THE

SONGS
OF

i
I

lVl

",

"'-':;:.'

....

'...~.~..

l
'..

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 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

SMILE
from MODERN TIMES

Lyric by
JOHN TURNER and
GEOFFREY PARSONS

Music by
CHARLIE CHAPLIN

--

Moderately, with great warmth

Refrain

.a

I I

.J

""'"

I qr~

~-n~

~-

r "rt ~r

I -

--I

"F

tho' your

heart

is

(.l
1TlIJl-11if
~ tr#'

I-

..

SMILE,

1-1

mf~

..

~~

---

/I

i I
.......

..

f'

J.....o"I

Abdim

..

ach - ing, SMILE,

-;

r----r

Gm

e - ven

....--

.......

..

,,r

.*

it's break-ing,

tho'

r---- r

Adim Gm

Gm

D7-9

D7
I

When

,
.

there

cl~ds

are

in

the

i q:

i f:

---

Gm
'\
~

SMILE

fear a'nd sor - row,

through your

('" )

---

...

You'll
I

slee

the

s'un

.......

come shin - ing

..

SMILE
I

'T

---

and

-"

...---- ... b~

thru

~:

may - be

If

you

1'---.r
to - mor - row,

vr

1-""'"

\r

~~

C7

f~r

you.

...

~ur

J~I

'"

'"

~r

Gm

-----;--- I

1--

'\

by,

Bbm

r-----r

get

'

r"

you'll

sky,

Copyright 1954 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

-L.:C..--f

I "----:

1\

@;

Light

l!!

..

up your

face with glad-ness, Hide

($)

-+

----

---

C--

..

..

-Po

r'

...,

l!!

tho'

may

tear

be

ofT

.
~

r----- r

Adim Gm

c;

Al

sad ness.

Gm

Abdim

trace of

..

----

r---- r

ev - 'ry

Gm

D7-9

D7

er

so

near,

~r-

r-

----J

,..

1"---

ev

That's the

~
@

...,
~

f:

~~:

I-

--

@}

time

you

keep ~n

must
I

---

try - ing,

..po

l-

use

~f

cry - ing,
I--.

\r

vr

~fL

r,,--- r

~4

C7

Gm

what's the

r v, ~ ..

r'
..

Eb9

SMILE,

-;--...

\U)

B~m

-T

--

Gm

1\

.~

You'll

~--

l!

that

life

is

I-

......... I

'"

still worth

while,

- ..

I-

rind

Gm7

C--

.
I

~
~

C7-9

'''--

r_

Fmaj.9 F6

=---

C9

SMILE.

---

q$:

v.

just

~*~r

"2.

SMILE.

.~

J----r-..... I

--"""1

you'll

'"

qf

..-

~:

It.

if

J-.."""I

...

..

lratt.

--.,..

r.:'\

.~
~
~.

SING A SONG
from THE GOLD RUSH

Moderato

.--

1"jlJ,

I'

1 .
-

.
...
f
ff
..,;

~.u.

I-

ttt

-iI

-411

mf

...

GIB

Bbdim

- -

't

ly
will

tL~

;:::,... >

... i
G

D7

..

lUg

low

--

-f:

~~lII"

iI

"'i

Am

bub - bles~
af - ter.

q..

...

trou- bles, Are

laugh-ter, And

""II

D7

Most
If

all
May

..

...

D7

our
days

'IT'"

cares
you'll

and
re

...

---

~r

tt1

-I

drift
fol

all our world - ly

turn your tears to

Am7

1"lJJ,

on
joy

~r--

....-....

fJJJ,

G+

- iff

r--=::::::::::::r -----

I .

Most
Just

Vamp

14

f rr
I

..

~SJ'I""""'"i

......

r'

...
I

VERSE

fJlJ,

r-...

-I

II

./

.-..

r:-o

. ... f .r

v-

ii

-I

t
.

ft-

~.u...-I
t

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.

....

fJ

\
i.

I'

..

sor - rows,
mem-ber,

.. . ..

-6

to

gone with our

soon for - get

Are
You'll

~ ~

D7/A

D7

mor - rows;

De - cern - ber;

....

don't you let them

So
In - stead of ask - ing

...

<

Am

E7/B

'J

fret
pit

you,
y,

Or
Just

some
say

they
day
you're sit

will
ting

get
pret

you,
ty

When
Then

~ ~

...

..

--

---

IL

Cm/A

Em

GID

A7

gray, stop
see, that

~ ~

I,

work and
life will

play, And
A
be,

-i

oil

...

V-i

.,

<

D7
I

skies are
you will

\-

--

----

~ ~

I-

-6

laugh your cares a

wond-'rous mel - ()

...

..

q~

..

way:
dy:

...

"L--

-6

?;

REFRAIN

D7

~~.~
Just smile and swing a-long

Am.

D7

~ U

t...

fade a - way

.,

t...

~:

--.

---

Bdim

G#dim Am.

..........

..

Em

...

~ J

.J

E7

If all your

.J
~

gay

When you are

......

~ U

L~4~
Your trou -bles

The while you sing a song

1\'-

Am.

~~'i----~~~
cares ap - pear

As dark as

night

You'll find it

Bm

CIE Cm6IEb

D7/A

~~~-_#~
won't he long

-~-j-

r-

~~----

With just a

~:~

song,_ They'll be all

r
.........

it~

r==t

right, Andwhenyou're

JJ
11

-I

.... ...

D7/A

,~~~~
feel- ing blue

.... ........

D7

"

.....

S k leS
O

fJ

.IJ,

.,

41

r
are
gray

"

r"

J- ....... i

.IJ,

41)

When all

"

19-

...

----

F7

..

.. ... .

Things are not

1\

--

U'~_

fall

....

I""

Am
l

"
r

"

r-

.IJ,

"'

.
F i

'---

fJ

..

ff

....

-I

11.-------------,

..

Cm61E~ G

r
L

.. .

::>

too

~I

--i.,~i

0
0

iri~

"

., r

....

Just smile and

r rrr

2.

.~..., ..;;..
i I

.. t

!~

v-

....

too

.IJ,

...-.-

1.

Swing a -long,

,....

f If -

...

y~u will s{ng a song

"

41

I
"

G
.IJ,

If

~I

...

You'll find them just a dream

D7

'J

"

what they seem

41

~.

fj .IJ,

fJ

fT-

E7

E7/B

.... fT-

..J

....

l--r

U"

And sha-dows

41

the

-f--

"

Am

fJ

L~~

too

And so un - hap-py

.....-

~.IJ,
~

G#dirn

"
o

r"

~---

.. =
1II

NOW THAT IT'S ENDED

from A KING IN NEW YORK
by CHARLES CHAPLIN

Valse Lente

) I
II!

,-----

i'i

1~

"1--1

I
0

r~i

mf

..

J~;

,J

~o
F-

E~

,
~ I

Jp f

,
~

."..-

r:

0
"

is

..
ov - er,

---.

Fm/D

wind

----

C7

~.

~r

'"

are

the

I~I

---

Fm/C

Gone

rain,

r---- .
.. .

the

G7

......,
,

and

---

pas - sion's gone_

~f

,,.-..J

.
Like the

The

I~"'"

~.

----

~~

--r

G7/C Cm

Ii
ro -mance

--

-r.-

the

End - ed,

..

. ..

..
That It's

Now

B~dim B~7

Fm7

i"r

joys

- .,-

~,.,.
I

Copyright 1957 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

of

~.-/

our

--.....,

Gdim

ness, But the

l'''l-

,.
I

r-r

E~

ness

goes on and

goes on
L.

:~

II!

ill

and

=-

h -;::,

but the

............ I

-----

-rIL /.

-"

the

r'

L
I

11

-11 "
mad

of our

--

--.,--

"-Lr

"11

-:;1..;1

--

"l

11-'"

old -fash-ioned

song,

dream, When I

When I

,bS

II.. _

rto-

you.

I":'..
I

you.
/f!..\

"-f

1"---:--'

-.
..
1--- ,
~f ,r
Ibf qr FP"'it.,i, ~

Gdim7

joys

. ...

~ I

think of

F9

on, like an

sad- ness goes

Fm7!sbB~7

I~

.J

FmlC

h".
I

Goes on and

11 r

r'

,--",a

AdimIBb

rJr
.

I~I

Cm7/F F7

Gone are

'~ .

~r

- ness,

on,

t:;'

III!

~-----..
~

r
I

C7

G7

/"

---.

"I t----.I

.
.

r'-~ I

.-c;.i'

on,

IL j

Bb7

on

-~.

Iq~~

.~

qrJ

"---

sad

..

c;.i'.

mad

Fm

Cm

G7-9

"l

F7

"'P-4o'

.
-,

I~

~I":'..

".

.:

.....

~ -

~~:

II

10

WEEPING WILLOWS
from A KING IN NEW YORK
by CHARLES CHAPLIN

-----..

...,

Slow Blues
~

..

----

I've

..

'-

.
-I

D7

1\ I

11

=t_

.' .

...

be true,

-.....

-- .

-,t

~.

.'

... -

count of

you_

---.,.---.,.
lr'" .- ___::'-4
.

.)

_____ i

-6-

A7fE

A7

do?

low you

~I
..

to<'

Dm/C

. ..

if" . ..

on - ly had the will

""

to

____ J

=Ii

"*

get

I~I

------

A7

...

.
J--

and yet

--~---' -,j

B~7

Dm/B

150_

:>

.
Dm

If

---

... -

A7

,
Dm

<II

..

11

-d-

know you can't

,,-

f.

----.

do? What shall I

Lord what6hall I

Oh my

ac

---....

Gm

J----===--- J

1-------.

I-

A7/E

DmIF

. ..

.)

'-

I
I

Dm/A

.,

..

ifl~

step-ping thro' platt: win-dows, on

Dm/Bb

rit.

.-:-

..----......

..

r
-...

l. _-

Dm/B

..

1"'-

g-ot the weel'ingwil'lowb and I'm

Dm/C

4)

----~J

J---

r.

mp'-"

Dm

r-

Copyright 1957 by Bourne Co" New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

way,

But you

.----

-----

~4'

-, J

_.

Dm

DmlC DmIB

----.

or ld

A7/E

..

"

.-o.!I

..

,. -;--r

D7

Gm

..
this tyr-an-ny
~

..

>111

..

b-eI

.,

...

::::::=---...

of

hi

love _ _

.
~

"

j'

=----.

I'

";I

.,

u-----=---.
_=:::.---:" ~"'"'
.

------.

free

-.

. .

r'

.
1_..f:

A7

.
i

from

:
I~e you.

I'm bttlp-pingthro'1'Iattlwindow6 ov - er you.

---.

.
::>

~rt

GmJE

..

--

DmIF

A7

im-plortl you, Let me btl

-.

. .--- .
-

,. JJ
...
I

"6-

....

GmJE

a-dore you, I

you,

=::::----..

dol-h;tl

I..u..

>-

Gm

*'

.
de.,-pise you, i I

~~ =::-~

-.....

~'

__ .

----J

a........_....... .

---r ..

Dm

.-

.. ...

torment me so?

why

whY,oh

---

T It

go,

01

A7

.
me

.----

-;--..

J-I

.
~

.n

"

r---

Gm

now

'"

.
f

'I

---- ..

I~J
tb~ .

D7

DmIA

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

I

j
I

i~1

r. :

DmlB~

DmIB

DmlC

Dm

a bpdl bothni~htand day_

haw me in
~

C7

. i. ??----..
.
"'I

j'

.
-ltl~ j

'U'

--

I~

-U

12

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

Music by
CHARLES CHAPLIN

Slowly, with expression

~I .II -. J.

A.J.
-

I
4!

..

~J
- n~
-

fio.

~~

I~

.p..

Cdim/D#

..

~ Ev - 'ry timtl you're near,

.---::

fl

I
I!

.
r ...

- -

mU6-ic bturts, and I hear man-do

-,t'

.--::

-.TT-

I
4!

lI!!!!!II

.-....

..

I'l
~

...

...

---..

Bring-ing me a mem 1ry of the

1

I!

.
I

-r

whenlirbt I

joy

".,..--.

.1.

r--

Ji:]

liDS

.--

r ~t

~I

I~
I

G7

found

you,

... .,

-r.. . .

~J
~

~j--f

r 'r

'I

::::;-..

.-!!!I

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

rtL,r

,.

I"

I"

r
~'I

4!

lins,

~11';"

1"

G+7

~i

G7

G7/D

,..

'r

~ L...-L

Copyright 1957 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

r f"f
r-

13

fl

..

Likll a
fl

Ser en adtl

.
.

--

gllntly

..

.....

tiO

..

a . round

it't> all

playlld

yuu

.r----.

--

........

G7

'----"',J

..

Ev.'rytimll we mild
/")

.
rI

.. *P-I

...

rtl - vllat J

G7ill

CdimlEb

I canhllar man-do

==

L-r
I

S.~
.. 1 ' r to
lng-lug uw::; rtl- ram

::!! ..
"
I

I"l

DmlA

I"l

'1

-t

.-

C/E

-....

"

If I
~

-y
~

-T

Dm6

G7

of

Ii

'

~L

t~1

- ....

-T

ntlV - er htlar thtl charms

,r-.

~ ........

i ftj

ntV- tJr hear a song-bird,

'-

Dm6/F

btt gins,

C/G

I'"

~rr

,~#)

and swett, oneil a-gain, it

I ......~----rl

f-L- .

n-T1e- r

"lp-)
-.....:

I'"

50ft

G7

lins,

G7

---"'

r ~-'i

f'

"l

--;::;::::

.....

thous-and vi

---_-',

G7+

--..

~-

.
~

..... ~ It-

I shall

lins,

f.o'------r
-

~
fl

DmlA

al-way~ht:arthtl music

--.....

;;;;;.

I
,

C6/E Dm7

C/G Dm6/F

..

Ab7 G7

--

r r---f

of' thOStl lovtl-ly man - do - lins.

if

~I

-~v

,1..-:
~

J'I~C

II

.. y'

whenyou'rtl in my arms,

G9

'-J.-

-lins._

_____ I

f:!'
'--"

1':1

""--:;J

14

FALLING STAR
from THE GREAT DIeTATOR

Lyric and Music by

CHARLES CHAPLIN
MEREDITH WILLSON
EDDIE DeLANGE

Slowly with expression

VERSE
fI
~

..

Gm7/C

\
I

'-~

COY -

~~

~111

,,~

C7

I-

...

ro

I~

CmID

D7-9

-~

~--mance.

"i;;
I.-'
.1

Gdim/C

"r

'---

...,

...,

......-,

could - tit dis -

1Tff

Gm7

loy - er

fI

fI

lone - 11

adlih..:~~ 11

<

All my life Ive been

Cdim7

CIF

Gdim/C

--

~ -r ru

@Copyright 1941 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

I'~

#~

-r

41

..

hid - ing

-""""1

Yf

TT

~~

And to

----

Dm7

,..r

,
III

it

take

.-

al -

most

C7

an - y

chance.

..

r~r

Vf

11 ~

-ue-

_1

"Z

'"
HI

tJ

C+7-9

me

the

one

-~

D7

D+7-9
L

you hea-ven-ly mes-sen-ger from a

g

L I

bove.

11

-e-

9-

1'-......-.

C7

C+7

love,

FALL- ING

STAR.

Gm7/C

C7

if

Find
~

...

"
I

--

lUI

Gm7

"U'

.J.

mf~

- .:=:::rf

....a tem'po

,J

..

STAR_

4 _____4-

FALL - ING

fl

------ -

C7/G

-~--....

"'Z

REFRAIN

.
r

Bbm/c

Gm7/C

G7

--,

~---

7J"

..

r~r

"--

Dm7

G7

'"
find

'r

I'll

I
I

'UI

"f

Gm7

cov - er.

un - der

f't

D7/G

'll

Some - where love is

Gm

D7

CmJD

GmJD
~

I~

to

--:---...

I
q:ef~1

rtF-

n
:I

F=!

;j

J=:t:F?f??9j
-

16

C7/G

"1
~~

Near

or

far

... f

4IIJ
~

..

..

'.---

,.......

-.-....

"1

C7

C+7-9

to

land
!

9.

--

of

-If

my

dreams,
I

1~

f'J

"-

wel- come

-9-

9,

r
..

in

c:..

Gm7

beams

::::-

"1

fol - low your

..

411

D+7-9

...

5'"

D7

<

would

"U"

ft

glad.; ly

-.n:

,F

.---r

\U

:6f:

F9

E7

F7

find

this

Bb+

Gm

Bb+

Gm

so

sad

and

~
11

411

star

earth

..-

~f

411

l-

#P:

y~

a~

~
.....

r"---'i
F

E7

E7/B

"f~

"=-f-

CmJEb

D7

1'1

411

drear /'l

t
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17

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41

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to

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18

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

WITHOUT YOU
from A KING IN NEW YORK

Lyric by
IRVING GORDON

Moderato

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Music by
CHARLES CHAPLIN

v'

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aim

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71.
<0 Copyright 1992 by Bourne Co" New York,
All Rights Reserved, International Copyright Secured.
Printed in U.S.A.

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bond.

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21

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22

INTERLUDE
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23
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"

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be.

----

All

YOU ARE THE SONG

Lyric by
GLEN ANTHONY

Music by
CHARLES CHAPLIN

from THE GENTLEMAN TRAMP

With feeling
I

..

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I I I I

mp

CJ

...

Grn/F

love

,
F

you

are

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song

the

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your

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I

that

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more

with

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same; _ _

aI-ways the

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me.

...

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you

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of

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F ArniE Drn7

41

41

in - side

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mp

My

7:f

II

I~

Copyright 1974 & 1978 by Bourne Co., New York. Copyright Renewed.
This Arrangement Copyright 1992 by Bourne Co., New York.
All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

...

26
Gm7jF

C7

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"
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more

in

you

to

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how

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more

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than I

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now.

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just don't know

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yet

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love;

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Fm7

Fm7

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say

that love grows

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28

BEAUTIFUL, WONDERFUL EYES

from CITY LIGHTS

------

by CHARLES CHAPLIN

Moderato
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VERSE
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Through all the tears,

when first we met

through all the years,

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

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be-neath the star - ry

the vis - ion nev - er

skies.
dies.

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

t.

r
...

the mag-ic of
the mag-ic of

-...

i
..

your
your

eyes.
eyes.

:::.."

...

:;t

Copyright 1929 by Bourne Co., New York. Copyright Renewed.

All Rights Reserved. International Copyright Secured.
Printed in U.S.A.

~fU

...

'"

REFRAIN

Am

Am

F7

/I

.........

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eyes, _

1\

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r
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what have they seen

...

make them so beau

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eyes, _

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I
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what have they lost

--- - . ----

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sor

row - ful?

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112.
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11.
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make them so

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to

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30

THE SPRING SONG

from A KING IN NEW YORK
by CHARLES CHAPLIN

Moderato

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r.;

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.

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When

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em

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e -

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ter

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I.
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... :

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)

I
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-.
""

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.

"
.."

] -J

..,1
F9

Don't

SO,

r~r

--

F7+

l-

the

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r:

fl!

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live

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flies

r r

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FmJD

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sigh

fall

in

love,

in

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r

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love.

"-

blue

don't

by,

.-

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i)

fl

fall in

i)

but

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32

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

Music by
CHARLIE CHAPLIN

feelin~

Slowly, with great

,..

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@)

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mfr-

r-

-P

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ten

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heart, it seems I~ve

my

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shine, when you were

,--.....

1\

mine

\~

.
nd mme

r~'"

""'lone.

_<J

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

<J'

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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vi

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