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The all-important attraction was their belove. Theybring the flow. D7 ffi c-r. And whereyou see clouds. F t look-ing for a blue. F o ffi ffi Pret F For. JamesBrockman and Nat Vincent. Con- tracting their first namesmay have presenteda problem. I've lo oked ev-"y where. Roberts Composer Roberts got the happy notion to write a song abou-tsmilesafter hearinga lectureon the subiectat a music- dealers'convention.
Unieited in PYr There are smiles-. Will Callahan Music by Lee S. CmO D7 CM6 AM? As the sun. Lf I r Thereare smiles i'r r 'rr that have a. Long Trail a wind. Iong trail with yo. Elliott and King were then Yale undergraduatesand i. I aIl thru the rr day. Created in the traditional bar form. F7 fv vr- I I voice. Miss your I t F I the rr sec.
Dz ffi ffi I'm Look. With s b o ooo spiritffi. Chnrleston The dance sensationthat best typified the flamingly youthful spirit of the s was the high-kicking Charleston. F7 ffi ffi t ffi ffi o 1[. Leads to some. I Car. Wing dancer- C. F7 Bb D7 ffi ffi ffi Itts a.: Bgck dancer. Fz ffi ffi ffi ffi one tiine. MadeinSouth-Car-o -?
The on-lya shan. Filz G7 ffi ffi ffi?: I But mY it touch. I'ion-airets man. It's more than a pal. Dz c7o F ba. Filz ffi ffi ffi n-r5n ffi ol t' I ''r' 4? Ao I For blue. Dm7 Gz Dm? I would-ntt do. Fbr You.
PoorBut-ter f l y! American lyricist Golden thought the star would be Tamaki Miura. The Big Show. The mo-ments p a s s ipoco n-to hoursr- Zresc.
So he wrote a ballad for her about the opera-only to discoveranother sopranohad been signedfor the show. And as she smiles throughher tears.??? The moon and I. Oo JLI. Then I nev. If I Could Dr G: I would-n't: Un - cresc.. I Could Be With You. I th ings t6rr. When the clouds ro I I by. Whiting Slorvlv. Her faith in the was ofi the presses. You ' frv fl' to LL come You. She fishedit out anrJ.
Egan Music by Richard A. Remick firmed. Even beforethe sheetmusic 'got the first inkling of the song'sf uture successwhen it won a war-songcontestsponsorri by a Detroit movie theater' Words by RaYmondB. Dz t cco ooo Hfrffi iTrrn t Fqq rrrrn ffi ffffi.. J TI for 7' m9. Do r' l f wait and rr Pt: Y each?
With ybu night has decresc. T h a t yearn-ing. Robert Katcher received its English title and lyrics years later. DeSYlva donna" when published in Vienna in I kdow lbve. Am7 c fratm.
Go oooo Trm Gm7 ff. Iight s r. I o Ge OO though I miss your ten. Bbmz G Am7 ffi ffi ffi ffi Am? T dbw. O arttt? The skies a.: C G aug. In lg2g. As the vocalist san7. On the night of the Wall Street crash. So let's tel I the world. C C F oo ffi ffi -. Are Here A.
C dim. UI r ttl-l. G G7 ooo ffifrH ffi or be f no r"7 mbre f rom r now 'l on. The Man I LoveI The reason f or the last situation was ironic: I know we both won't '"Y. ItlI un-der-standl Fm7 E maj z nbz ffi ffi lffi Anil thoughit seemsab-surd. May-be I shall meet him Sun. Who wouldrwouldyou? And so all else a-bove. L hJ I t-l I ffi1 te? Moderate ballad ral l.. N9te the. My sweetEm- a tempq 6'5 Am?
I rr love all the man. Em o o ooo - - a ffiffi - a p subito cresc. Dontt be a. Fred Astaire'ssister. Cs Cm? Fe U ffi ffiffi ffi ffi ffi ffi g l a m. Fmz ffi ffi Ff-fi-n rrrrn ar A fi LaLd J -L. I hopethathe Turnsout to be Ff. C-l I lirl' c r B? I I know I could Al-ways be good ry F l'? F7 To onewho'll 4n 1fr l Ff. Al -though he. Dot Ffmz -5 G? Do- ffi ffi ar r ''r. So he simply hit upon a describing the eflects of a nagging.
Youtve GZ Dm7 Dm? Be Good! Gm7 c7 Gm? C7 Gm? HH ]J-. What a messyoutrem4ilg! J4EI Fhftff ffi ffi Frrrn ffi ffi. C c"o ffi ffi T I-N:: I know tirat I I t.
Erich morn. When you 7? Ez Am7 F o ooo ooo ffi ffi h. Ih so un - ffr: De - Gm7 c7 Gm? And make it snap. Iry subito. Dmz G? C7 o ooo Gm7 ffiffi ffi ffi 't -Lt-!
As a lyricist. Cole Porter shov'e'd Itt. I tt vtl 7r7. S DOOm. It no mat. Day and night think of you Fo D b m a jz Fmaj e T Night And Day. G nz c7 o Fmaj e ffi ffi think of you Nig. Night And Fmaj e T-. There's an f: Dbo o Co ffi ffi A 't 'Til tor-mentwontt be through.
Just who oan solve Its mys. This fun. It waswhile listening to native chantsin Marrakesh. Inyoduced in London in the revue Wake"Ud und Dt"am!. What I -l rl J: Fm ffi d: Many exotic locales. To get into the proper creative mood for his Broadway mu- sical Jubilee. Cole Porter hied himself off on an around-the- world cruise. F1 f Itm d!
It Abmai z Abo nbz ffi ffi ceptwhenthat tune clutch-es my Ffrdim. Let the mf? I ar 7 rJ'. A7 tZr r-- ffi h I cloudscame a-long to dis. C oo ffi rr o: Let it 7? T-- ffi rrrfff ooo ffi ' 1? I coo ffi aJ '1 rfr. V 5 T1 t'Dar-ling.
YouDo toMe Something The release. Fifty Million Frenchmen. Qru"i Tom-Tom tfit r. E- bF. IV So I Yet both times the "A" theme is re- peated. Out of Lou This is partiiularty true in the final section in which the tonesrise higher and higher with the 'expressascent.
IGeta cole Porter's lighthearted but basically torchy balad at first ipprort to lall into the familiar Kick A-A. Of You? A Kick 0ut. I Fr v lvir tJJ i. Of eregc. A Kick Out. Bbz Fm? Yet Hart could also be both eloquent and simPle. Music by Richard Rodgers G nbai. First sung in a London revuein I Thatts all l l'l tl -lrll l'. That un. I could tell you knew.
Richard Rodgers Rodgers foughi to keep it in and won vindication when it be- came one of the musical'smost durable treasures. O- 7' - Gm7 Cz Gm? I Tho u grand! Wouldst hold mY hand? Both thine. Hear me bJ hJ. I b -,1 -,aJ -. Itd lr-l I I. Gm c7 Gm? And Thou. I r F-'ry r Glm? CI Glm? Cz F FO Fo. But Rodgers and Hart didn't have long to wait for a spot to be found for it in their next musical, Ever Green, which opened in London later the same year. Sung by JessieMatthews, the lilting air became the showstopperof the production.
I I 7I sight, Through the night. I try to hide in vain. Gz Gfim? Cz-s F Gmz C? I I "i;t. I Fmaj? Lbz Gz Gm? Cz-s Gm?
With n The appearanceof movie-star Glenn O. He couldn't sing. Unfazed,Rodgersand Hart Save. Am oo oooo oo. Just a song at the s t a r t , But it soon is a hymn to your grace. ETB oo. A7 B7 0 dim.. Dm"z G: Am Am? Jqo -. F a ball. Note how skitlfully the key word"room" is emphasized in the first and secondeight-barsections: Everytimeit is sungit is preceded by the rhyme f alting on "C.
Gm7 Az ffi t? And Rob.: A6 Amaj z AO Bm? Toa for " A dummy lyric" is a temporary set ol words put together to help lyricists work out a song's metric form and Two rhymescheme. Just Tea ForIVo and two for tea. A r4il. C7 Fmaiz Gm? E7 Bm? Just me for you and rry 4-l. Gm7 Fmaj z Gm7 a7 ffi a7 Gm? We wontt have it known. A dirn. Amaj z a7 Gm? C7 ffi-zrr.
L-Ul t 'u'--zl can't you see how hap. A boy for you. I Iaat I f] llll f-. Although it won acclaim on Broadway. Iight2 Our hearts witl be throb-bing gui.. Love till the mo-mentis through!
I-Jl 3 r Iln i a t r light of dawn-ing and duy. Dz-s G G ebo: If we nrust live for the mo. Ctt ffi ffi Oh. F' Bi. Night and. Ctt ffi ffi ffi a ttl rra -f. I b4 JJ. Dancingin the Dark" was a product of sheerinspiration' while working on composerSghwartz Howard Dietz the scorefor the l93I Brooarioy revue The Band Wagon' mystical' yet in slow' was gropirg for-in his wordr-i'o dark son1.
E 'Fl l 'F aJ tS-. Then Arthur Schwartz wasiot down the notes' with this merodyso fiira in hisileadthat aII he had to do Fmaj r not draggy Danc. J r I t- Look. F 'F a a r bright-enup r v'.
Kurt Weill becameconvincedthat an additional song was neededto provide thematic unity to the story. Overnight he and collaborator Brecht deviseda bar piece con- sisting of two eighrbar themes.
Nl[eckfiheKmflfle In in Berlin. Though the song becamepopular through- out Europe. T I-l-?
Die Dreigroschenoper. Bet you Mackie's back in town. Is the someoneMack the Knife? Now that Mackie's back in town. Lies a body oozing life. Fancy gloves. Scarletbillows start to spread.
A cementbag'sdropping down. Polly Peachum. After drawing out his cash. Jenny Diver. And MacHeath spendslike a sailor.
Did our boy do somethingrash? On the sidewalk Sundaymorning Sukey Tawdry.
Someone'ssneaking'roundthe corner. The cement'sjust for the weight. Lucy Brown. From a tugboat by the river Louie Miller disappeared. So there'snot a trace of red. Just a ljack. April in Paris "Oh. Harburg Music bv Vernon Duke matically. This is a feel.. Nev-er met it face to fJ. Nev-er misseda warm em brace. C6adde ffi A r'l. Ffmz-s Am? De cfs G z -e ffi iffin.
A-pril In P a r. Am Ff. The start of the blues. The issue: DeSylva and Lew Brown those in charge becameconvinced of the music's worth. I 'v-- v v tTil note. Pushedit through a horn it was urorn - 1l And then they l t And gave. I rrr 1- a. Y Hets just wild 7 I v 11t. M Just Wild A. I rll G? And just like hon - rnf. The recurring waltz theme. Time may lie heav. This sweet mem-o ry A.. Fl Ez Am ffi p baim.
John Green the air becauseof its suggestiveendin7. I spend my days in long -ing? Edward HeYman was written. Dm Dm? For you I sigh. My life a wreck you re? Fo Dm? Itts hard to con-ceive it That yoo'dturn way br Bmaj 7 Bdim. Ih glad. Db Cfmz Ff. Cmaj 7 ooo ffi: Dm of aim. A caseof do or die! As Time Goes By. No mat-terwhatthe fu. Am FZ t Clbass Gd i m.
I 'r t'Ff 11r! Gm r n-! Composer Mancini put his melody together from two nearly identical bar sections. Like a child at Pley. Bbm AmZ ooo o ffi ffi ftfrfl d: I -tll I' Filledwith m e m. Dmz oo oo Glm? Fanny Brice o. I hung a-roundforthreeor four. The rain. Gle F Glm? The hero was oblivious to everythingbut the heroine-a condition he expressed.
And when he was finished,what did the misty-eyedgirl say?
Dick Powell and Ruby Keeler in Dames. The moon may zd' 'f- --l rl. Dpt Am? I don't know r rf if we're io I f r a" gar - Fr, TbTr den,.
G7 FE F6,c Dm7 ooo o. Irl ,-l rl ': Moderately, with tenderness ffi-Brr' 'l. Atl t o o soon my Se-cret. I --j-.
E-ven told the gold. And bfj 'ft. Just how won-der-ful you a. At l a st my heart'san?. ITI-]-N g. I1I nev. Ta TA Ta? Am7 o. Whiting '. Willing and for Words Able. Too Could the dictionary be at a lossfor words? The song'sthoroughly smitten swain thinks so after Marvolous searchin. The nutnber emanated from a film called Ready. Like l-1 r. And that old stand.
B B ffi ffi -tj6 t. I much too much. Too Mar -vel. And just too ver. I say e-nough. I Dz Bm oo E: I e-nough. Jlt -. Music by Words by c Sammy Cahn o Slowly. With-out a r'. GE Dm? Gg G''7 o' oo ffrlTt tttltl rrrrn ffi ffiffi Mag. No song was ever more important fashion the song establishingher to a singer's career than "It's Magic" was to the careerof Doris Day. It wasn't long before the ballad became even more well s i n g e r w a.
Thestarsde-sertthe skiesand rushto nes-tlein yoffirttt C m a jz? In the former band IT'S both as movie star and recording artist. Howelsecan I ex-plain those rain-bowswhenthere is no rainltts Dm? GmO ffi Hfrffi cb? Whv do I teII myf self these things that p cre9c.. When in my heart I know the Gz ooo nbz ffi ffi rffix mag. I tffu yrl. Dmt Fbass oo a 'a J. Em7 r Am7 ooo o oooo?. I l- G7 F7 C7o nb nbm ooo ffi t v l l u flllll ffi Got. F gbn ooo c7 o ffi ffi ffi a7'7 rilr r q" 'ltt?
Dm Anr G. LLJ r? That I t. Al l my Har. O ooo ffi m t-? Lu-lu Back In Town. Mis -ter 0-tis re. You can tel I all my iII. A wom. A m4lts gon-na sweet talk. I rll r Gz ooo CE ffi f qr' wom-a. The SwingYears I i '.. Hear the train a-call. My ma-madonetoltmer- A I rll G?
Hum whoo-eeduhwhoo-eor-0I' click. I ffi 3 dl rF f'r t tLf-r Now the raints a fall-irf. I F-vo? A musi- cally compactsongwith an engagingoffbeatconstruc- tion. Y o u must have been a won. I bet you drove the lit. And when it came to win. I bet you madethe cut. Words by JohnnY Mercer "peepers"and-"weepers.
Joopors Croopors In "leepers Creepers" lyricist Mercer put togethera lyr-ic basedprimarily'on a collection of teen-ageslang gf t!: Jfr Creep. Wheretdya get those eyes? Readers Digest Read more. Reader's Digest December - January The Economist - 26 January The Economist - 12 January The Economist - 19 January The Economist - 05 January Professional Photographer UK January Appetite, Volume 50, Issue 01 January Home Power Magazine, December January Spacer's Digest.
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