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———-———~Piano Conductor Score ——— (CO Tome Nada Severs re. Book by Music by Lyrics by Tuomas MEEHAN CHARLES STROUSE = MARTIN CHARNIN Original Broadeony Production Directed by Martin Charnin Presented on Broadioay by Mike Nichols Produced by Irwin Meyer Stephen R. Friedman ‘Lewis Allen Alvin Nederlander The John F. Kennedy Center _carus Productions Associates Inc. for the Performing Aris Based on “Little Orphan Annie”® By Permission of Tribune Media Services, Inc, Originally Produced by The Goodspeed Opera House ‘Michael P. Price, Executive Director NOTICE: DO NOT DEFACE! + Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOTFOR SALE «This book is rented forthe period specified {in your contract. Itrenains the property of: Music THEATRE INTERNATIONAL 421 West Sith Street ® New York NY 10019 (212) 541-4684 Music THEATRE INTERNATIONAL | wwwMTIShows.com Steels ee Book Copyright © 1977 by Thomas Meehan. Music & Lyrics Copyright © 1977 by Edwin H. Mortis & Co, A Division ‘of MPL Communications, Inc,. and Charles Strouse wUadte Cede bet etertatl lite Ube eVodtek Lug eee bude bo uoauuueuuunuayl Si Rite. is a computerized rehearsal pianist/musical director's tool for PC/Windows. and Macintosh computers. This easy-to-use rehearsal aide is available with your performance license for an additional $250.00* for the entire rental period. WHAT YOU GET Fitts RetenSexet i complet rendition of the Piano-Conductor Score on CD-Rom, sequenced by a top BH Broadway pianist. Each disk includes the hearScore® player that works on either the Windows or Mac operating system. Each show disk includes the entire piano/conductor score with the piano par, any orchestral cues, and each vocal line on its own track, Every musical number, from “Overture” to “Exit Music,” including scene changes, dance music, and underscoring, is recorded in its entirety, MTI's RehearScore* is a proprietary sequencing software program designed specifically with the needs of a musical rehearsal in mind. WHAT IT DOES imply point-and-click to: Change the tempo (faster or slower) without affecting the pitch of the song (perfect for rehearsing dance numbers"under tempo") Start the song at any given point during the number (no more "fast- forwarding" and waiting for a cassette to get to the proper place — easy dialogue and lyric cues put you inthe right place instantly) ‘Transpose the key “up or down in half-step increments an octave in each direction vocal line ("pull up" the altos in the chorus number, so they can hear and leara their part faster) Remove any particular vocal line (once the actor knows their part, they can rehearse with just the accompaniment) REHEARSCORE® MTI’s MOST POPULAR RESOURCE TITLES AVAILABLE: ‘Ain't Misbebain’ ‘ani ‘ane Wabucke ‘The Apple Tee The Baee's Wie Teal Boy Be Bag one adie 873 vex) Give OF den ‘Goss Than Bree ‘Dam Yankee Fame—The Musial ‘The Frnesices Bier On The Roof rere Pid Kea iat Se or maia Son Hn Se a qarnaa LOM Scat, ieee “The Mise Man a Poy Te ins OF Pee Stay Nee Sonne odd coher 1776 Sera aene ire aes oa Se Se Wipwoas” Yo “The Wed Gocs "Round ™ Price wai as of 103 — Sulbjecs to change. Te eer eee eee te eee HE met eb Seb eb ed be ied rd beset sb ed CULT TRANPOSITIONS Your KEY for a Pay Successful Production! DEMAND |! happens all the time: you hire the right actor for the role, but the right actor has the wrong vocal range for the character's songs. H: perfect in every other Iway, but no matter what you do, he just can’t hit that high note (or low note). So you decide to transpose the songs fo a more suitable key. That's a lot of work, And it can be expensive. In fact, transposing the Piano-Conductor Score and orchestra parts for just one song could take days or even weeks by hand. Well, now you can get almost any song from certain shows in virtually any key, printed in state-of-the-art, easy- to-read computer typeset. Hee: how it works: Copy and use the transposition order form on the reverse side of this page, or Jobtain one from MII's website or by calling our offices. Establish a performance key and stick with itfor awhile. Once you're sure of the key, fill out the TITLES AVAILABLE order form and send it 10 | goon som’s wo Tn e'sAoa Mare MTI along with your full | mos Mas Suen payment. Welll send you | Aes Wanes the transposed piano/ | Prerstovn He Mis, conductor part and the | Sasor‘ests sa required orchestra parts | te omni scout in about two weeks, We'll | Tov wat “TRANSPOSTIONS CnEants tions | Dat m0 ship your transpositions | em vo Nee save uvoconpucor coe || Unbound on individual om sheets so you can insert ‘Tue FULL SET OF ORCHESTRA PARTS | | them into your existing oe parts. Ger BOTH rr Oe Low Fel We remember to order the MTI ReearScoré* rehearsal aide, ith its unigug transposition feature, this computerized rehearsal Fans can hep yor determi tye boat key and cows you fo eral) rehearse4n he new key ont your rappostions erie.) TRANSPOSITIONS ON DEMAND Organization Nome: Account Number: Your Name: Address: City: State: Lip Code: Phone Number: (__} Fox Number: Performance Dates: { ) NAME OF SHOW: ‘Song Numbor: Koy ft he bsioning of sng Song Tite: Tronspose (check one}: TUp ODown to Key:. Intervol Tronspoted jncjor ad fer arenes Piano-Conducior ($50}:__ Orchestra Parts ($100),_ Both ($125:___. Line Toto Song Number: Song Tile: Key {at the beginning of song): Transpose (check on: ClUp OiDown to Key: Interval Transposed fnojr nfo example Picne-Conductor ($50). Orchestra Parts ($100;:_ Both ($125): Line Tot. Song Number: Song Tile: Key (th ging of song Transpose (checkore: CWUp Down to Key. Interval Transposed nojr 2rd for exe Pione-Conductor ($50} Orchestra Parts ($100::__ Both ($125__ Line Tota: GRAND TOTAL: ‘CREDIT CARD AUTHORIZATION Ihereby authorize MTI to charge my credit card the following cmount for the edie Sa Ankh ny al CARD TYPE: Viso MasterCard (American Exoress O1 ¢ (CARD NUMBER: EXP. DATE: __/__ NAME OF CARDHOWDER, cm. STATE_& ZIP Noe dy ign tnt a wh og od os re i tn a chore result ino delay of the processing of this request Smo crpeesl sae PLEASE MAL OR FAK TO: ‘Music Tweares Inreenarionat sad Vous NesusteiTFEEEEES COE Ta j! 421 Wes 54th Sirol, New York, NY 10019 bide deerlinae! Title (212) 541-4684 « Fax (212) 397-4684 Eo ensign ‘Signa eee eeepc ee CeCe seh eee eT ich Tecate heels Ki powered by Sinfonia® MTI's Latest THEATRICAL RESOURCE IS A PLAY-ALONG PERFORMANCE SYSTEM THAT ALLOWS YOUR GROUP TO REALIZE THE FULL SOUND OF THE ORIGINAL ORCHESTRATION. own. is a user-friendly music enhancement system capable of augmenting student musicians and professionals alike. With OrchEXTRAS in the pit, actors on stage feel fully supported while the pit musicians experience the thrill of playing with a full orchestra. Many organizations interested in producing musicals don't have access to enough musicians to make up an orchestra. OrchEXTRA® was developed to assist these groups by providing the missing instruments needed to realize a full Broadway score, while at the same time encouraging all available musicians to participate. What sets OrchEXTRA® apart from any other music enhancement system is its extraordinary ability to follow a conductor's fluctuating tempo as well as its ability to handle subtle musical expression. With OrcHEXTRA®IN THE PIT, EVERY ORGANIZATION CAN HAVE A FULL ORCHESTRAL SOUND! Available Exclusively rom ‘Music THEATRE INTERNATIONAL pees 421 West 54th Street, New York, NY 10019 " Realtime (212) 541-4684 © Fox (212) 397-4684 KQM! Music Solutions ‘waw MTiShows.com * Licensing@MTIShows.com j powered by Sinf HOW IT WORKS: «¢ For a given musical, each individual part of the orchestra is recorded and sculpted by a trained musician, then put together with the other parts to create a sequence. The sequence for each song is then rehearsed to play back specifically crafted sounds of actual orchestra instruments. Each orchestra part is on a separate track that can be turned “on” or “off” depending upon the musicians you have available. ‘he instruments missing from your ensemble - but required in the score - are now played back by OrchEXTRA®. WHO SHOULD PLAY ORCHEXTRA®? Any musician who wants to! Once the basic principles are learned, the quality of the OrchEXTRA® performance is in direct proportion to the OrchEXTRA® players innate musicianship and the time spent practicing. Anyone from a professional musician with years of experience to a student musician just beginning can perform OrchEXTRAY beautifully. ‘The most important thing is to have some basic musicianship and a game spirit. TITLES CURRENTLY AVAILABLE: To learn more about the OrchEXTRA® and other Theatrical Resources visit the Resource Section of our website at www.MTIshows.com sdeets as ae! ANNIE Overture 1 Tpttsolo nf Tont—tole i 2 3 af a 2 6 9 (Fat Cle Pee 4) | (Piano) » 9 gf GaiSey Tins Gey 10 “Taba, Calo, Bs) 2,442 fa Cet ovectetetectats eee 7 (6/13/08) Piano-Conduetor pe ebodbedsisiisiul Jae Ssecs I sca Ics SI cw ee See #1 Overture alt =I ot a) “I 3+ #1 Overture pts, Tos) (Choke Cyn (Flat Pie) —~ elias Sete eeeeeeeagaaeeen a Gb aS z v wy IY ev Ie Im an #1—Overture 65] erute dre Toor Sen) (Tp, Ths) @ #1- Overture t 4 ; (te, Cay Sts, els) Seren ee WSabedeataletsddcdadedtelsludistuisilsetsisd #1 Overture 7 #1—Overture ebetodiete petwtuul ei -8- ANNIE 2 ; Maybe Slowly in 4 (Annie, Orphans) 7 (Piano Tacet, Celeste only) 4 (in=soe) <7 7 1 Calo rte Kemet Feat 2 8 —_—— Seer (Clar soio) v (6/13/08) Piano-Conductor ec 2 cece lA ee Ol ee | 8 ee 8 8 ee Be ~9- #2—Maybe MOLLY: Annie reed me your not. (ialogue cont) fo] 2 times (Cele) a 2 2 a? B ca 7 Pia mosso ANNIE: Somewhere. Somewhere [23] Vamp—coca! last time (NN) Tee 5 =ace =oaee = aye PY le Py He may be pouring. her - fe, She may be staight~ning his ti, is bed be tetedtebctuttet sbetetadbelk | “o- notam & She's sit-ting play-ing pl - 2 = no, Hes sitting pay-ing 2 bill (pts, To) aa Bet-che they're young, 6828) JN ‘oat | by ~ (chs 619) SEE cere oreo eee eto ob t* 7 ashetrays and arto Ret-cha they're good— (Why shouldn't they be’) by =n- #2—Maybe ‘Their one mis-teke was gly - ing up_me__ Ln —_— May be now its time, Ba) -2- #2—Maybe 60 Piatogu) be. (5 Te wt anf ® (cxtio sey ) Bw an r it 7 —emieneme CI ete eee ie 88 oe ee ee ae v 76 eletedtctetcdtetctedictctcitctctclicdt tele -B- #2-Maybe Bet-cha he reads, Bet-cha she sews, May - be she's mado mea (od. 2 Har) A ze { by vai rt May - 7 t acheter a ee eee ee -15- ANNIE Annie’s Escape (Piano Tacet) 2] va 3 times aint mp Wotton ego 2? {Chimes continue) a 5. (lars, Muted pt, St) —== P 3 rnp) Caated Tors) 3 times 3 times 3 times 3 times Cut on cue (6/13/08) Piano-Conduetor ; —6— ANNIE wmum (ard Knock Life 4 They mustve got stuck in traffic (Annie, Orphans) 4 times: iano) mf (tub Calla, Bass), 0 Mod (in 4) (Segue) “a9 Gl cay, HANNIGAN: Why any kid would — iv, the hard = Zz ‘want to be an orphan, never know for ust Ts the hard -knock (ie Pies Clas) Conductor counts 1-23-4 four rinshots op o (Tin, Bar Se Tab) 16 7 = Y (ocetoBas,GtrSoe) (ans, (ORPHANS) canny We got tricked! “Stead - a. Kiss es, Xd dd co (6/14/09 Piano-Conductor 7 H-Hard Knock Life (ORPHANS) (au got Kicked! Ws the hard-Kenock life! Got no folks to H t com speak Ws the hard - knock (ive, Pes, Car) f os) (Bass aco, Bart Sax, Ths) (ann, (ORPHANS) (anne) (ORPHANS) ‘Stead -a wool! ‘Stead -2 fall! -1B- #4--Hard Knock Life eno Don't it (tn Cato 25) - pa rons ata © P FP i eee eee (GULYIKATE) feel (ty eto snip J -19~ #4 Hard Knock Life (werreryresste) courry* don’t you want to throw the towel in? Taisdte bd Ts FESPEE CEE hee -Pe ee H-P- CP -PP--P CPP coe ser than put - tin’ up a ie sSavadvalatedveteledtetetcivetsT * Use strong voices, not necessarily the character assigned -20- H-Hard Knock Life there when your dreams at night get (ORPHANS) (ome ES EE Om Caton) < Tia) -2- cau, Emp-ty belly life! utes, cla) a 9 Fry Ste) af (ear Sex Toms, Bass) Fy Full of sorrow life! tod San-ta Claus whats dé (Gala, Calor 500) ites, lr) td oo #4—Hard Knock Life Rot-ten smelly life! iif No to-mor-row life! that? Who's he? 4 Be Fe ke #4—Hard Knock Life (Piano) ‘7 o wv MOLLY: You'll stay up tll this dump 72 ‘Vamp shines like the top of the Chrysler Building, (onrHANS) Yank the whiskers from. her (hte) i (Sop Sax Tp), ~~ STI ee om (Cell Bass, Tp, abo) ae ~24- 4—Hard Knock Life (ORPHANS) her with a safe-ty pint “O° 4" 4" 1 love you, Miss Han - ni 4 4 fa S/he eee ee Se eTeT eT a Se Tce Fel telcisitsts Wakadbatel¥ 4—Hard Knock Life MOLLY: Get to work! ‘Strip them bedst I said get to work! mp OS oom (sluts Cla Via) mp ag. (calla Bass Tite) A 0 MOLLY: MOLLY: Merry Chuistmas! (ALL EXCEPT MOLLY) Ws the hart-loock life é (Flutes, Cla) f (cate) 0 (Mins, Tb, Bees) =26— MOLLY: (ALLEXcerT MOLD) Is lots of meicine! No one cares. for a smidge when you're in an a J 2 a 2 Ws the hard - knock fel Ws the ard - knock lite! Pree (ruie.ctag aS #4—Hartl Knock Life + phan -age! 24 a Coe ee eee eee ee ~7- ANNIE Hard Knock Life — Reprise (Annie, Orphans) ‘Vamp Cue (HANNIGAN) Police! Police! Cae To Continue: (DUFFY): [No more ard-knock life for Annie! bial cau wou Luck-y kid, she's out there free, Run-nin’ free in Luck-y duck, she gota - way But we're gon-na (ee, Pe Clare) nf = (Tip Bari Sex) ddd 1 [li * cee Bass Gtrdea) way Bet she finds her folks ike that! Mom and Dad right off the bat! Gon-na get our fac - es slapped Gonna get our knuck - les rapped. 7 (inp) (oT) (6/13/08) Piene-Conductor ~28— 1#5—Hard Knock Life— Reprise (ausur Mou) Ws the hard - este 9 2 Ws the hard - knock It’s ‘the hard ~ knock Ctr PododdstatadtalatedteletledbeUcisdbu¥clsdisis (clay Ton) Slowly (an. purMoLty) Iie. (Pte, Claris He only) a ts (Piano Tacet to end) (cat) » WT ) -29— #5 —Hard Knock Life—Reprise ‘MOLLY: Help, help. 'm stuck (hay clay Gig ons ie IF ‘eit zy ef Winzsord) 2 a (cette) (cue -30— (possible rit) 4#5~Hard Knock Life—Reprise ediete Saeh eb ed babe t ed be Fat ele F et cl bet ciletsd oY S -31— ANNIE Tomorrow (Annie) ANNIB:T take car of you. And everything's ‘gorma be fine, For the both of us. Ifnot today, well. ea Gtrsole) P 1 (Cal) 2 sun-'ll come out to-mor-row, Bet your bot-tom dol-Iar that to - mor-row—— There'll be (Chars Mute Ts) (Base Cla, Colo) So Just think-in’ a-bout_— to-mor-row clears _a-way the cob-webs and the il there's none! (6/3/08) Piano-Conduetor 32— #6—Tomorrow 24 day that’s: gray : I just stik— up my sun-"Tl come out : So ya got - ta hang on (lar Ty, Ti) ~Ecarnecacicnectecicie*e*irse|*8*aee 8! weet ed ed telat ad telat edtet ct edbetelcitetstadints mor-row, t9-mor-row, way! (Clay solo) P (PianoTacet tll 31) (cell) oP as) islogue) =33- #6—Tomorrow what may! love ya to-mor-row, you're al-ways 2 day oF OP Br or p vo 6—Tomorrow 4 (Piano) (cles) = bb x 4 7 Sree Stree Tw (cat) > 36] (PianoTacet tilt 50) {Car sota) sso) =P 5 of” ae F 2 7 Gas) a 7 OF SF ~35— #6 Tomorrow ANNIE: Oh, I don’t mind the weather. (annie Vamp When I'm stuck with a (tract tne onl) = P (Clars) 51 day thats gay and - Wy 1 just stick up my 4 cena | Pia by t #7? hy 1 7 ‘2 ie Vet sd tatatiadtsletedvetetsibs¥etsdiste te =36— #6—Tomorrow So ya got- ta hang on ‘til to - oF OF Pe ia love ya to-mor-row, you're al-ways a day (pig Teas) alaladbaladadecialadtd set ulvctet slbetetsts ~37- #6—Tomerrow mor-row, {-mor-row, 1 sTove ya to = mor-row, you're «always a fijuay HS aay Wn Cato 2500) F opts E (Tin 2 val Vamp Cue to stop: ANNIE: Excuse me, folks, excuse me. ALA BESTS a Segue 7 a (Ton colo eery othr nck te) ANNIE Hooverville (Chorus, Sophie, Annie) ‘Two Starts/Vamps cue to contin: First Start/Vamp:tapplause segue from previous. MAN Regt Cue to stop first vamp: Annie's entrance. Vamp WOMANS ée WOMAN 4: Horgry. (tite, NaN ALL: Homel! Second Start/Vamp: WARN:Yee, you shoulda un agaist Rootevl. Vamp Cue: Hey listen to tis (tian) || mp (iba, Cato, Bass) To-day we're liv-ing ‘To-day werescrounging for a meal, ‘sorHt To-day I'm stealing coal for fi - res, (pts, Tos) > S= P (6/13/08) Piano-Conductor ~39- 10) (WOMEN) 47—Hooverville Fused to win-ter in the — t0- pics, I spent my sum-mers at the shore 9 (MAN with papery T used to throw a-way the pa-pers, He Wesaelaladictatisdbatatudbctatsivstelsisai ssats We'd like Pte, Cle £ y= more ates, Cla, <> Gy oo (ee eee pte, Tos (Piano opt. cet untit 33) —40— 47—Hooverville caw For real - ly show - ing us ap eee eee Ce weld like 40 thank you Her - bert Hoo - ! WVaVa Faisal aioe teeta ieetaTsiasts -41- #7—Hooverville the co = zy cot = tage built afi i ¢ ¥ In this blue heav - en that you Beate ma a al #7-Hooverville bine! AI Smith and Hoo - ver, Vi Gin (Piano) mp Not on-ly did we pay at - ten-tion, we paid through then pt Te) a =— ? 47—Hooverville orn, In ey-'ry pot he said “a chick-en"” But Hler-bert Hoo-ver he for - got! =< Not on-ly don't we have the chick-en, you the pot! Hey, Herbie, (lates Cl) 50 (HEN) Grate fal maton, You left ates, la oncacrny [—3 Jj ((lpts, Tons) (Piano opt. tacet until 65) P ‘0 #7-Hooverville oe) Heb, our hats are (ANN You think he'd ike TsValsstalaelsisataiadtatalsieetatsivatelsiaats ~45- 47—Hooverville (MEN) Ho, ho, [wonteN) Come down and share some Christ - mas din nex, iia ttiateatitien Be sure to bring the Mis aus to, ibe Tay oder feo ay We got no tur- key for our stuf-fin’ Why don't we stuff -46— #7—Hooverville 65 (crour2 Thank you, Her - bie (exons) you. We'd like fo thank you Herbert Hoo - (Pltes, Clan ore ary 2fafam )i2 pts, Ton) You dir-ty rat, you bu-reau - erat, you mi STAS2 DV made us what we are oe = a (aor Sap) 7F eRe an at mi) lifes Hea e 47 Ink AIBA ) By} ane) LA. z HIBLA z ARPEPRPO RO ROR POpeennooonenepererrerecoeonsrrogs Lt WARD: We're tearing down tis junk pile, now. (Catcanbe moved dog hasta con tocup banging thee Agitato (in 4) cms, > >, > - « tae — 8. Hooverville Raid ; a fee (Peer ee eee ose Vio (Bono, yt, Tonh SP (Piano Tacet) (har Se, Th, Tbe, Cel Bas) Tener Sax, Tins, i, Va) tf (tps instond 7 7 6 (Bar Say, Tbe, Cello, Bas, Timp) segue as one (6/13/08) Piano-Conductor ae ae ; : 9 Little Girls (Miss Hannigan) (Scene changes to Orphanage) 2 Hime ia pts Xa Pec) so BY p= Plane) | ems cet) 7 Boss pe islogua) (Soprano Sox sol) 2 pres THEE thes ] usp) 3 -w —_—, - (6/13/08) Piano-Conductor a ber _— 18 SSE eet EEC : iy —50— ‘#9—Little Girls 20] eee — Ft ny wi ww eat) Tet # eo be tr r Cerise te MISSHANNIGAN: Gt toi alltel orm sel, of. a Vamp (amiss HANNIGAN) Lit = tle girls, it~ tle gists, Ev -‘ry-where tun I can A orpts tong _ A (%yt0 00) A A Bar Sax soo) Little gis, lit-te girly night and doy T eat sleep and A A A A eludte vtetetiadtuts —51- #9—Little Girls ‘pt Str rete) wo = man with va Gopran0 Sex) —2 ae (Win pes, Cet.) - —= yea) *? like 2 man to nib = ble bn my eat a. tterised >= ‘t (su) (pts Ts) 82 #9—Little Girls Lit - tle checks, it = tle teeth, A ety Tis) ui Geri Sex solo) I wring lit - fe necks, Sue -ly 1 would get an ac - quit - sted Tp) a) =53- #9—Little Girls a Some wom-en are drip-ping with _dia-monds, Some wom-en are dripping with nT _— 8s Lucky me! Luck-y mel Look at what Tm drip - ping with: (cate, Viaboe) irs. (Soprano Sx colo) Bee Eee oe Sbevetadtetctadictctedvetclcivctetcivctalslicte 54 49—Little Girls La nl al (Muted Ts, Tvs) ae t i Sax Tub) dP Eeeeee ace ee eeeeeee et teen eee eeeeee aera MISS HANNIGAN: Stop Safety Fo] “assay How I hate lit = the shoes, Jit = te socks and each lit - tle (enor Ses Tp, Ths) 7 op Gopreno Sexist tineonly) subito mp (055) Td have cracked years a-go tose), : 38 : #9--Little Girls ft weren't for my sense of Some night MM straight = en their eae ecee CECE ECEE CECE eee eee VUsT sesh taelessaieteivetatsintatsiststish Send a flood, send the flu, (Sexes Tp, Thay xylo tea) q (ecell) ‘Anoycthing that you can do to A 99—Little Girls 3 -87- ANNIE Little Girls Reprise annem eciefeoyvaneen nee (Miss Hannigan) 2 een Fe sso) (Tor Sa, Tp, Tos) AN iano) E " squirrels, te (19/09 Pie Condnctor r 58 Thee Il stay, evo Sax Tp: TH) cexsioson ® (acello) #10—Little Girls Reprise 4 iP 5 ANNIE 1 re I Think I’m Gonna Like It Here ke (Grace, Annie, Servants) Bright tae Tt) ia est TT) = 7+ WH a WI z wl \ ies pie Barca) FE (Fite leg Card tb a -60— ‘IL—[ Think I'm Gonna Like It Here font — 4 = WF ge Sis Seana Tow F a a as a 7 oo (lute, Pie, Clars Xyle) _ fitter . . op of -f "Tr - Ff -61— ‘PL1—1 Think I'm Gonna Like It Here (Pte, Pe, Clare, Vines, Xe) (evo Sa pts Ts) = inno) cota J 7 eee re 2 (Fate, Pe lars, Vn pz, Xo) eats Pua eee Recep ect h Pree eeeeee ee reeeeeee CSataledtetlalodteteleiveteleltctetetltctats -62— ‘#111 Think I'm Gonna Like It Here omcmmratiny 4 i FECeE tree FT tT ener Sex, TH) TF err ar : -8- 11-1 Think I'm Gonna Like It Here e ra a? fc) ate cls) (Caite) a 7 tree eee feeeeeeeeeas Pele iad BITtITITiTtitiririsiitirtiiiririittitiisiiie, ~64— 411-1 Think I'm Gonna Like It Here ae em 2 en co) ae GRACE No, ofcourse not You're our guest. And, for the next two weels, Vamp you're going to have a swell time. Now... ea ae ne a a eee 64 CECILLE: Green is her best a cea tee w. _ Ce- cille will pick out all your clothes" _ANNIE Inside the The swim-ming pool is to ‘the lek. house? Oh boy! (hte Pie Cla, Vines, Bll) = : Ree Ter ppt py St RR RT RTs ‘SSatatedsatletadicicladvcdctedvetelsivatulalacte -6— 11-1 Think I'm Gonna Like It Here MRS. GREER: Bubbles... Gerace, no soap, I think ——S—SS== ANNIE: Inever even Your bath drawn by Mis - sus Greer. : ‘The ten - cout is inthe rear picked up a racket e i 4 4 Td 8 4 mI 4 nv Hr a a 3 i ni al] Ie “a = ee | Ea 7 ANNETTE: The silk, no the satin sheets, think, GRACE Oh, and get An=nette comes into. make your bed = Re ee ee ae ee eee tet Don Bue DRAKE: Yes, Miss (ate, he, Ve pi, Xylo) Ree ee (9 wa ad ieee i A i (ANE GRACE: Annie, t I think Tm gonna like i beret T think Tim gon = na ke heel (vated Tp Tne) = 66— 11-1 Think I'm Gonna Like It Here 80 (enace, When you wake _ Drake will bing your (Fate Pie, Cla) ; = (Cota tl cate vee) eso = CNet sdbadatledvetelslvetelelvctetsletatslaat so 39 -67— (GRACHSERVANTS) No need 10 (tn, Coto 15b) oe so) will you lif, my a {GRACEISERVANTS) We have but Cn ae (Pes, Pes Clare) (pts To) 11-1 Think I'm Gonna Like It Here ANNIE: That's okay, haven't gotany toys anyway. SERVANTS: Awve! (te, Pes Cla) ——— {GRACESERVANTS) cap Used to room Pte Pee Can) le aledsdtotetedialulsdivlsisdbstetsdtctslsdsad -69- ‘#111 Think Y'm Gonna Like It Here 2 4 “aw 4 ~a g =i wl Ul TH 2 I “a WH “a Z = = = = me OTHE ntctel CSR RETEN HII aw i BS FH al a - wy a a -70- ‘#1L—1 Think I'm Gonna Like It Here (SERVANTS) We've nev-er had a lit tle (cnace os We nev =e (te, Call 150) —~ SS te Pe Clas) 2 2 ta ter eee eee gid, we've nev-er had a lit-te girl (ANNIE) please Saksisststsisitetstedvatavedivtaisivetetsivste -1- 411-1 Think I'm Gonna Like It Here (GRACEISERVANTS) We hope you a (te Pic Clas) eo all oss tates, Clas) Gall tne) ror PF RF PP F F 11-1 Think I'm Gonna Like It Here (ante) (GRACHSERVANTS) here! ANNIE 2 N-Y.C. (Warbucks, Grace, Chorus, Annie) WARBUCKS: Drake? DRAKE: Yes, si? WARBUCKS: Coats. (Wialogue) em — zp (Piano Tacet till 13) isa 1) —@ = all 5a) 6 ooo? oo Vocal cue: "...Bridgeport" Vamp—vocal last time (ARBLCKS) WaValadtalelodtatededtcleledtetcledvetelsdiats = (Bass Car slo) Muted Tod 9 ry At (14/08) Piano-Conductor Te i tae epee ee x (Flute, Clear) (Piano Tacet) = 2 = = = ——F — An es | = Fe aa #2-NY.C. vaRBucKs) S / f Then 1 dn ni (cette ares} 27 cab driv ers an-swer-ing back in Tan-guage far from pure, eee eerie pone arene ees eee eemsth gee eee (Piano) (cetta -—~ (Bes, Bas Cl ¥ frank - fart - ers an-swer-ing back Broth-e1, you know you're avelastetsisdseletedtavaledtelelsitetal ~76— #12-NX.C. wou) petit © Too bus-y, too crazy, 2 aoe ae Guin. . werd fi, fig} y (cata pz, Bass Clr) @ 7 ~ 4s a 7” ™ ¥ WARBUCKS: Come on you slowpokes, ‘we gotta get to the Roxy before the prices change. (Plates, Clr, Xgl") + + yy pda [aie jaa eee cs. re @ he , #2-NXC. (Grace) N x c The shadows at sun-down, hs Leek Pte Pe had nf the roofs (cello pez, Gt (au (WARBUCKS/GRACE) c (te Cle) (eae, Cet aeo 50) “SSetaledsaletadtalcledtcvetledicteisiicts -78— W2-NYC. (WARBUCKS/GRACE) (WARBUCKS) the big town has the~—-Em-pi-re State and a mayor five foot twa? No oth - er ite Pies (Cters sto) (te Pe Clare) neo) whole for-ty eight can half compare with 70 bo 79 #-NY.C. 7A) wy (warBucks) — c You make ‘em all post - cards, ute Pie Cee) + ne Wie pid (atta pz 7 =e 7 7 (WARBUCKS/GRACE) You crowd, you're still Ce rect ¢ = fi eee SaFotvasetedbddcdadvetuledvctetedsdtslsiads as —80— #2-NXC. 85 (WARBUCKS/GRACE) c ate Picegoa) (Clary Cello) Lier cher epereie piereee perce Set eteddadsbadivlebedbctebudtutelbudivtedslidica ~81— 2-NX.C. ay ——s——, Square, ee Fite, Pee sol) Eee Eee ee gee eee CeCe eee eee eee the beat, the drive! dan nats JA Cos ¢ (wansucKs) — (ipa, Bis o0) (cate pic) a 24 —82— #122-NXC (WARBUCKS) (HARBUCKS/GRACE) (hte, Piee, Clare), a pm nyo = cade, i Tete (ann) -8- #12-NXC. Jadta (annie Ve lived here all of my life rev - er seen these things. om ce ds We dg at Peg a (cet) — 18 mF ar A 5 =~ a fhe whole world keeps com - ing fe aEPeeeerereereeereeeeree ber eater reerrreeEr eee tes, id feet a (ato), a a sSalodbadstsdiddetudsctulsdbetelsltctsl: i #-NXC. P A pts, Tis) yeattaghn WS a a wt a Hi 5 al Hi may 1 w _ _~ = CUT ee ibs Felecia ct alittle lbitelcivdtetaty: ~85— H-NXC. 23| {STAR-TO-B5) : N Just got here this morn -ing & 4 a a 7 g 7 Tal] Ol 7 a0 HI HH wl FH Hi ai aT} - 1 give you fait wam- ing (ie, Car, Vie Call Bo oe = (sTAR-70-35) up. there (tte Ts Ths) ‘Alto Sx so) Apt sot) PERAuataiey (in, Cte, Tear Kauf-man and Hart the (9 cao, Teer —86— #2-NXC. place they love the big for their art, (— FF MOF Coltdts ie Cate Keke eel tele ie tere leet hei ket —87— (@TART0.09 fan (au = sianctosa 7 N Ges Tord aera aeT r #2-NYC. (sTAR-TO-8E) (Pie Clr Vin Cet seb) is Pare eee eee 88 HID-NXC. all sran-r0.88) to - night Why not? (Alto Tp, Ths) 1 eo 8 ee (hte Pes, Cad) (Ga tind) you'ze standing room on - ly, (ylo at ses) cor ~ sl 7! mill ~ ~~! —89— #2—NXC (gnowr3) You exowd, you cramp, you're still (enour2) NotChiea-ge,KensasCity, SanFrancisco,Cincinti, NotChicagoKansasCity, San Fan-cls~co, Cin-cin- nat J ia! “ a. (Pie Fate, Vd Apts att) 179] —N- #12-NXC. rons atempo (COP: Keep itquiet down there! (Wert x, Celio) eo (CUE) USHERETTE: Immediate seating uu there is immadiate seating! fié3] Very slowly in2 i dito Sexzolo) , Z l (buted Tt, Tos) = #2-NY.C, = = & so P —~ (cata (Bass Cla) 16 5 187] navn va) i ‘good - night, ‘Spee w vanes) step aah N. : oem) 2» = oe eee pacer -92— ¥R-NYC, (Bat i On cue jump to m. 204 os - ono Beard r a (hears, Alto) —%- ANNIE 13 Easy Street (Miss Hannigan, Rooster, Lily, Chorus) ROOSTER: Aw, Aggie, how'd the two he Hannigan kids ever end up ie this? Onihe skids. [Freely a oosten pane Tom = men = ber the way cu wanted molh-er (Ibe ltone me (Piano Tacet till 18) 1 seme eS ee uanatcay » Shed ey “Kidh thaws a ple Fate Heo SS 7 (@oosrER) a hee ee (14/04) Piano-Conductor H13—Easy Street 20 HANNIGAN) (noosren) Roost) yyou stack the a ces you load the ch, we knay ove down thee Ye sae eae epee ee , wtudlets Vote dbetetedtetetedietetedbet -95— #13~Easy Street ‘Tempo Slow 4 "New Orleans” (ROOSTER) Bes. y Steet, (tesa) —~ yt Wood mse) ak wal (Piano) mf (Bass piss) (HANNIGAN) — Yeoh, yeth, yeah 26 (roceTHER) 4 (HANNIGAN, yooh! She'd te Sd ame Z arene erence Slower (Dialgee) | | i} i —96— 413 ~Ensy Street fe eaeeceeeeet eee et a a ay a 8 = 7 4 “ * lean HH ir PF wwe es ot? fF Ctr ‘Tempo—Slow 4 “New Orleans” au wos or ct 4 B te: (At, Tenor Sazes so) -97- #13 —Ensy Street (att, — pussies play, Where they Pree Re Ree ent BANNIGAN) ? <4 Move them feet dove them ev - er-lov- in’ “7 te: pt Tm ‘Seses tpt, Tm) |, a a 4 aig “Trt = rrr F LILY: (Sings alittle owt of tute) syste ays 7 Slower ay! ae Eee ee ee gee eee eee eee —9— #13—~Easy Street (Dialogue) 7 ¥ 6] oN 5 iano solo) (cutlooto) % 7 2: —— a f\_ (ROOSTER) Rats ivstateltetet fait how we scounge for Thee or four bucks while she gets (tp cla Wood nate) mp (axe5,Ton) NY ? —== $c! am (HANNIGAN) the t-te beat Bint this here le 1S driving wEs! —100- H13—Easy Street (HANNIGAN) @oosren) me nals While we get pea mus ing — (HANNIGAN) (Roose) she holds the key that It De ‘to Sa so) (Piano sola) ww (cat Where does thet May-be we fix the game with some thing shod - SF 4 ms =i — % (ns, Ta, Bess) = -101- #13—Easy Street ‘MISS HANNIGAN: tum Otel roosTEN (any Give you one Yes! molto cree. ul Ut ‘New Orleans 4 au, (Alto Tenor Sases Xu 800) (Bari Sx, Tos) Fe Eee eee gee Pavone eee eee (ess pa) eisddads flo Tenor Sexes Xl 0) wtatedsstodadaased ~102— #13—Ensy Street ton05) HI 7H 8 All 7 “I A (pts Ata Sud (Sexes as) ae -103- $13—Easy Street ann fod F Peapr-tet (sexes) f ft ns) =, ATE nee FH 1} a Vatateddstetsdtoleledseleleitetets ~104— #13~Easy Street fs Applause Segue [Playoff] (rom icin) 7s 10 w > fT OF - APSgcgearegegagesgaganpegsengeeserenpesesegrege. —105— #13— Easy Street (saves, Tos) Tr weataiadtelatadiets ~106— ANNIE 13a Into Warbuck’s Mansion : (res cl Tr ——-D> ate ee fa Cersiod gf © (Piano Tacet) (ns, Clo) | 7 (iss Clay Bae) 2 3 “ (soa) ea, JY (6/13/08) Piane-Conductor ASB 2eagracganengagnaeagagngeassesapeesgagtage -107- ANNIE 14 Why Should I Change A Thing? (Warbucks) Rubato eed Cir) omy ser = flowing Why should 1 ae (rea Fite) mp a fon that sting. (nse) ssadodaddade -108— #14—Why Should 1 Change A Thing? poco accel. vy de = he pet tgs 2 (cate) (eka strings) F poco ral (coher) poco rall Why sk getting close? Close just is-n't me, (etc : a (stant Bees) [23] 2 tempo tempting fate? P (ok? Vibes) age APPRPesagageeatesseereerereres BES: 109 #14—Why Should I Change A Thing? Anyway FS t00 ate rer (lor) - a mp = esscincay PAF a 2 6 = poco accel, Evatoteloatoteltdtets w¥ada -110- #14— Why Should I Change A Thing? Dictated Dama! What do I Know a-bout ——chil-dren, ex-cept they us-‘al-ly come stall A ee SS a (Pate, Bras Sig) x They read, but not The Wall Steet jour =a A Dees one have break-fast with them ‘Toke them to mov-ies and to (Fat Clery SSA EA EP EEE —11- #14—Why Should Change A Thing? Why don'tyou getsomeclear in + structions? Likewhen you buy a set of DamnlWhet do Iknow about children? CCouldthey just pos-sib-ly be hun? (ear Fine) (ete, Vibes, Stings) 2 mp 2 atempo 57| molto nce, — S¥eeping + T think the thing that's most dis. + I don’t re-mem-ber be-ing one. tues) === —— =m2- #14—Why Should I Change A Thing? a a @ ° Or, catego) Why dis tub the peace? eg af’ (Kod Harp) Why should 1 change thing? fon that string Why not let Zz SBP cerereerer neers etecrriecsc|csrlas —113~ #14—Why Should I Change A Thing? all (40, Cars, Kot Sings) 77 A tempo poco pitt mosso ——— Not a thing stays the same Set eFesteteieIIT erie) labsus GWA fs soa « -14— §14—Why Should I Change A Thing? Tree pha a: Now when I send Christ-mas_ cards, (ett) f Dirsus Diplasup’y Ws 8 mis ~ take to take her underneath my wing Gye cup Mat) wf (bd Sgn Tt peer eae ce eee eee 4 badd (ort, Vn) ‘ae Iu cls Emr Ea? Foy Br) gina) 8 % o r Why change the mall- bax? a tes, Yn) (Clr Ty Tom) eSedecdadedudts TaFadhi Maestoso thing? (lta Fts, Tan) Lt 6 (8s Clay Cello, 85) —115— #14— Why Should I Change A Thing? As1363) A ~116— ANNIE 15 You Won't Be An Orphan For Long (Grace, Drake, Warbucks, Annie, Chorus) GRACE..up to and including the White House DRAKE The Leegue of Naiors! i (Grae plese eee at att Slow 2 (ate soo) f 7 i Cptsserumtes) (Piano) none ‘owss r r then he will have wits al the tose) . . taralied tao Sae (DRAKE (ALL) dene, (cles) b ® ra (6/13/04) Piano-Condnetor -117— 915 You Won't Be An Orphan For Long And (Clee Ter Sa) 18] March (hokdenmpo-back) midnight (Clay ole, Tot eb gate) (Alfesap oie 2 (Muted Ts, Tas) abet adtaleta: —n8— #15~You Won't Be An Orphan For Long search ev + fy © where ond hel find (Tp, Tn Teno Sax) Tong! Where (ets, con bd uy a quits, (and dis - ap - peat) Hell use his (Paes, ye —— cee eEeeeee E for = tune wits, 60 newer never fea) (Clon Teno tn 9 + a” -119- #15—You Won't Be An Orphan For Long a2 aun street or ‘cross the sea, = nie, -am - eat you ~~ w Safety 2 cosogn) (ac time ony) (larsote) ___ (Tenor Sas) a ® ello soad 3 2 3 3H ate Festalsieity -120- 415—You Won't Be An Orphan For Long a (Bass Tab) Sajety (GRACUSENVANTS a a WARBUCKS: Will just take him ALL: Hooray! 3, ofthe Capone case a DRAKE ip Bp (i Tis mon = ing : you're with 2 (tes, Piel, Vo a PROCES EMG OR EMSA TPA RAAT AEA Teele a -11- #15~ You Won't Be Au Orphan For Long prove meun- tans (Gnare Dram solo) AOA kITTUITT™ | toed nok (Piano tact a fine) 1d. r r r = (Dialogue) ritard 85] Freely (Wt salo—esp gato) nf (cate) isin 5 % oF r (cetoy —~ =12- #15 You Won't Be An Orphen For Long TE OF [PT 7 % 2 wo EE ANNIE: Oh boy, I gos wrtea letter to the kids about thst ann im 102 Fy 04] a (WARBUCKS) 108 105 15 (Celio, Bass) 5. SAFPREHESEPRengognagagegeaeeseonaree a 13 #15~You Won't Be An Orphan For Long a5 (ANNIE) May - be now its (nsotomcalin 2c) = edo s They'll be there call - ing me ve ees Broadly ral Satedtal (Tp ee | Of ? — Ghie) td avatadt q cd) End of Act1 Sv -14- ANNIE 16 N.Y. Entr’acte (Annie) (Fae, Pee Cle Vn Xylo) a ys Toe) a. ——~d- ns std i Pion) > = 1 dre tT T IsTT 7d ‘Suuve Drm soo) t Rusk cy a 2 3 isp Cia, Cello sol) T (ny Cet, Bass Tip) lute, Pe Cla, Vi, Xo) sf (ots, Banjo) (ns hub, Cll Soh) a i A Hil ~ —oil a HII ‘ ? 7 wr = 5 =I 4 6 = a nt Peer (Pie, Clar, Tpts) 7 7 7 % (Tors Tob Cella, Bass, Tap) ‘iba, Bas : : fe e {= May = be now this payer's (Cota 2002) . (PIANO solo ~“Old-time radio") © Won't you please come get your 2 be. -129- #16—NY. Entr'acte (ante) al —130— ANNIE 16a Timpani Cue HEALY: sn ation-wide search for Annie's parents? WARBUCKS: ..on the night {Cue to sop) WARBUCKS: of December Sst, 1922 nationwide search for Annie's parents. On cue On cue a a Nf fe Gimp) (13/04 Piane-Conductor 29°0°209 9092808 9g nn anaes -11- ANNIE 17 Fully Dressed (Boylan Sisters, Healy) s HEALY: So got in touch rightaway.yehee?? HEADY. another of ur Tharsday night ™P .get-logethers has gone by faster than you can say Oxydent. a a Gatesoior (Piano Tacet} a 1 Gass Te r Vamp (Pialogue) (POYLAN SISTERS RONNIE, BONNIE, CONNIE) HEALY: JOHINSON: And Jimmy Johnson, @ © BC ALY __ Ronnie, Bonnie, Connie _édio's only masked announcer. O-xX-¥-D-E-N-T tet (Cars) usin r ‘HEALY: This is Bert Healy saying ..Ha Ha Ha Ha Ha Piano) (6/13/08) Pinno-Conductor ‘SSavetestetstsdieteledtclelcdictcludic ~132- #17—Fully Dressed (HEALY Hey ho = bo man, ey, Dap - per Dan, you've boih— got your style, but Broth - ex, you're (Cte 7 dressed with - out a sil ——________ ptr) 7 Your clothes may_ be mally (a cele) " j « -133- #17~Fully Dressed (HEAD rail bbe te Peer eo eer eC et Who tn eto ob) 7 aeamaEPTERRaas=® See aoe a aj what hey woar-ing on Main Stet or Saville Row? Ke what you (that mat ters) a aa vb vy aA aA ® ane Beaded sa talatadiadletadtetciu «) ~134— #17—Fally Dressed 32 teany So, Son JOYLAN SISTERS) (HEAL) sie, (GOYLAN sisTERs) Read-y or not, Lis-ten to Berh—— tep his smiling toes! ecm (PIANO soe) 135 #17—Fully Dressed Cleo mp (Piano Tacet) ita, Bass) HEALY: Al the lovely Boylan Sisters, (Senso) ree Piano) (GOYLAN sisTERS) Doo doo-dle - 00 doo doo doo-die - 09 doo deo doo doo doo doo doo doo doo (coke Gym = 2 wNetdodbadadadacda ~136- #17-Fully Dressed 52 (WOMLAN SISTERS} Your dothes— may be they stand—— out a pts, Tins) evo Sex lo) eee ar ia rile, but broth er you're nev ~ er fal - ly dressed, you're nev-er dressed without an rt = ple Com) ————— nea’ onbelton) = —=F of? (CONNIE) RONNIE) BONNIE) (CONNIE) au E (tn scl 5b) lls 5 q f f “ ~2B7- #17—Fully Dressed lay Mettrasiny Segue ‘stedsalatstissts =138— ANNIE Dressed (Children) (Orphans) £ DUFFY: 0, for all ofthe Them ofS Samay, {88H Bet Healy saying HaHa Ha Ha. ay Vanp (dialogue) (tar Mate Tp, To) (Piano) cl) tia) r On cue (our cay, Hey, ho - bo man, hey, Dap - per Dany you've both— got your style, But broth - er you're fects ptTtt = (nestr mute soto) r r r dressed with - out a sie Cipt-strant) * Use strong voices, not necessarily the character assigned. (6/14/08) Piano- Conductor AQrgagengagegaggngagaagagegsagagers —1B9— #18—Dressed (Children) Your lothes— may. be anel-ly, they stand out & vin.cate) mile, but broth = er you'e nev = erful = ly éressod with - out a (ty, ect sot) eee fc) —140— #18 Dressed (Children) what they wear Main Steet or Sa-ville Row? Is what you ae PEPPER: Ah, wou Teelovely I) Boylan Sisters. AIRE vitard sui atenpo (QUERYTESSIE/KATE) Doo doo-dle- eo doo doo doo dle - 0 1400 doo doo doo doo doo doo (Clas Sts pee, Xo) . ® 2 1 ~141- 4#18--Dressed (Children) Se, : 2 ke te slong for a (teal Slaps) " aes) ae ‘ cm oe ope ore. ay, mgt f— (cello reo). -12- #18 — Dressed (Children) [28] poceittmesso ob Tavern) 9A 6 (orang) Ptore te hey J) aie oma altos -13- #18—Dressed (Children) 32 ee | 4 el {cell pee) Who Om sCetor5b) (Sees Ips axes ol) what theyre wear - ing Ws what you mn fa fae EG pete -14— §18~Dressed (Children) au tard AAD 70 Slower so Sm = ere 0 long for 0 = wil, resem = ber youte (Win, +Cello 159d) eee fe Po ese, To) f -145— 818—Dressed (Children) uy =146— ANNIE 19 Easy Street Reprise (Rooster, Lily, Miss Hannigan) ROOSTER: Oh Aggic. We get the fifty grand, we blow this crumby town, and then Lil and me'll meetcha MISS HANNIGAN: Where? .. Oh, (BANNIGAN) (ROOSTER, LILY, HANNIGAN) yeah, Eas A iano) Fy ee Tree wtih V sio-eud 6 funky 1! _igiesireee yescsir + ce yesssires) Sao aS ey. core ues) ops BR eae (eter, Bari Sere) ar PP ? Pre v (6/13/08) Pione-Conductor ABABA RPA AAeeernergegansergeeeasrsereseterser ees. ~147— #19 Easy Street Reprise (ROOSTER, LILY, HANNIGAN) Eas open F 6a (cto ‘Thats where were (Sexes Tpit Ts) Weave Cb eVebethabetedeetet ete 4 SUSE Se STs Ce Fee Ue et ee eet itetutuitvtetc 919—Easy Street Reprise —48— -149— ANNIE Train Music ‘Ft Pies, Can, Vn X90) 8) SF = (Piano Tacet) 1 fs Calo) 2 Cipla > Etelpe Siete > fiele > field Sinbe > Siele > Fiple > 1s tine only 7 > = = 2 Sefey tient eit) : L C a —=—— 70 MVITITILITLILITLiiliiriiiiti ii oo 9 (6/13/08) Piano-Conductor =150— ANNIE 21 Cabinet Tomorrow (Annie, Ickes, Perkins, Roosevelt) ROOSEVELT: No, that’s allright. Goahead, my deat. I's stil a free country. (ANNIE) Jost think Int a = bout to = mor row clears a-way the cob-webs and the (cur soto) 4] atempo When I'm stack—— with a (Calo, Bass) thats gray 7 To just stick up my De eee (Piano) : . (Wass pis) (6/13/08) Piano-Conducter ~151— #21—Cabinet Tomorrow (anne) ay: (pe To) 8 (mys SS sun" come out + mor = so ya got - thang on (Clr) MINT Tale ~152— #21~Cabinet Tomorrow morro, to-mor-row, 1 eve ya to mor-row, youre al-ways a day. = ; F pr opr p ICKES. But ely Franklin you know that | ROOSEVELT Sing! Vamp v7 3 times (Wocal as ime) Dislogue) (OCKES} way! aie) r Bb ? Louder Harolat Hi 20 On cue sun-‘Il come out to + mor + 10%, bet your bot - tom dol-lor that to omit was IS AD G mm <= (ciasy of oo (ata, scr ; 7. =133- ¥21—Cabinet Tomorrow sackets) ROOSEVELT: Perkins... pemcins/icKEs) Aa pts, Ts) nf Br pice: (ANNIF/PERKINSAICKES) thinkin’ a - boot to - mor - row eas away the cobwebs andthe —— =<—— ed sees Ss —_— See eee ROOSEVELT Solo for the President .. (poosevetr) ane, When I'm stuck — with a VOGT Tee eT =154— $21—-Cabinet Tomorrow 28 (Roosevetry aay thats rey : 1 just stick out my so enor Sax Cet) ANNIE: ROOSEVELT: Everyone Becuse me, i's “up” my chin.. Republicans too, Over sng! (Sexe, Tp, Toe) sun come out_____ so ya gt-t hangon “tl to (hy scale 5m) ergy tare f ~155— #21—Cabinet Tomorrow cau dats, Alto Sars) ow 1 oH ~ rm ae ~187— 425-1 Don't Need Anything But You WARBUCKS:Annie, 'm the luckiest man in the worl ANNIE: And I'm the luckiest Ki Vanep (aot {cettopie) = bo (WARBUCKS & ANNIE) To-gath ~ To-geth - er for - (ta ct, (waRoucKs) 1 dowt need sun = shine now my skies to Blue, Cptesraate >, (Bet Yn, Cates) Pee eee cee r SSsTedbatatashsistisiscdededesisteltsielstaad =188~ 25-1 Dow't Need Anything But You (PRARBUCKS & ANNIE) T dont need any (eT * pit cate 2a ¥ oF oP al 8 ~ aH ou 99) (WARBUCKS) You've wrapped mee (bat cute — lit He ate he Can fin. gee SO ama vlna) You've made— life 2 song. you've made— me the sn ger >, See _——— ~189— -¥25--I Don't Need Anything But You 07] (ann And whats that bath - tub tame you al - ways "bu ~ bu - boo?” hts Pie aaaaras eae r Tee (warsuces) (cotopien uF r mp 1” F fe one) ‘OWARBUCKS) day wat pltin aw ~ fal You can say thet a= gain at SSeTaTasdadalestetciestetetest mpi) (cele pit wi =190- 425-1 Don't Need Anything But You twassucnsy aay (OVARBUCKS & ANNIE] anu : 7 feed was phin : Bat tat Thats then (Tor Ser rate (cetopiey oo na Tae r Z oa 23} anne waxsucKs) Fm poor (Great) Pr a - er = Ta : ? (WARBUCKS & ANNIE) Bat noth = ing on -191- #25~1 Don't Need Anything But You naa] (WARBUCKS fe ANNIE) aed te (et, Viepiea) (cet pied Pere eee fale r 1 don't need a (WOMEN) re Ham - let need + ed his 200) pia (Cato ie) r =192— 425—1 Don't Need Anything But You (ORAKE) ate) WOMEN) (DRAKEor ALL) Or-ville need - ed his broth op (saves nui = Tin fe [3] (0) Theyre two of aie (wo of — a kind) (ap-pi - est psig (Ceo 1506) (Se To) Uke Fred— and A= dele tbey/re float = ing on (ed and A-dele) (Float-ing— on ais) AGIA ILGIIGIFIIG MT AAVAZAQAR RAD SESTSTU ST STE es ale ees eV clei b tales ietaleitete =193— #25—1Don't Need Anything But You And what's the 7 drew that just came tue? (ty Tp ACS) 5 ff anne 1 dont need (is, Ting) (Cole, Bari Sox contin) = = val. SRC we t yw v a -194— #25~[Dou't Need Anything But You 1 (Wy Cee eb) ‘sane Applause Segue AEA 9 2989 92999.25 9999928 9090928999992 -195— ANNIE Party Music 1 Fade on cue Cocktail Pano style (Piano) (Gt Bass, Drams) B (6/1308) Pieno-Conductor =196— ANNIE 27 Same Effect On Everyone (Annie) ‘ALL: Merry Christmas. ROOSEVELT: I seem to have the same effect on everyone. (Dislogue) ute) mp (Piano Tacet tt 23) (elle 1 pres 2 3 4 (Gass Car) tard Fe) ——<—— ‘Wh cla = (Cal), 7 Wassclan % eee (6/3/08) Pinno-Conductor 192 9.9.9.9-9.909.9.995,9959.99.9 999999999999 9 ag -197- #27—-Saine Effet Ou Everyone 5 (sla, i Celeste) Eg cn (lars, Bs Caz Cato) «PO 15 ass pie) (Coes sal a Mase Bow) (ito ~198— 427-—Same Effect On Everyone (ong Sly © cy nothing to fear, Bet - cha New Jero—= sey’s as b b (cero) — cok ise a sight Rare Betcha my. lf — a by (Piano Tacet fo end) IARAGRAPAGAGR ADEE AEsgngngyage AS -199- +827-Same Eifect On Everyone (loys, Be Clr, Cello) ¥ eset tee ai (inoue) ve (es) —$—, ee r le i Fodseteteitctetctivts 7 w == F (Giz slowly elo) peatadbe ~200— ANNIE A New Deal For Christmas (Warbucks, Grace, Annie, Orphans, Servants, Roosevelt) VAMP CUE: No More Musht, No Moze Mush! WARBUCKS: Yes, girls for you, and perhaps for all of us, this (Christmas is going tobe the beginning of a wonderful new life. Vamp (WARBUCKS} ' sos de + press = tes, Pied 7 engi | (Piano) |] pseu Vinpied. 24 Merb, cello pied (RARBUCKS) ols are silled,— the storms are-nit filed And win = dows. are mi nus their (oRace& (GRACE) ARBUCKS) The chil= dren donit grin — the Sans tas are thin And on Bass pies) (6/13/08) Piano-Conductor QO G29.9292929.99999.9999999999999929 5 Seve Teter ie teieledtets —201- #28—A New Deal For Christmas ‘(WARBUCKS) (GRACE & WARBUCKS) Te heard & ter - ri-ble ues Pee) |) (lr, ips) |, (cot read rom Boss pi) r (ANNTE & ORPHANS) well get a new deal for Christ-mas, this, snow flakes are fight - ened of fall ~ ing oh what = fix (Gals Yn ron) (ou YARBUCKS) Pep per-mint filled with des ~ pair, —~ Sin + tas get brand new a8 (Bets, Va tem =202— 828A New Deal For Christmas (enacey all through the land folks are baw! ing, (wanwucKs) cup - boards are bare. — AIFPAFILIRF_AFIRILALAAAPMIMA AMARA TG RAGagagagzage ~203— 428A New Deal For Christnmas (WARBUCKS) Dring = ing new deal 2 times (st ime only) yeast (SERVANTS &e ORPHANS) Borg, bong, bong, «bong, ong bong, bongo. ay (hte ies Clr, intros Gt) io - & be je i —204— #28—A New Deal For Christmas Roosevelt) On + ley ond ps4 td (eto pce +¥¥15) (Sleigh Bes Tepe Block) SS ? r r ? —205— #28—A New Deal For Christmas (noosevetn) ptsotod a + mr {elt pes, V3 (Sak Tg Bc) «> id tr r (Bass pis, ia) (ROOSEVELT & WARBUCKS) Cadbetcladlictctetictst cite t - r r (arco) v —206— #28—A New Deal For Christmas (OnPHANS) oem Geta long, Call your can (ht, Pie Cle Vn eres) -—— aye) — z os) 8 (cata, ass ae Tata) (wouen (au a wey corpe) ® 52 Fey = ty stocking with laugh = tes, it got room Gal, Vn tren, #C 5b) (Fhe, Pee, cle ‘ol om == fr (Bass oro, Ths) ma al —207— 425A New Deal For Christmas (PARBUCKS) (aun) ’ y more gloom-— Lets rdevde w (aRBUCKS) ows at band" (noosevery ean hap = py days that we were prom ised (Bel, Vs Cello) (Flute Pee Car) Saran fe te ad r F c eae ‘Bari Sax, Tuba, Bassh Cee etere ibe leiteleteieteiet Bl, i 208 828A New Deal For Christmas 64] (crourn, 3 ss ———— gel ting raw deal for Chust - east Were et ting 8 new deal for (oxour oe Were gt ting anew de) for Chit = mae vere (Bells, Vin tern, +Celto 25m) : a = ae ump Jada + 4 fafa (Cla map rose. poco «poco fe ie 2 cron battonss 7% 4 _# nts ares “ail PoRP OPP a F getting 8 nw deal for Christ - mas! Were ot getting @ new desl for MI osx! Mil si PAPA 92 9.99 929292999929 097A TATE EASA Tis =209— 428A New Deal For Christmas (enous) 2. te —I y ee getting anew deal for Chest - mas (cnoura) Je sew deal for Christ- mast Ta] tempo f (int Pie Cla, Vl, Ct, chine) f 7 5 eB - ™e : 7 S571 Chev etatisietleticictciickciciictel all ebed =20— ANNTE 29 Bows 4 times (ost ine) (aut) The pt Ts) ¥ — fie i) sun-'ll come out to-mor-row, Bet your bot-tom dol-lar that fo - mer-row— therell be cya) (ure, Can Ses Bt rita EEE ee ere y oF ma] 4 Just thinkin’ a-bout— to-mor-row clears a-way the cobwebs and the (6/13/08) Piano-Conductor POQenprgagengngagangngngeg egg eats Rn PEST Teer eee ieee lect ele itetelevictsts 21 #29-Bows When I'm stuck —- with a Tones 1 just ati "est my (te, Cars) ber and grin ~ 22 429—Bows —. sun-‘l come out— to-morrow So ya got-t@ bang on “il to = mor- ro come. what a0) # ; P t PF EF we cin en Re BF 5 fisted UTE EEE PEER reeee —__ AALIADIAVAAAVAgrgengngagengagagnsgagagaayage ABA ~213— #29-Bows "FFF (2nd start) I ns) te, Clar Sts) VEST T aT ee ree eT ect ele ie Fe Hct Se —14— #29—Bows sun "ll come ont to - mor - row So ye got - la hengon lt i) at St t ? ‘Flute, Car, Stes, Balls) Se face Eee eee EEEEEEEECDeoeSeSeeSSE f love ya to mor-t0w, you're 279.9999999.99.99999.09 999299 Tecra ene denee ec ae ROOT Ch A #29—-Bows 25 oor cs F F RORPSPaeogongocooeeoegogegeegegs ~216— ANNIE Exit Music (sexes) A (Tenor Sea) ps, Ths) (Sop Alte Ses) 7. °F 3 Fa FF aes (Choe Com (Flute Pie) —~ (63/04) Piano-Conductor 4 PPVZAFATIVIMFATIMAEMFTAAGAAAGAR IMAM gaggegagagysags ~27— #30—Exit Music (Fite on Sexes, Ton ob) pts Td (eto) 2 (ube, Bs) B r oF a Ecce Hse eer ene > wy iy HY Wey te [37] criteson,rna asd (pt Ton) (Choke ym 2 Cee eee ete hee Fe lets ae 8 ~218— #30— Exit Music a or oF 4 95] ps Tm Gite clo, sid 7 PEE EE

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