 he published three songs of his own composition. Later he wrote and published theme songs for The Kid, The Idle Class and The Gold Rush. In the silent period it was usual to commission professional arrangers to compile suitable accompaniments for films from published music: these were then performed live by whatever instrumental combinations each cinema could afford. There is every indication however that as early as A Woman of Paris (1923) Chaplin was involving himself closely in the musical preparation.

Charles Chaplin remembered precisely the moment when, as he said, "music first entered my soul." As a small boy, living in poverty in Kennington, he heard a pair of street musicians playing "The Honeysuckle and the Bee" on clarinet and harmonica at Kennington Cross. "It was here that I first discovered music, or where I first learned its rare beauty, a beauty that has gladdened and haunted me from that moment. " His powerful response to music was closely linked to his comic pantomime,

For City Lights, his first picture with synchronised sound, Chaplin announced that he would compose the musical accompaniment himself. The orchestrater was Arthur Johnston. "I really didn't write it down, " Chaplin said, in an excess of modesty; "I la-laed and Arthur Johnston wrote it down, and I wish you would give him credit, because he did a very good job. It is all simple music, you know, in keeping with my character." Chaplin had very clear ideas of what he wanted. He did not, for instance, want the arranger to make the music funny, like a cartoon film. "I wanted no competition, I wanted the music to be a counterpoint of grace and charm ... I trieP to compose

elegant and romantic music to frame m) comedies." The recording was done under thl direction of Alfred Newman, United Artists musical director. Sheaves of notes evidentl) taken down at Chaplin's dictation during thl sessions reveal his concern with ever) phrase and note and instrument. The recording techniques of the time coull not do full justice to the music however; an( Chaplin was certainly disappointed with thl result. His assistant Henry Bergmat commented, "the terrible technica deficiencies of the medium are too apparenl I don't think they will ever overcome them Thirty-five of the very finest artists playe4 the score for City Lights so beautifully OJ the set. Through the mechanics of th

microphone it became something else." More than half a century later, Carl Davis re-recorded some passages of the score for use in Kevin Brownlow and David Gill's Unknown Chaplin. They were all astonished by the quality of the music, and concurred with Bergman's view of the inadequacies of the original recording. They suggested to Lady Chaplin that the music might be entirely re-recorded. She felt that Chaplin himself would have welcomed the possibility, and from then on generously supported the project. At first it all looked quite easy, since the original score and instrumental parts were preserved - a few missing fragments of the conductor's score could be made up from the parts. When the written score was compared with the original recording however, considerable differences became apparent. It was clear that extensive revisions had taken place in the recordings. Originally the corrections would have been made on slips stuck over the parts; but these had become detached and lost. Only by painstaking comparison of the recording and the score was Chaplin's final approved version eventually reconstituted.

mances and worked to capture the instrumental styles of the period: it was essential to get the right sound as well as the right notes. Kenny Baker, who performs on trumpet, particularly admired the work ofhis 1931 counterpart: "Such a wet sound he achieved. " As the work progressed, Davis, Gill, Brownlow and the players were more and more impressed by the quality of the original music. Even so, they did not anticipate the extent of the problems of fitting score to film, given the precision and subtlety of Chaplin's counterpointing of his musical themes. In the end several additional recording sessions were needed to do justice to Chaplin's conception. From the start Lady Chaplin had approved

the idea of a series of live performances, before the release of the newly recorded synchronised version. This is perhaps the first time that a score written for sound synchronisation has been performed, with the film, live before an audience. These performances make exceptional demands on the conductor and his musicians, since Chaplin matched his score so precisely to the image, primarily intending it for recording in the studio, fragment by fragment. Everyone concerned in the project, however, agrees that they are more than rewarded in the outcome, by their fuller recognition of Chaplin's extraordinary musical understanding, and by the chance to offer this special birthday present for the centenary of the cinema's greatest personality.

--"""'!I!III_-

"It was evident that Chaplin had constantly sought to simplify, to get rid of arrangements that were too complicated, " says Carl I Davis; "In this way he was making the score I' stronger and also less distracting. It was a r process of intense simplification. " One of the new arrangers commented sympathetically, "The man who did it must have wept. He did some wonderful arranging, but Chaplin pared it down. " The musicians all listened to the original recording before performing each cue, and would occasionally claim or disclaim notes on the strength of what they heard. They were impressed with the original perforPhotos copyright Roy Export Company Establishment

20

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The

song

is

----=

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... ...

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It starts with love

---- ----

.3

...

... ... ... I

Bbdirn/F

"

...

I

your

The

name.

~ vr

. . .. I

that

I

love

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C7

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more

with

and ends

I

F

F/C

I

I

same; _ _

aI-ways the

.. . .

...

~

C7

GrnfF C7/E

• 3

me.

...

There's

you

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of

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41

in - side

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mp

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I

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...

26 Gm7jF

C7

BbjF

F7

F

•

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I

3

more

in

you

to

-

"

--

3

~

how

I

"

I could love you

---;---_3

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Fm7 Bb7

3

I

."

1

more

do right

than I

-

1

They

now.

,..--

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b'r

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mf

I

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just don't know

I

I

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yet

I

I

"

And

love;

~

'"

Fm7

Fm7

Bb7

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say

that love grows

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,

t

i

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love turned to

our

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old,

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I

41-

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I

gold.

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You

I

I vr I

kiss

1

r-i

I

You warm my

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I

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...

3-

my sor-rows a - way;

3 I

I r I r

r

I

I

I I

I

Fm7

Bb7

heart;

What more

AbdimjEb Eb

Cm

Eb

I

.

r

It

I

..

I t.J

I

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"

...

Each

-------

q...

~

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---r day

4"

~ Bb7

Fm7/Ab

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say?

I

.. It

I

can

Bb7

life

is

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---

"*!-

Fm7

my

Eb7

Eb/G

I

IJ

I

.." new,

For

God

blessed me with

~

I

r

•

r ...

-- r

l.Ab

..,;

"1

r r:

!

I

And

~

r

J

r

Adim7

I

you;

r

-

r

I

Cm

Eb/Bb

--

J

I

I

~

I

.

T

l....-o

Fm7

..

Bb7

I

. when

"

I

I

-

;my life is all

r--1

----- ~ I

t.J

I

through

..J..-,.,j

~

~

C7

raU.

Fm7

That all of

my

..

word

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Bb7

You al- ways

r- [..1 r

"1

hl

!

Eb

I

r

I

Ab6

Eb6

I

knew

life, _

my life was

I~~ I

a

...-.....

I

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With-out

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28

BEAUTIFUL, WONDERFUL EYES from CITY LIGHTS

------

by CHARLES CHAPLIN

Moderato "'.lJ,

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VERSE E .lJ,

E#dim

I

I

can't for- get Through all the tears,

when first we met through all the years,

I

--------:::::: I

-

I

r'

It

tJ

r

~

.

-

*

be-neath the star - ry the vis - ion nev - er

skies. dies.

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I

r

r

p

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B7

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I would re-call in mem-o - ry,

-

I

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r

t.

*

r

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r ...

©

the mag-ic of the mag-ic of

-...

I

~

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your your

eyes. eyes.

I

:::.."

...

:;t

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REFRAIN

Am

Am

F7

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t

Beau - ti - ful

eyes, _

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what have they seen

...

I

make them so beau

I

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t.

eyes, _

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what have they dreamed

I ~

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-

I

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t

Sor - row - ful

eyes, _

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what have they lost

--- - . ----

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Am

-

sor

row - ful?

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11'- "'-"-

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make them so

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to

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der - ful?

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Beau - ti - ful, won

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30

THE SPRING SONG from A KING IN NEW YORK by CHARLES CHAPLIN

Moderato

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the

time

for

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,

r .r t

-'v

.. .

. oh

Spring.

r~r

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Cm

t

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a - hove.

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,

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the

When

mak - ing love

I

i)

f\

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·, Spring's

,.

em

D~dim

B~

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r

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e -

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t

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Cm7/F

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A

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nal

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Spring. of thee I

For

sing.

I'm in

love,

..... -.,

I. JiL'

"V"

... :

.'1- .... )

I -:j.

-. ""

I 1 .J

IIr .

.--/ <0 Copyright 1957 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

" .."

I

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.

I

Don't

SO,

r~r

.

--

F7+

.

l-

the

skies are

r:

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fl!

j

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FmlG

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live

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a - bove.

r qr r

I

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to

flies

.

r r

1

e:

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F7

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FmJD

I

But

sigh

fall

in

love,

in

I

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•

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L

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Bb

I

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love.

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blue

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by,

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fall in

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but

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32

ETERNALLY from LIMELIGHT (The Terry Theme) Lyric by GEOFFREY PARSONS

Music by CHARLIE CHAPLIN

feelin~

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l

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mfr-

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.r

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you

TER -NAL - LY, I

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heart, it seems I~ve

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shine, when you were

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mine

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. nd mme

r~'"

a

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_
R

r ----.# 1---=-= ~.


© Copyright 1953 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

.R

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r ==-=-~ 6.

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JJ

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you

=

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be

There'll

f\

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no

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dear,

my

,me.

for

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34

THE TERRY THEME from LIMELIGHT ("Eternally")

Piano Solo

by CHARLES CHAPLIN

Andante (rubato)

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---©Copyright 1953 by Bourne Co., New York. Copyright Renewed. All Rights Reserved. International Copyright Secured. Printed in U.S.A.

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