Guitar,Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1459183

By Myles Smith. By Jesse Finkelstein, Myles Smith, and Peter Fenn. Arranged by Barry McCormick. Folk,Pop,Singer/Songwriter. Score. 5 pages. B. McCormick #1038156. Published by B. McCormick (A0.1459183).

Introducing the Piano Vocal and Guitar arrangment of Stargazing

Mood: Warm, fun, and happy

About the Song and Songwriter:

“Stargazing” is a breakout hit by English singer-songwriter Myles Smith. The song, released in May 2024, is known for its warm, fun, and happy mood. Myles Smith, born in Luton, England, is celebrated for his unique blend of folk, Americana, and pop influences.

Arrangement Details:

This is a Piano Vocal and Guitar Arrangement. This arrangement includes the melody with lyrics and an accompanying piano part. The melody has the chords above and also contains the strumming pattern at the start of the verse. Keeping the melody on a separate staff means this could be used with any instruments in C and the piano part as an accompaniment. The accompaniment is written to try and capture the main features of the song, helping to give a convincing performance of the song.

Difficulty Level:

The guitar part is suitable for beginner to easy intermediate level players, with the main challenge being maintaining the strumming pattern consistently. The vocal part is suitable for intermediate to upper intermediate level singers, with a wide vocal range of B4 - G#5. The piano part itself has a difficulty level of easy intermediate to intermediate level. It is very repetitive, with the hardest part being the syncopated inverted pedal E which comes in the intro, chorus, bridge, and outro.

Unique Selling Points:
This arrangement stands out for several reasons:

• The strumming pattern is provided at the start of the verse.
• Small noteheads are used to differentiate between the backing vocal parts and main vocal parts, and also in the verses for parts of the melody that differ between verses.
• The piano part provides a condensed version of what is going on in the band2.
• The vocal melody exists only in the vocal line and the piano is designed to accompany the singer2.
• The ability to read sheet music and understand musical notation on the piano also translates well to guitar, making it easier for you to learn new pieces and write your music.

Target Audience: This arrangement is ideal for educators and individuals learning music.

Potential Uses: This arrangement of “Stargazing” could be used in a variety of settings, such as:

• Music education: It’s a great piece for teaching students about chord progressions, strumming patterns, and vocal techniques.
• Performances: It’s suitable for school concerts, open mic nights, or casual performances among friends and family.
• Self-study: It’s a wonderful piece for individuals looking to expand their repertoire and improve their guitar, vocal, and piano skills.

Reading sheet music is a crucial tool for musicians, providing accuracy, consistency, learning opportunities, communication, and preservation of musical compositions4. This arrangement of “Stargazing” offers all these benefits and more.

 

C Instrument - Level 2 - Digital Download

SKU: A0.1376331

By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331).

This is a lead sheet for any instrument for the song Almost May. 

Almost May - Theme and Variations
Backstory: 
Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost May�. Like springtime in the Northern Hemisphere, “Almost May� unfolds slowly and majestically, with ever-evolving layers for the senses to discover. 

What to listen for: Theme

The main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. 

What to listen for: Variation I 
The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. 

What to listen for: Variation II 

The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. 

Credits: 
I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.

C Instrument - Level 2 - Digital Download

SKU: A0.1395614

By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Easter,Praise and Worship,Religious,Sacred. Lead Sheet / Fake Book. 2 pages. Anastace #979054. Published by Anastace (A0.1395614).

The perfect Easter morning song, He is Risen, was inspired by centuries of Christians on Easter morning, proclaiming to each other and to the entire world that HE IS RISEN! And we reply again, HE IS RISEN INDEED! As heard on my YouTube channel, this is the lead sheet version in the key of G major, to suit either very high or very low voices, with a 9-note range of G-A.

This song is beautiful for an Easter church service, either sung by a soloist or as a way to open a church service on Resurrection Sunday! It's perfect for a single singer accompanied by keyboard or piano for a powerful, prophetic statement, or can be joined halfway by a praise band or a pipe organ, whatever matches the style of your church's music. For best results, a smooth, rich pad sound should be used, especially for the beginning. 

Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:

Full piano and vocal arrangement in D major [original key]
Full piano and vocal arrangement in G major [for lower voices]
Full piano and vocal arrangement in F major [for higher voices, a true soprano range]
Lead Sheet in D Major to match the original key
Piano solo for a perfect matching prelude or postlude or communion interlude.

For other formats including large print, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.

Thank you for supporting modern hymnwriters and musicians!

C Instrument - Level 3 - Digital Download

SKU: A0.1176882

By Phil Collins. By Phil Collins. Arranged by Fae Book Guy. Pop. Lead Sheet / Fake Book. 2 pages. Fakebook Guy #776965. Published by Fakebook Guy (A0.1176882).

Get ready to play one of the most iconic ballads of the 80s with this sheet music for Another Day in Paradise by Phil Collins. With its haunting melody and thought-provoking lyrics, this song has stood the test of time and remains a staple in contemporary music. This sheet music is perfect for pianists, singers, and musicians of all levels who want to bring this timeless classic to life. Whether you're a seasoned performer or just starting out, this sheet music will provide you with all the notes and chords you need to perform this timeless hit with ease. So why wait? Order your copy of Another Day in Paradise sheet music today!
Discover the ultimate collection of high-quality sheet music for all your musical needs! Our sheet music is carefully crafted to bring you the best in notation and layout, so you can play your favorite tunes with confidence and ease.

With our sheet music, you'll enjoy exceptional detail and clarity in every note and chord, ensuring that you can play with accuracy and precision. Our sheet music is designed with the musician in mind, with a clean, easy-to-read layout that makes it simple to follow along and practice.

Whether you're a beginner or an experienced musician, our sheet music is perfect for anyone who wants to improve their skills and enjoy the full expression of their musical talents. So why wait? Order your sheet music today and start playing like a pro!

#Iconic ballad
#Timeless classic
#Phil Collins
#Piano sheet music
#Easy to play
#Popular song
#Haunting melody

Low Voice,Vocal Solo - Level 3 - Digital Download

SKU: A0.799605

Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse DiPaolo #3455867. Published by Nicole Elyse DiPaolo (A0.799605).

A low-voice-friendly transposition of this relatively little-known Schumann song about the Lorelei (a mythical mermaid-like creature from the Rhine river). It has a one-octave range from C3-C4 as written, so it’s great for an undergraduate singer still sorting out technique. If you would like to commission a customized transposition in another key, please contact me through my website (linked below).

About the Arranger:

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. 

Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. 

Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.

When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .

Choral Choir (SSA) - Level 4 - Digital Download

SKU: A0.563720

By Madness. By Michael Barson. Arranged by Austin Ralphson. Pop. Octavo. 18 pages. Austin Ralphson #4783507. Published by Austin Ralphson (A0.563720).

Ska/pop band Madness released this song in the 1980s along with a whacky video! This arrangement is not difficult to put together and has interesting parts for all singers; it adds many additional vocal parts to the original and also includes optional car-related percussion rhythms as well!

I've done optional parts for the sax solo parts in the middle; these are provided in C, B flat and E flat to cater for almost any solo wind/brass instrument you have available to play it (possibly a choir member?). The piece still works perfectly well without, however. It is great to perform and to listen to for the audience. Enjoy!

Choral Choir (TTBB) - Level 4 - Digital Download

SKU: A0.563722

By Madness. By Michael Barson. Arranged by Austin Ralphson. Pop. Octavo. 18 pages. Austin Ralphson #4783565. Published by Austin Ralphson (A0.563722).

Ska/pop band Madness released this song in the 1980s along with a whacky video! This arrangement is not difficult to put together and has interesting parts for all singers; it adds many additional vocal parts to the original and also includes optional car-related percussion rhythms as well!

I've done optional parts for the sax solo parts in the middle; these are provided in C, B flat and E flat to cater for almost any solo wind/brass instrument you have available to play it (possibly a choir member?). The piece still works perfectly well without, however. It is great to perform and to listen to for the audience. Enjoy!

Choral Choir (SAB) - Level 4 - Digital Download

SKU: A0.563721

By Madness. By Michael Barson. Arranged by Austin Ralphson. Pop. Octavo. 18 pages. Austin Ralphson #4783535. Published by Austin Ralphson (A0.563721).

Ska/pop band Madness released this song in the 1980s along with a whacky video! This arrangement is not difficult to put together and has interesting parts for all singers; it adds many additional vocal parts to the original and also includes optional car-related percussion rhythms as well!

I've done optional parts for the sax solo parts in the middle; these are provided in C, B flat and E flat to cater for almost any solo wind/brass instrument you have available to play it (possibly a choir member?). The piece still works perfectly well without, however. It is great to perform and to listen to for the audience. Enjoy!

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download

SKU: A0.1226321

Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321).

Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. 

Innovations

Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799619

Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619).

The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.

The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).

In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Piano Solo - Level 3 - Digital Download

SKU: A0.1289159

By Keith & Kristyn Getty/matt Boswell/matt Papa. By Bryan Christopher Fowler, Keith Getty, Matt Papa, and Matthew Boswell. Arranged by Brian Buda. Christian,Contemporary,Easter,Praise & Worship,Religious. Score. 19 pages. Budaful music #879934. Published by budaful music (A0.1289159).

This is piano solo arrangement of God of Every Grace

This beautiful hymn of praise and consecration is appropriate in many situations: preludes and offertories as well as an accompaniment for vocals or congregational singing (no vocals are in this setting). The first 3.5 pages are firmly in the intermediate range but it gets progressively more moderately advanced. It is set in a similar way to the Getty's recording, although with some variation. Run time is approx 3:20 but it depends on which performance options are taken.

This setting implements all 3 verses of the hymn and is in similar form to the Getty's recording, for that reason– though with some modifications– it is possible to use this setting for vocalists as well. 2 performance options: 1) play it all the way through, 2) 2 verses/chorus with ending. In addition, 3 Key options are provided: A, Bb, & C (A is key it was arranged in, some chord voicings/fingerings might need to be adjusted for the alternate key.) Bb is probably the better key for singers other than altos.

C Instrument - Level 3 - Digital Download

SKU: A0.518392

By Jim Reeves. By Audrey Allison and Joe Allison. Arranged by John Fries. 20th Century,Country,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #129085. Published by John Fries (A0.518392).

Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  He'll Have to Go is an American country and pop hit recorded on October 15, 1959, by Jim Reeves. The song, released in the fall of 1959, went on to become a massive hit in both genres early in 1960. The song is about a man who's talking by telephone to the woman he loves, when he realizes that another man is with her. The recording features a small group of musicians: Floyd Cramer on piano, Marvin Hughes on the vibraphone, Bob Moore on bass, Buddy Harman on drums, Hank Garland on guitar, and the Anita Kerr Singers providing the background vocals. Country music historian Bill Malone noted that He'll Have to Go in most respects represented a conventional country song, but its arrangement and the vocal chorus put this recording in the country pop vein. In addition, Malone lauded Reeves' vocal styling - lowered to its natural resonant level to project the caressing style that became famous - as being why many people refer to him as the singer with the velvet touch..

Solo Guitar - Level 2 - Digital Download

SKU: A0.1139670

Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670).

This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!

Objective:
Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. 

What Scales/Modes are being harmonized?

1. C Major (+jazz version)
2. A (natural) minor (+jazz version)
3. A harmonic minor (+jazz version)
4. B Locrian
5. D Dorian
6. E Phyrigian
7. F Lydian
8. G Mixolydian

Features:

• Slowly increases in physical and theoritcal difficulty at the same time.
• Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar.
• These chord progressions are a great composition aid.
• Guitar chord diagrams
• Traditional notation with letter names on the note heads
• Roman numerals color coded
• Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. 
• Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. 

Tips:

1. Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions.
2. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule.
3. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly.
4. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake.
5. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled!
6. Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key.
7. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.

C Instrument - Level 1 - Digital Download

SKU: A0.1377403

By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Yuri Noronha. A Cappella,Multicultural,Singer/Songwriter,Standards,Wedding,World. Lead Sheet / Fake Book. 1 pages. Yuri Noronha #961995. Published by Yuri Noronha (A0.1377403).

Can't Help Falling In Love - Elvis Presley.

This arrangement was written for Lead Sheet in C.

Ideal for beginners.

Level is easy!

1 Page.

can't help falling in love sheet music, can't help falling in love sheet music pdf, can't help falling in love sheet music piano, can't help falling in love notes, can't help falling in love sheet music lyrics, can't help falling in love lead sheet, can't help falling in love fake book, can't help falling in love lyrics, elvis presley can't help falling in love sheet music, elvis presley can't help falling in love sheet music pdf, elvis presley can't help falling in love sheet music piano, elvis presley can't help falling in love notes, elvis presley can't help falling in love sheet music lyrics, elvis presley can't help falling in love lead sheet, elvis presley can't help falling in love fake book, elvis presley can't help falling in love lyrics,.