Remick Collection Popular Songs w Uke Acc. No 3 (1920)

8/3/2019 Remick Collection Popular Songs w Uke Acc. No 3 (1920)

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P r i C e 5 0 c e n ts n e t . ,

Ar~ed~b'yl A R H M Y R O N B I C K f O R D-= :=a t, - .. ..


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~ ~T he chord s are ind ica ted b y capital let te rs underneaththe U k u l e l e par t , fop t h e benefit of tho se w ho do no t-~ read notes, (s ee d ia grams , page 5)C f h e ' R e m i c k C O lle c t i o n!!/ .~~m~withVKULELEACmJMI IP>AN l lM IEN1rWITH DIRECPONS FOR PLAYINGAND A SYSTEM OF FINDING CHORDSWITHOUT READING MUSIC.

ArranSQd byZ A R H M Y R O N B I C K f O R DN E W Y O R K J E R O M E H . R E M I C K ~ ( 0 . D E T R O I T .

P rice 5 0 cents n et


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CONTENTSPageDirections for Playing the Ukulele

By Zarh Myron Bickford 3Barney Gocgle

By Rose & Conrad 6Carolina In The Morning

By Kahn & Donaldson 8My Buddy

By Kahn & Donaldson .10Falling

By Collins, Cameron & Fields J2Beside A Babbling Brook

By Kahn &Donaldson 14Sweet One

By Jolson & Silvers 161 m Just A Little BlueBy Gillespie &Van Alstyne .J8

lin Through (Shedding Tears Over You)By Norman & Weber 20

Down By The RiverBy Creamer & Layton : 22

My Buddy (Fox Trot Version)By Kahn & Don a.Idson 21

The above Songs are published sep ar ately wi th pi ano accompani-ment and may also be had for Band and Orchestra. ,I~


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D ir e c t io n s fo r Pla yin g th e U ku le leBy Zarh Myron Bickford

TUNING THE UKULELE(pronounced 00-1:00 -lay-lal/)The .strings, from thef'irs t to the fourth ~ight to left), are named B,Fsharp, Dand A, and are tuned to the corresponding

letters onthe piano, as illustrated below. This system ofnaming the strings is knownas the "D tuning" andis ad vis ed inpreference tothe other tuning,which makes the lowest string C and the others correspondingly lower. The D"tunin ghas been adopted by the best writers and teachers as being preferable.

Sr_d 2 D _ d 1:::.tJ lJ JTo avoid confusion in the.Iocation of notes and the reading of chords, all notes which are to be made on the fourth string(A)

willbe written an octave lower than they actually sound, thus always appearing as the lowest notes ofthe chords (when fournotes are used).The following diagram shows all the notes and their location onthe staff and the fingerboard, as far as the twelfth fret oneachstring.

THE UKULELE FINGERBOARD CHART

2n~ StringD# E \# D ~ E # F F#ED

3r_ \l String

4t!l String

Where two different notes are shown at one fret it indicates that they sound the same. The small notes represented on thefourth string showthe actual pitch, while the lower octave shows the way they will appear onthe staff. In making the notes, thefingers are placedjust back ofthe frets, touching them, but not reaching over.

HOLDING THE INSTRVMENT(The position ofthe instrument, hands, etc .. is shown in the cut onthe first page).

The right forearm presses lightly against the body ofthe instrument, sothat itcan be held inplace either in the sitting or stand-ing position.The neck must rest very lightly against the ball ofthe left thumb andjust above the thirdjoint of the first finger, the tip of the

thumb never appearing above the edge of the fingerboard, and inmany cases being placed almost inthe center of the backoftheneck. The tips ofthe fingers must be used in holding down the strings, the joints being well rounded and the nails kept rathershort, to avoid touching the strings.Since the object of this preliminary matter is merely to explain the ground actually covered in the songs whichfollow, much

rudimentary matter is necessarily omitted and it is taken for granted that those who procure the Folio, either for study or forpleasure" already have. or can easily obtain the necessary rudiments covering time values of notes, signatures of keys, theuse of sharps, flats, naturals and the various signs and terms used in musical notation.

COPJ'right.MCMXVII by Jerome H. Remick &Co. New York &DetroitInternasionat Oopyright Secured


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The Chromatic Scale3rd String II 2nd String II 1st String

4 5 6 7 8 9 10 11 121231 2 3 42 3The Scale ofD

o 2 0 i 3 0 .2 3 5 7 8 10 12FRETS 0The chromatic scale progresses by half steps or semi-tones and the above example shows the method of crossing to the next

higher string when it has been reached, rather than continuing on either the Dor the Fsharp string.Inthe D scale the sharps placed onF and C at the beginning indicate that these two sharps are required in this scale or key, con-

sequentlythese letters must always be sharped, no matter in whatactavetheyappear. These scales arainvaluable inlearning thefingerboard and the location of the notes and it is suggested that the general rule of using the first finger for the first fret, secondfinger.forthe ..secondfret, etc., be followed. In playing the higher notes, it is ofcourse necessary tochange the pos ition ofthe hand.Ageneral rule for picking single note s is to use the thumb for the third.and fourth strings, the fir st finger for the second stringandthe secondfingerforthe first string, although this rule is frequently varied inactual playing.

FINGERINGOwingtothe peculiar tuning ofthe ukulele and the fact that the notes to be made onthe fourth string arewritten an.o ct ave

lower than they actually sound, in a chord offour notes (theusualforro), the highest note will always be found on the first string(B), the next lower note onthe second string, the third from the top on the third ..string and the lowest note on the fourth string.lnmarking the chords and notes throughout the book, the figures always refer to the left hand fingers and not to the frets, un-less they.may happen to correspond. As an illustra tion ofthis, the las t chord shown below, known as a diminished seventh chord,is made.by placing.the fourth finger on the high D, the second finger onthe Gsharp, the third finger onF :naturaV and the firstfingeronthe.B. (This is also the chordwhich is being takeninthe line cut shown at the beginninl?;). .Itwitrbe seen that it is necessary to actually know the notes and their location inorder tofind all the chords used in thi s

Folio, some ofwhich are unusual andunfamiliar.

THE STROKESAlthough there. are several different strokes used for certain effects in playing the ukulele, these accompaniments have been

confined to the common stroke, made with the first finger only and tothe downward roll or slide.The right hand is held in avery loose and relaxed condition, as shown inthe cut, the first finger being slightly straightenedout

from the other s.Inmaking the down stroke (awayfrom the body), the nail of the finger brushes the strings lightly, while inthe upstroke thef'leshj

partonlyisused.Itis most essential that the.arm, wrist and fingers be held perfectly relaxed in order to produce the best results. T'b.e downstrokes are indicated by the sign n and up strokes by A . The roll is made byusingthe nails ofall fourfingers, makingaslightturn

ofthe wrist and straighteningthefingers slightly. The thumb can also followthe fingers across the strings if desirable.The rollwillbe indicated by the sign J . Throughout the Foliothe strokes have been marked at the beginning ofeach piece and wher-ever any changes occur.

THE,PRINCIPAL CHORDS IN COMMON KEYSInusingthe diagrams or=picturea'to illustrate these chords, the fact must notbelost slghtofthat the only system of reading

that is recommended isthe note system, the diagrams beingused merely to assist the eye and because a certain percentage ofplayers are familiar with this system. The names of the chords are given underneath. but it should be noted that there are manychords used inthe accompaniments which are not shown below.owing to the fact that one of the notes (usually the highest) belongstothe melody and is not a part ofthe chord inits usuaiposition. These exceptions must always be worked out according totherule given prevtousty and the exact fingering followed,The keyofD is gtven first, since this is the natural key of the instrument and its chords lay most naturally under the fingers.The keys ffJilowing are given in the order oftheir"naturalness" or congeniality tothe instrument.


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Chords in Key of_J)n n~ i J 1 1 sminor (relative to J))I I & l I j j s f t J 1Key ofG E minor (relative to G)s t ; ~ h i Ii ;A i It! Ii II t # J it 42 3 2 0 2

F # minor (relative to A)7 I f ~~ij 1 5 s F n i1

Key of C A minor (relative to O J- & i~ II I f Ii I I ~ II i s i i i II d3 - - - i 3Although occasional chords belonging to other keys will be used, it is not deemed necessary to illustrate further keysorscales in this work.

RIGHT HAND FINGERINGIt isfrequently necessaryoradvisable toplay either single notes, ortwo or three together, instead ofthe full chord of four

notes, and for this purpose it is necessary to pick the strings with the fingers instead of making the stroke. Two dots in-" dicate the second finger, one dot the first finger and ' '+' the thumb. When the strings are picked in this manner, the little

finger should rest lightly on the body ofthe instrument, near the sound hole, the thumb extending forward toward the finger-board.Itisbelieved tha~ilufficient exampleshavebeen given to showthemethodoffinding thechords, andinthe case ofthose whichhavenotbeen Il-IustratedbY~hedi~grams,itis onlynecessary tolook forthehighest note onthe first string, the next011 the second string, the third note fromthetoponthe ~hlrdstrlngalld the lowestnote onthe fourthstring. .Thec~mpllermakes nopretentions as toa completemethod oftnstructlon, since this wouldbe outside the scope of thework. The IIIJlter intro-ducedismerely what itis necessary toknowin order tobe able toplay thevarious accompaniments. Itis suggested that the best andonlycorrectwaytoplaythis,or anyother instrument, isbynot~, andthat the diagrams be referredto onlyas a last resort in locating thevarious notes andchords. The names ofthe st:ings andthe actual loeatton ofthe notes madeoneach string shouldbe memorized andthe chords always read bynote, rathe r than byname ordiagram.


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6 BARNEY GOOGLER~nrSTERED u. S. PATENT Of'~'rCE

Copyright L!!23, by King Features Syndicate, Inc. "GREAT BRITAIN RIGHTS RESERVED"

(Tune one tone lowerto play with piano)SONG By BILLY ROSEand CON CONRAD

A-r'r. by Z arh M y ro n B ick fo rdVOICEVIOLINorMAND .

Moderat

UKULELE

'l~ 0f.. Who'8 the most im - por- tant man this

M~Who's the great-est lov - er that this

'1 ~ M M M M M pM M M M

~ - o j . : . : o . :i 8 : ; :: r o ~ g . : :: 04 ; :: ~ = -O",!tIl/ D A7 D A77 A7 D'l~

f. conn-try ev - er knew Who's the man our Pres - i-dents tellcoun-try ev - er knew Who's the man that Val - en - tin - 0~~ M M~ M M=> It: -! ..1--: : ~ :: .: . : 3~... tt 1 1 3uq . . . . . . I P ~ . . . q~.....D A7 D7 G D7 D7GD~~

- .-~ \L- all their troub - les to No it is - n't Mis - tertakes his hat off to No it is - n't Doug - las~~ P-"""!-/.-- '~ Ii iT .. 1 1 ~ n . : : :: : : : : .: o ~ ~ D A7E i~~ Bry - anI Fair - ba.llks! ~ It M :!J.~L~-1irr--.- .7 ' ~

is - n'tla - dies IIn_ .WhenMis - ter Hughes __rave a - bout _

I =>--::And itThat theM

.:i :i Y - I - J : . . . .Bmo .A7might-y proud thathe ar - rives who duceout1 m al - lowed amakes the wives chase chance to in - tro -all their hus-bands

E7 A7Copyrlght MCMXXIII by JEROME H. REMICK & CO., New York & DetroitPerforming: Rights Reserved MADE TN U.S.A. International CopY'rightSecured


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8 CAROLINA IN THE MORNINGLyric byGUS KAHN (Tune one tone lowerto play with piano copy)

SONG Music byWALTER DONALDSONArr. bTlZARH lJfYRO.N BICKFORD

VOICEVIOLIN (orMAND. )

m ru L E L E ~

f}f! f .tJ Wish - Ing is good time wast-ed Still its -hab _ it they sayDream- Ing wa:.:ceant for night-time I live in dreams all the day AI\.~ pn 1 " 1 . n n n~ M (pick)U 0 : . : : "3- 1 g : : o ~ A tf : : 2 i oj o ~ ~ ~: :::: :: o~D Bm xEmB7 A7

fl.!Io. I ~IU W~ .- sweets lve I , l!,- ,S - Ing for tast - ed Thats all I do_ all day

~_()I know its not the right tIme But still I dream a - way_(Pickl -

tJ 0 : : ~ : : .. r ~ . 0 l o ~ O T T . . g : : ~ ~ : : .:D A7f)~

u May- be there's noth - ing '-" ~in wish- Ing But speak .Ing of wish , ing Iii say'Whatcould be sweet - er than dream-ing Just dream-Ing and C;:lftjg A - wayfl ~ - rAn ~ P " ' " ' ! !: .:tJ 0 : ~ 21~ 1 0 : 0 ~ t r . : : : 'i j j ja 11 o - . : . : .D

CHORUSBm E7 A7B7! fl~ . . . . . . .~u Noth - Ing could be fin _ than to be in Car- o - lin - a in ther morn - -r. p-ftJ ~ o : : (~ ~ : : ~ .: ~ : : A f t : : : : o i ~ iD D~-7 A7

11 ~. . . . . . . .U -ing No one r ! ! I meet her In theould be sweet - er than my sweet - Ie whenfl ~ n A r A n (pick) 1.I II u i:j i~ ~ o~ 2~ j A f t " : ' : - v ~ _ . .Em x! I\.~ - U I ! I~ r theorn - - ing 'Wherethe morn - glc.rfes 'Twine a-roundfl~ n I""" ~tJ ~-I t . . g : : : : .:. : : : : iii I I I ~:: : : ~ ~ ~J- t t tE7 G D D7 G :

Copyright MCMXXII by JE RO M E H. REMICK & CO . , NewYork & Detroit'per/orm1I{J Rights Reserved MAD E IN U s . . . . . International COP'IIrightSecured


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9fll! .tJ r Idoor Whis-per -ing pret - ty sto _ rles I long to hear once< fI l! ~ n_.t:l n II .~ 1,t t . : .::~ ~ .; 1 -j i iitj j oii ~ l ' t~ . . 11 t 1"j ~o B7 A7 Bm E7fI l! . . . . . .- u -

more Stroll Ing with my girl _ Ie where the dew is pearl- y ear - Iy in thefl l! ~ ~ I. o ' : e : e . ~ i~ i ~~ . : ~ . : : : . : A~' : ::A7 D D#-7fill - . . . . . . . .tJ r r r r r r rmorn - - lng But-ter.flles all flut-ter up and kiss each little but.ter.cnp atfill I _l I I . ' .'u 1~~ i ~ i,i ~ ~ ii o~ 2 j 'i L t t ' : " : . . v . , _ -A7 x Em x

. fI l! ,.._ . .. ItJ I r r "---- .9 'dawn - - ing If Ihad. A -lad - in's lamp for on-Iy a day_fill n I " " " " ' : ,...I ...-.t... 11 T . . o.~i i i~~ g~ . : . : :; . : ~ ::~ ~G~-7 A7 D D7fill . ..-t; r r Idii make a wish and here's what say_ Noth- ing could be fin- er than tofI l! n~ A J ' " AtJ ~t t t t 1 j j ~~ ii .. g: : : ~.A7 D7 Bmr-------------~~--------__.J 2I l! l .---.... a-;. .. . . I~ r r- -inge in Car - 0 - lin _ a. in the morn - - - ing Pc'-fI II I ~ .:>-1-, JCif: , .. ~ - O J O-tl I 1 j . . 0 ~ ii i ~:: . : . : :; o ~ g : o:ft ~~D A7 D x fzm D7 A7 DCarolina In The Morning - 2


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10 MY BUDDYSONG

Lyric byGUS KAHN Music byWALTER DONALDSONArr. by ZAER l'tlYRON BICKFORD

Andante con motoVOICEVIOLINor MANDfj . 1 0 1 -- ., {~. r r1 e IS a book that we stud-y __Bud-dies thru all of the gay days.L,' 1 I 1 f n n n n n >-~ u . .. . . t~i:~g~: J~t t Jl t t~'=i ~ ~t t 1 tUKULEL 2G D7 G 2G(em)

fj U l l l/ . .\ . . . r I I r rSome of its leaves bring a sigh __ There it was writ - ten my) Bud - dies when some - thing went wroug.L; I wait a - lone thru the~ . 1 0 1 .~ :>~ ~.. . . 2 j . . - ~~ ~ ~"i 1 1 1 " 1 1 " 1 1 ;:i ~ r~ 1 1 1Em Em(D 7) Am

fj . 1 0 1 .~ r r r rBud - dy __ That we must part, you and 1.gray days_ Miss - ing your smile and your song. __

~ . 1 0 1:> rit - - or- - - - dan- - - do~ ~, o ~ ~ ~ :i 5 : i ~ =i ~ 2~"" ... 1: : : ::Am A7 D7 # Daug

CHORUSValse moderatorubatofl u I~ I I I INights are long since you went a - way I think a - bout you

P-fn n n n~ n nf l u I~ ~t .. - I 11 .. " 1 1 1 1 1 ~ ~ ~ : : : : : : :: ~t t 'i I~ !> j i iG G Em CL7D D7

Copyright MCMXXII by JEROME H. REMICK & : CO.,New York & : DetroitPerforming Rights Reseroed MADE IN US.A. International Cop1IrightSecured

r


13/27

T

I

1,

11

~ ~ - - - - r- - -'- - - - - - _ - I I Iall thru the day my Bud-dy my Bud-dy Nofj ~. I ~ I I :> :>~ :>~,'-- o ~ :j 4 5 = - v~ ~i 11 - . . 1 1 i '11 i11 111 " 1 1 " 1 1 " 1 1 1 1(C) Em G G7 E77

a temp o~ ~~ . I - ..

I IBud-dy quite so true Miss your voice thei ~ ~ I , . . . . ~

~~.:j:j o:j:j:j :j 8: -;i v~ ~ t : : : : : : 2 - 1 t t 1 1 1 "iI . 1 1# Gm A7 Daug7~ ~

- I I - -touch of your hand Just long to know that you un - der -fI ~ ~u 1 ' : : :: : : . :: : : :: ~ - J 1 1 lP ~ 11 1 1 o:j = - :4D G Em (el

. )7

~ ~n - - - - - - - I I Istand My Bud-dy my Bud-dy Youri fj ~ :> :>~~ :> :>~-\ '-- o i :j = - v : : ~j 11 11 11 u J '11 1 i "1 1 i i 11 ojD7 Em E7G7

2~ ~~ . . .I I . . . . . _ - - -ud-dy mISS- es you. you. o . o .i ~ ~ :> :> J :> :> dim. e rail. ppr- ~ :> Ig : : : : : : g . . g, ~d: ~J s o i l . . . -if &~i-- o : i ~~ ~ o:j 11 vJ

Am G Em # Daug GeA7 D7 DMy Buddy 2


14/27

12 FALLINGSONG

(Tune half tone higherto play with piano)By WILL COLLINSED.CAMERONand BUDDY FIELDSArr. bJlZARf/ MYRON BICKFORD

VOICEVIOLINor MAND_ n w I/\ t" Ev since I first meterI was feel- ing sad and

, I if r - . r - . . l r - . r - . r - . r - .A r - . r - . r - . r - . . l r - . r - . A~ w n I - ~ ,__It. c ; : : : : . ~ . ~ : : o i . ; . . .: ; . .: ;" '1 1'~ g~ ::.::.~ !I::: ~:i =i ~ ~ =i. . . . . . . . . . .

Moderato

UKULELE

D A7 D A7

~ W I IIt. CJI - ~ -you, dear All the world seems new dear_ i-- Bright -er are theblue, dear When I first met you dear L '-- And I re - al-

f J ~ - - ~It. g : : . : : . : : : : . : : : : o i :4 i ~ :~ ~ ~ :: : : '5 " : : : o ~ .; ~ ~ .;. . . ~

D A7 D A7

~ w WIt. I I ,shine 'Till I lookd in to your eyes.

then con- ceald in your beau - ti , ful eyes.f l w ~ ~ !'- ~1 - , 1 1 \ ' - .'t" O '~ ~ 4- ~ ~ 0 ' " ~ l' 'iI o : i g~ .: i''i 'j o ~ i*:i .~" :.; g~ ::.::: o~..

fl ~ I I l.t" skies I realv ly theev- er saw sun -ize "Ton - der-ful is the love I foundfl w poo- - p0o- r-" I"""

t" ~:: . : : . : :: ~:: ~ ~:~~ : : O : i ~:~~ ~ ~ ~ ~ =i g : : : : : : : : : ~D F~m D

A E7 A (Bm) E7 A D7Copyright MCMXXII by JEROME H. REMICK & CO.,NewYork & Detroit

Performing Rights Reserved MADE IN U.S.A. International CopVril!'htSecured


15/27

1!

1f '

13

CHORUS

ing in love, yes Fall - love with

Bm G Bm D7

~ ~ -----.... .~ 1 m t t . .you long- ing to car - ess you Andto~ ~ - - , . . .~ ~I 1111 iPlI J 8: : : . v ~ .r~ ~I Ilfl I ~ t t . : :'1' -i i o ~ . . : ; t~:i~ ~ ~ ~ G A7#-7 E 7m D7

~ ~~ >- "I I >- >-

t t . .heart;Tis call-ing~ call-ing for you [Whenress you to my ev-er you arei ~ ~ -. . . , . . . , . . .

\ ~ ~ i~;:i i ..; . . :; . . : ; = 8:: . : l' -I~ 8TI

:: gl 1'1I I It'I~I"1!~' ' ' ' . . . . . . . . . . . D7 Gt7 D7 G Bm G Bm C#-7I ~ ~ - _l_~

.~ I I Inear me., O'er meyou cast a spell That thrills me and fills mewith) ~ ~ - , . . , . . ~ ~ r " ' I I I - , . . ' "

\ ~ o ~ ' ' ' ' . . t .. , . . .. i.... . . . . . .IIII'.I!I~.~ :: o~I.I!I~ 1 . l 1 l i . J I l l ~iltI ~ t t : : t : : C : ':l~ 11ilj~ i 1 1Am D7 E7B7fl ~ IJ "2 r.\I~ . I I I . . . . . . _ _ r- -love, dear Can't you see 1 m fall-ing for you. you. no.f } ~ 'i 1 ,- ,..,>- >->->->- fz~ , . , . . ; - '1 . . - : : : ~ o~ ~. o ~:ii;;:i:~ g : :. : : : : , :. , : ~ 1II1 ';r ~'lIg::.: ~I' ..Il':~~Io ........ + G -7 A7 GA7 Am (em) D7 G D7

Fa.lling 'l


16/27

14 BESIDE A BABBLING BROOKFOX TROT SONG

VOICEVIOLINorMAND.

ModeratoBy KAHN and DONALDSON

Arr.by ZARH1~fYRON BICKFORD

UKULELE

1l~ ~ I . . I . .\ U

.IWhen Iwas young - er ....___.- ~Iused to hun - ger to

1 M 1 " ' 1 1 " ' 1 A r,A I see a pond of lil-ies I 'm fond of and( ~ ~ 1 " ' 1 1 " ' 1 1 " ' 1 p l " ' 1 1 " ' 1 ~ 1 " ' 1 A n 1 " ' 1 ~ n A~ I"'"~- ,- ..- t\ \ I .-1\ \tJ 8 ~ ,:~ l : ( : : I : : " ' ~ ~ ~ ~ 1 ' T x g~ 1 1 ' T "ilf~~t--i ~ - : 17 ., .,:::i "J "iID A7 D E#-7 D'_~ E7

fI~ I.

tJ climb up the l~- fJer \f l ir~ Now that I've grown up II see a rick - et - s boat rr- Seem'd for a min - ute thatn A n 1 " ' 1 1 " ' 1 n A n An~~ A - _I~ 1 '\ 1 '\._ .f) o . ~ ~ ~ ~ - - ~ ~ X ~ : : : ~ : ~ : : : : : ~ o : i ~:: 1 1 ' T iI~:~ : : : :A7 D D E#-7 D"'__'"f'l~ I. I.- -J might as well I it's not worth the ~or r and strifewn up - ryI was back in_ it for - get- ting and let - ting her floatn A 1 " ' 1 n - n n_; n A n~ . . r - =_ . . . .~ : . u o ~ - . - . ~~~.,. 2 - 1 " I bH::d i' ill o - . - . .~~.~~A E Bm B7 E7 A7fI~ ..- l .--.. .V Things that f want - ~d were paid for with bless-ings 1 : can - n~t re - call AndWhile I was la - zi - ly doz - ing just dream - ing and drift - ing a - long In A 1 " ' 1 1 " ' 1 1 " ' 1 I " '1Al" '1n A 1 " ' 1_fl ~ ~ . . . . . . . . I """

\ tJ 2~"1I" ..r ........~~r g : : ~11 1 i j iI ~ :: : : : :H : : 2 ifjj "iI.:_ji jD7 Em D D7 Empocoritr.. . _ l l\ .V - Iwo~ld t~ade the things Icon - ~id'- eredll that I have for so smallheard at the sum- mer day's clos - ing a whip-poor-will sing - ing my song) ( '1 ~ - I""-- pocorit.

~ - . - I -tJ 1 'j ill i l t : : : i ill b f f : : : : :':0. .:; ~- J t5ft.:~ 1 . . o 4 ~:~:~ftE7 B#-7 A Bm E7 A779-2 Copyright MCMXXIII by JEROME H.REl'IHCK& CO.,NewYork & Detroit

Fa/arming Rights R6seroed MADE IN 'G.S.A. Internoti onat Cop.1.{1if,/;t St'f:tlr,;d


17/27

15CHORUS (In rhythmic slVing but not toofast)1\ .u -~ T .I . . . . I t t be more than sat-is-fied if Iould hide. a-way be-side a bab - bling< p-/ n~ n A

~1\ .u r-'I ~ . .. . . . .u g~ ~ : : : ~ ~~ .~ : : : ~i 1: .. v~ 11 111 lIll 'lIL~:;ii' . t . . . ~D G Em E7 A71\ .u l 1 0 . . ' 1 0 . .. . . .U brook Rip - pIing wa -ters call me far a-way to a qui - et shad-y1\ .u . r-:. .. -.. - . .u X : : :~l~:~ O ~ ~ . . . . g: :: ~ o - J . o ~ ~ . 1 ii~ 1 ii 1 ii ~ ~ ~D A7 D x A71\ .u l I. . l..I . . . tJ . . to hike t o {in-ger where the world is likeook Thru the woods I long a1\ .u r-: r--: ~ ~I . .. . .tJ ~ : : : : : : : : : : : f o ~ . ~ t ~ i~ : : : : : . ~~ :: : ~ g l -I: o J -11 jD A7 D G Em1\ .u ~ l.I .U Like a I -,. . ~ . . . _ __sto - ry book a-zy al-sy gaz-m at the sky~

I 1\ .u ~ ~ ~ . . . . . . . . tJ r lIif'10 ~ . = - t ~ . ~ b f t : : : ~ : ~ : : : ~ :~: : : g ~ : : : : :: ~ ~ - = i ~:~~JE7 A7 B7 D7 G):. l. . . .r -,Jlr-!' - , " - Let me live and love and let the world go by I t t be more than sat - is - fied ifi ~ ' " ' " " " ' = --: --:. . .tJ t t T ~ : : : : ;I i i " ' i i i o ~ ~:~ ~ t;l i : : : : : ~~ .!. :i.o B7 E7 A7 DI I/ 1\ .u l 1 I 2 t:':

\ U --r V r .; '-"Icould hide a-way be-side a brook "3"' ]).8.< bab - bling

~ ~ . nr04n~.!l Ar--: . - 1 i " 11 :-jfj .i'o~ :~t~.~o ~ :!t~:~'1I ;) ~ ~::.:l:l!l!t:~!-'~J - t : - t "-j iG Em E7 A7 D E7 A7 D

Beside A Babbling- Brook- 2


18/27

16 SWEET ONESONG

VOICEVIOLIN (orMAND.,

UKULELE~

ModeratoBy AL JOLSON and LOUIS SILVERS

Arr. by ZARH MYRON BIOKFORDf'l lI-

. u II know aM M MA M!l M fz mp I nev - er>- AM > AM Mf'l lI- ~- . . . . , . . . . >- >- > M (pick)

4 ! : J t~ tj:~:~~1~'" lIJ......04~"C:ci:~ ~ f 1 : : o ~ ~i ~ g ~ :: ~ o~D B~ A7 D~_7 A7 D~ ~. .4~ boy who's he's sim - ply era - zy I mean era - zy 'bout aused to care for pet names.; t-- Un - til I start -ed pet"' tin'

f'l lI-MMAMMA f~ 1llP M M Mf ,_ ~ - tpicktJ : : ~ :: O~ g : : ~ : : : ~ ~ : ~ -:j -i v : : ~::: o~ $ :: ~ o ~ g : : ~ :: 21 l~__A7 D x D A7 D G

flll- .tJ girl She treats him like a chump He cries "~hyou Your pre - cious ru - by lips Taste just . likerr- rr- A M mpfl ll- M r~~ A r~~ >(pick) P ,_ I ~ ItJ g : : : : : : : : , ' : :~ : : : t : : l : : : : ~ . . '0 4 -i ~~-:j ~ ~ :: : : : : ~ 3!'f*O~3~'"Df Bm A7 D q-7fl ~.

, tJ lump" I I why You can --not 11'mySu - gar can - not see be< hon - ey drips Stop hes - i - ta - ttng Dodt keep me wait - ing

fl lI- ~ !"'- - poco raE . (pick)ItJ 0 . :j :j 4 ~. I'J I t i....1 1 1 . . ' . . 0.4 : . \ t t : : :: ~ TT ~F#m Bm E7 A7 o B7

CHORUS( :. :"Sweet one" theyh . .Dh you sweet one If sweet-er than you_< Sweet one" Oh you sweet one If they're sweet - er than you_f'l lI- fI-I'M MAg_MA ....>-

~.. I'" ... -r-r- I - . . .- -:

f~ ~':~::,:;i:i O~ :i~. ~ ~ H :: : : ~ : : f ' :;i: . : 0-: --::r-:r.:;- .. . . ~ .: : : ::~D A7 D A7 DCopyright MCMXXIII by JEROME II REMICK & CO" New York & Detroit

Perjormint: Rixhts Rese'/'ved ~IADE IN U,S.A, III~el'lIa(ioll'rtlCopyrig"t Secured


19/27

17('j~

t I tJ I'd like to meet one I claim that~ your right bme-< - Ia like to meet one flY I claim that's your right namef l , I, j. . - ,. I""" I""" >- _>- - P " " ' 1 " ' " r - ' 1""">- ,.-.,tJ ~ :: 1 " 1 1 . . o :j::jtitii:~ :iti~ :j o~ 2- _ .' ....... 5 'l~ : : 2 - i . ""il l ' "II'''' .... 11G#:"7 A7 x Em ll7 Emf) ~!J Af - ter tast - in' kiss-in' I won-der why you vJere - tit christ ~eddourYou're as chuck full of hon- ey As Rock-e - fel - Ier is of mon- eyf l , l , j . P""'-~ I"'" I"'" >- >- >- >-.tJ b n ~ : : i "II "itll'j j j -j1"1I ''I j -j j r~i -i ~ o~ :j - T ' f x- xD~-7 ll7 E7 0# 7 A7fI~

4 U - - -"Sweet one" how you treat one I just love ev - 'ry"Sweet one" how you treat one I just love ev - 'ryf ' l , l , j . 1 " " "> - ~ ->- I""" ~U g ~ :: : :: ::: ::.:: :jt:j::i~o i :j g : : : : : : : : : : ~:.: ~:~:~ :i o i :i g : : -. :i.~ v . : :

D A7 D A7 D"l~ -- I I ~ I } I.I !J I I I I ~ou'd Ihing that you do You could kill me but

thing that you do Lay your head dear where my chest is kiss me"Hot lips"_ f ' j _ ~ I"'" - > -I u : : ~ t'::~~v 2 q . . . . ti 1111'.'"11 .. ..''Il"iI '2i "II -i g~ : : : : o : i :i :i

D7 E7 Em D A7

( n" I,U I I \J r -still "Sweet one" Sweet-ie Sweet one l i n in< 1 m as - bes - tos "Sweet one" Sweet-ie Sweet one lk in

f ' l , l , j . _>- I""" I"'"' , . . . I"'",u 2 " iI T ' fx ~ :: . :: :. :: :.: : :: :: ~ o iF .: -i: .: i" " " :i :i g : : : : : : : : o . : i :j:i ~ t t : : . ~ : : : i 11 11Em D A7 D A7 o ll7 E7fI O J. 1 II 2 .

~..

U love with you. you. IJ.Clove with you. y'ou~ M AMAI~I , I , j . I"'"' (pi1k) '" >- M~ ~- 0 o . . .: . . .tJ g : : i:': :: :: o ~ ~ ::jt.::i gi ~ I ~ o-i ~ l' 1 1 ' - ; g : : ~ : : : : : : : :::i ;:: . : $::D

Sweet One, 2A7 D x x D ./'z


20/27

18

I'M JUST A LITTLE BLUELyric by'

HAVEN GILLESPIE (For You)SONGMusic byEGBERT VAN ALST YNEArr. bV ZARR MYRO.VBICKFORJ)

Valse AndanteVOICEVIOLINorMAND

fl ~I ..\ @ ) I

.!,.Oft when I gaze thru' the twi - light haze.< p Day af - ter day since you went a - way.( II ~ n~ n rt n~ n -

V g l J.J o ~ ~~J 2 1 t "-jfUt o:::t:'il>i ~ ~ .~ : 4 ~~~4 u :lJif G D7 G G Em G (C) D71\ ~ .\ i) - I I I I ,. Imein-tries bring charms of you, Fan - cies re - call our

~

my dreams are all of you, Each sigh - ing' breeze isII ~ ~ (pick) , . . . . cresc. -. . . . . -.: :..~I f . ! ! o~ : .: ~i~~ (il IIiiij i'~ I t ..'jUt g~ :: ~lY~J0 " 2rtx G Em (G) 2 G Em Gm

~ ~ " .U I 1 1 ' rdear sweet-heart days And I'm just a lit - tle blue all throughseem-ing to say You are just a lit - He lone - ly toot II ~ rit. - >-_ >- >. :>- :>-

U g ! . : : : : ~ r . : : : ~i j ii . -~r~ ~ ~ \ : : : - ~ $ ! ~ ~ o ~B7 Em A7 .07 A7 D7

Chorusfl ~ at

mpo l I " I . . " 1 \ 1 \. . .u ,. . . . . . . . . . . (J. I I I T IIJust a lit - tle blue, Just a lit - tle blue, fill just a lit - tle

fl ~ rall. throughout.\ . . b R ~ 3~ oj . . ,( ! . J ~ gi ~t i ~ .... vi t - t t "IG Em G B7 C

Copy r ight MCMXXIII by Jerome H. Remick & Co., New York & DetroitIIIIf'J'J/llt iona! (""oP/P'/";


21/27

1\ .u I I l " ~ I " - J . . I" - o .f) I - ~ . . . . . ~ . . q . . . . . r yyblue for you Ev - er since we strayed a part, 'I'heres a long - iug in my

1\ .. n I i A I i A , Iil ~ ~ ~ U I J-J~t'J i -J 0 : : : : : ~ ~ :: B t l - - - I . . .

G GD7

1\ .u I l- I . . . ! I J I 1 - - ..1 - '":.'j-- --+--,i) 1 '1 I - lt~ - 1 I - . . # * - 11~

hear t , For the thrill of your smile And the kiss _ iug l i n miss - iug I'm::::=>- -=:::::: ::: poco rit.fI .u >. > >. :>. >.:

u 2 " . . . . ii o ~ : : ~ ~ 11 ~ :i g: ~ : : :: : : o ~ 0 : :Em D D7 D7 A7 D7fI .. n tempo 1 " t . . " " ~. .u #- _, #- U' I I I I V

lit - tle b l u e , Just lit - tle blue I der if ,just a a WOIl - YCHl refI .uV ~.,.t t J "i vJ -I . . i i i b tt:: 3 - 4 . . ~

G Cm G B7

fI .. I I I I .. . " ~ 1 I I..- . .-t_) I '- ft.. I ulone - ly too. While I dream and yearn for your re -

cresco~_u >r- : o r >- ~ >. >. >.0'u -I - r # ~ ~ ~ 1 t : :: : : : : : t r . : : : . : 34L .. . . -ill. _. 1 ~~ 2 '" ... '"i(C7) ~ B7 G

fI u te It. 1 I " ~, ~ I I 1 L 1 21 I a-. :il I . . iT - 1 '1 'I"- turn I 'm just a lit - tle blue for you you o.c.

fl ~ ten. >1""'"> > > >- f) ij ~ . o 4 ~ : 4 i : : : : ~ ~ - I f - I t " I Uj'l'~~ ~.,..-u'-1~8 #Em Daug GEm G2GE7 A7 D7

19

G7


22/27

Lyric byKARYL NORMAN(Tune one tone lower toplay with piano copy)Moderato

I'M THROUGH(Shedding Tears Over You)SONG Music byEDWIN J. WEBER

Arr. bll ZARR lJIYRON BIOKFORDVOICEVIOLINor MAND.

UKULELE

1 '1 ~ "I,t) PYou1'e seen meweep.lng now for man- y a .day_fl~ fnn n n nAnn A n 1 tried so hard to make yon hap- py and glad.,--~ - n r- n n n_c: J nItJ ~I'I~ "I I 1 1 O "~ ~-'.'!fll ..I!:. ~I I 'i .~ 11 o 1 i . . . ._ _ _ _ _ I J I ! !-G#-7 D7 G GII-7 Am

(}~ " - , . iii:t) lye fin-isnd plead-ing with yon it does-'n't pay_ The things you've said ~nd done have

And in ra - turn yona on - ly make me feel sad., Al - tho' 1 beggd and plead-edfl ~ P"""- I""".J ~. I 1 1 1 1 11 o ~ iii .. ~c .. o : g i "l- I-- G~-7 e Am .D7 Gfl ~ - - - ~ - - - - -It) bro- ken my heart , Right from the start ; We drift _ ed a _ part.;

with yon some - how..; You'd break your ~ow_ i~S all 0- ver now_fl ~ - - - n A I '" A I ' " ' ~tJ ~.I t~ I1 1 # - 1i . . 1i~ 1i iii . . ~I I~~fj~~~Bm, F~7', . Bm ~D7~. c:. - - H

It)No use in r cause its too Iata.; Yonve turnd my love in-tory -ing now be hate< Your sigh - ing and your cry -ing is all in vain., 1,0e fin - Ishll nev - er a - gaint j) ~,

t) ~I , . . - i 1 1 11 ~J'~ : : ~ A t r ~ ~~:~l~. 1 1 1 . . ~ ~ ~ ~:GCHORUS G~-7 > D B7 E7 A7 D - : - 1fl ~ , ~.,.t . .t) Be-cause lin thro: shed-ding tears ~ - ver yon And 1 am< . t r 7 n n (Pick) >- >-(}~ mp- - - - >-, t) gJg:i~" 8': : o~ :~.: : d~' ~I 1L." jrV1 'ii VifOj iI "_i ,v l ' I~ , "~ 'V~G D7 C~-7 D x G Em G G7 BmG G7 Em G G7 Em Gfl ~ L ... , . . , . . :_ .,'., 0,. .

It) thro' let-ting you make me blue I 'When! am gone for man-y years __ YoullpaythefJ J .I (pick) nnr- II n A A n n 1pA n~~~ - " " ' . . .

t) 8;jl: .: ~. ~:~: I~ g . _'I'I'lft 1'1:16I I .. " II ~.. -i 'f~.. ' 2 1 . . .z : - D x G BmG7,'. . C G

Oopyright MCMXXII. by JEROME H. REMICK & CO., NewYork & DetroitPer/arming Ri/rhts Reserced MADE IN US.A. International Cop'Vri/rhtSecured


23/27

21fI ~ l . . . - . . . . l .- .--I@] r I r Youll be re 1 g:et -tlngrice with bit-ter tears L 'While Ii n for - get - ting nev.er fearI fI ~ I- , . . . .

U ~ ~ ~ ii t lIICJI -j "I-II-II "I I 0 ~ ~ i II o ~ ~ ~ g : t = :F'i E7 A7 E7 A7 D",(Youre gon - na cry and youll wish you could die)fl ~ i " ~ ~ 1 l ~ h I. . ~ ' " . f . . .I rIu r r rAnd I am thro' try- lDg to make you

fI ~Iu ~ 8~ ~ : : ~ ~ . : : : . : . : oft- . : : . : : : 1~~-D7 D x

miss the tru - est

---r--

>- >-I Ipal you ey - erlad ~_ You're gon - na

u ~I.ti.t '"I -11-" t iIG Em G G7 Em G G7

-1-Ul'i 'i v t- tEm G G7 Em G

f . I J J . .,. -' .' .. _ J J 1 \ " ~ ~.__...-..... - ::i;t==IU .! miss the wa . ter 'till theou ney - erhad then youU 'be sad For you can weep you can wait you can.fJ J J . --

- . . . . .----U a ' 1 i -i -i -i ii j ~~ ~ . . ~ ~ ~~ ~. . . ~--1,c E7 Am A~-7fl JJ . . . .---. r ---n----

-~..&: ---ff-=--~-u I i I think how youre r r rwell runs dry_ And laugh when I go-ing to cry_ l i ntear your hair __You could fall your knees ba - by Iwould _ it care., Be-causeonfl J J. ::A ~ck) 7___ ~E::=t:u

~ i ~ ~ 2 ' 1 I 3 1 ~ ! I ' . . . t iii. o " ~ r,~ (pick)nG D7 G_7 F#-71 " 2 : --r.-.

-~--~- _ _ _ _ _ ...B e.e a use lin you ----i

x G Gm


24/27

22

(Tune one tone loWer)to play with PianoDOWN BY THE RIVERSONG By CREAMER and LAYTON

Arr. by ZAER M YR ON BIC K FO RDModeratoVOICEVIOLINor MAND./ f ' l j , j . -~ U Sam Green loved Miss Em - rna - Iine.,) No one gal said Sam-uel GreenIJIfn n n n n A n pn n n n n n n A nA~

1\ . u ~iJ ~ - J U J iI ~ ~ ~ ~ g ~ ~ g J 'iI l J - J - t. .

\ U ~f.- 7,.Down by the riv - er to my Em-rna-line Down by the riv-er that is where I'm gwine< ~j"r. (Miss)


25/27

~ : " :> .r r . .~~~ . . .Iwant to spoon r- " ' 3 ' Be-neath that moon- Stars am a-shln-Ing in the< (Hewants)I ~ ~ M M M AM AM~~A M AM A "T'. . . , . . . r-:. . . .. . .~ ~t;_~~ :: ~~ :~t:::::..::l~::~~JJ i i i____:JfJ:iflttll o ~ :i:~ ~::: :::::D7 G D7r. ~ I . . I . . ~ I. "\ . . .U skies a-hove I t .. f la-dy love r r , ~ r rgo a-pm-mg ormy Iwant to meet her Iwant to greet her there~


26/27

l\1Y BUDDYLyric by

GUS KAHNFOX TROT Music by

WALTER DONALDSON(lrr. by ZARH MYRO.V BICKFORD

VOICEVIOLIN or:\I,\NDOLINCHORUSfl l.I .

1 ~-

,:re ~ig;hb long since you went a - way I think a-t fl l.I P~A 1 ' " 1 1 ' " 1 n 1 ' " 1 A 1 ' " 1 1 ' " 1 n ---; . ~ I - ItJ 2~-S'1' -I i 1 ... 11 11 1 1 1 1 1 1 '~ :: ::.~::--~ ::.~:! :: ~1'''i.u_j-UKULELE G D G Em

fl l.I . . -tJ -._I-' u - ,- bout you all thru the day f- My Bud-dy My Bud-dy('} l.I ~ I n 1 ' " 1 ! i Ar AIr-l I I . ..- . .tJ t b~~' i i ...~ ~ ~ ....,-"" ~ z, ~()~ ::: '}2~ ..T....j.7t u ~ _ - = )I 11 " . . . ............. 0 .. 1~ 'II j.lI j.jD7 Em G h7('} l.I .

I I~ I ~o Bud-dy Miss- quite so true your< ( ' } ~ I I . . . II r r-: r: ~ -. - II .. .. . ;U 'j- 1 1 1 1 4 1 1 o . :i . :i'~.~ :4 i - _ ..~ ~.i O - . i 1 -1


27/27

Don't fail to'getTHE REMICK COLLECTIONSo f POPULAR SONGS

with UKULELE accompanimentand directions for playingNo.1

CONTENTSDirections fo r P la yin g th e UKULELE by ZARH MYRON BICKr-ORD

1 Can Hear The Ukuleles Calling MeThere's Egypt In Your Dreamy EyesAnd 'They Called It DixielandMemoriesWhere The Black-Eyed Susans Grow

Down Honolulu WayMammy's Little Coal Black RoseThe BluebirdShe's Dixie All The TimeHow's Every Little Thing In Dixie

No.2CONTENTS

Diuctions for Playing th e UKULELE b y ZARH MYRON BICKFORDAlong The Way To WaikikiCherry BlossomFor You A RoseSome Sunday MorningSailln' Away On The Henry Clay

Ain't You Cominll Back To DIx ielandDown South Everybody'a HappyYou're A Great Big Lonesome BabySomewhere On BroadwaySouthern Gals

Arranged byZARH MYRON BICKFORDPrice each 50 cents net

JEROME H. REMICK & . CO.DETROIT NEW YORK

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Remick Collection Popular Songs w Uke Acc. No 3 (1920)

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