SKU: A0.779670

This is a wonderful old comedy song.
I have put it into the key that Tessie O'Shea sings it (Ab major)
I have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.
I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.

Words:
Verse:
For years a fairy queen I've bin', For years I foiled the demon king.
But alas, I'm getting on, The years have flown somehow,
And I feel that Fairy Snowdrop isn't wanted now.

Chorus One:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
She may still have her magic power, But that is not enough,
They like their bit of magic from a younger bit of fluff.
When once your silver star has lost its glitter,
And your tinsel looks like rust instead of gold.
Your fairy days are ending when your wand has started bending.
Noone loves a fairy when she's old.

Spoken:
T'was I who found the magic wand, I will not tell you where.
T'was I who found young Tinkerbell, her head was full of air
I’ve been a fairy of the flowers, and fairy daffodils,
I’ve been a fairy of the wind, and suffer from it still!
In certain covered valley hills I go down to the glen
Been loved by all the children and run after by the men. Huh!
Noone could touch me at me splits, me splits were all the rage,
Until the night woodman left his chopper on the stage, what a mess!

Verse 2:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
As far as I can see they try to push you off the map,
When once your wand has withered and your wings refuse to flap.
When you have lost your little fairy dimples,
And the mothholes in your dress let in the cold,
It seems that they would sooner listen to a blinkin' crooner,
Noone loves a fai-y when she's old!

SKU: A0.794050

What's New? is a 1939 popular song composed by Bob Haggart, with lyrics by Johnny Burke. It was originally an instrumental tune titled I'm Free by Haggart in 1938, when Haggart was a member of Bob Crosby And His Orchestra.
The song reached a peak chart position of #10. This contemporary arrangement features a root-based chord-blocking method that John and I have used in a number of our arrangements. We hope you Like it!

SKU: A0.1315461

The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists.

This collectionâ??s reductions boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ?� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ??ve provided.
2. Iâ??ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â??sink or swimâ?� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.
4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.
5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.
6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.
7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â?� with â??ssâ?� in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.