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FREDERICK LOEWE Book and Lyrics by ALAN JAY LERNER Production Steered by MOSS HART .
CHOREOGRAPHY AND MUSICA NUMBER ? STAGED 9 Y
HANYA HOLM
MUSICAL DiRECTOR
CYRIL ORNADEL
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HERMAN LEVIN’ S PRODUCTION
REX HARRISON
JULIE ANDREWS
ADAPTED FROM BERNARD SHAW’ S “ PYGMALION ” Produced on the screen by Gabriel Pascal WITH
STANLEY HOLLOWAY ZENA DARE
ROBERT COOTE MUSIC BY
FREDERICK LOEWE | aa
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BOOK AND LYRICS BY
ALAN
JAY LERNER
PRODUCTION STAGED BY
MOSS HART Choreography and Musical Numbers Staged by HANYA HOLM
Production Designed by OLIVER SMITH Costumes Designed by CECIL BEATON Musical Director CYRIL ORNADEL Musical Arrangements by ROBERT RUSSELL BENNETT AND PHIL LANG Lighting by
JOE DAVIS
Dance Music Arranged by TRUDE RITTMAN
VOCAL SCORE
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FRANZ ALLERS
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© 1956 Warner Chappell Music Ltd . Internationa ] Music Publications Limited Southend Road , Woodford Green Essex IG8 8HN , England
Offentlicne Bibliothek der Stadt Aachen 972502 *+ 3
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Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988
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J I J 1 I J I I 1 I
First performance at the Mark Hellinger Theatre , New York , March 15, 1956 First Performance in London at the Theatre Royal , Drury Lane , April 30, 1958
MY FAIR LADY THE CAST (in order of appearance )
BUSKERS JOAN ELVIN , TERRY WILLIAMS, WILLHELM MAURER MRS. EYNSFORD - HILL LINDA GRAY ELIZA DOOLITTLE . . JULIE ANDREWS LEONARD WEIR FREDDY EYNSFORD- HILL ROBERT COOTE COLONEL PICKERING A BYSTANDER MAX OLDAKER HENRY HIGGINS REX HARRISON SELSEY MAN ALAN DUDLEY HOXTON MAN REG TEMPLAR ANOTHER BYSTANDER BOB CHISHOLM FIRST COCKNEY ROBERT CRANE SECOND COCKNEY . . JOHN MOORE THIRD COCKNEY HOWARD DAVIES FOURTH COCKNEY . . ROBIN DUNBELL BARTENDER MOSTYN EVANS HARRY ALAN DUDLEY
i i J i
JAMIE
BOB CHISHOLM STANLEY HOLLOWAY BETTY WOOLFE ELAINE GARREAU JOHN MOORE SERVANTS HOWARD DAVIES, ELAINE LOVEGROVE , MARY BURGESS, FREDA SESSIONS , BRENDA GAYLE MRS. HIGGINS ZENA DARE CHAUFFEUR ALAN BURTON FOOTMEN PETER NEWTON , LEE KENTON LORD BOXINGTON . . ALAN DUDLEY LADY BOXINGTON . . ELAINE GARREAU CONSTABLE . . ALAN BURTON FLOWER GIRL CHARMIAN BURN ZOLTAN KARPATHY MAX OLDAXER FLUNKEYS WALLACE STEPHENSON , LEE KENTON MOSTYN EVANS MAJOR DOMO QUEEN OF TRANSYLVANIA MARGARET HALSTAN AMBASSADOR BOB CHISHOLM BARTENDER ROBERT CRANE MRS. HIGGINS’ MAID WILLOW STOCKDALE
ALFRED P . DOOLITTLE MRS. PEARCE MRS. HOPKINS BUTLER
SINGING ENSEMBLE , DANCING ENSEMBLE
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The place is London. The time, 1912
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Scene Scene Scene Scene Scene Scene Scene
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Outside the Opera House, Covent Garden A cold March night A Tenement Section, Tottenham Court Road Immediately following Higgins’ Study The following morning A Tenement Section , Tottenham Court Road Three days later Higgins’ Study Later that day Near the Race Meeting, Ascot A July afternoon Inside a Club Tent , Ascot Immediately following Outside Higgins’ House, Wimpole Street Later that afternoon Higgins’ Study Six weeks later The Promenade of the Embassy Later that night The Ballroom of the Embassy Immediately following
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ACT II
Higgins’ Study 3 o’ clock the following morning Outside Higgins’ House , Wimpole Street Immediately following Flower Market of Covent Garden 5 o’ clock that morning Upstairs Hall of Higgins’ house 11 o’clock that morning The Conservatory of Mrs. Higgins’ house Later that day Outside Higgins ’ House, Wimpole Street Immediately following Higgins’ Study Immediately following
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ACT I
OVERTURE AND OPENING SCENE SONG ( Higgins , imrA others ) . . “ Why Can’ t the English ? ” SONG ( Eliza and Male Chorus ) “ Wouldn ’ t It Be Loverly ? ” TRIO ( Doolittle , Jamie and Harry ) . “ With a Little Bit Of Luck ” CHANGE OF SCENE 5 SONG ( Higgins ) “ I ’ m an Ordinary Man ” 5a CHANCE OF SCENE 6 REPRISE ( Doolittle and Chorus ) “ With a Little Bit of Luck ” 6a CHANGE OF SCENE 7 SONG ( Eliza ) “ Just You Wait ’’ 8 CHORUS ( with Higgtru and Eliza ) . “ Poor Professor Higgins ” 9 TRIO ( Eliza , Higgins and Pickering ) “ The Rain in Spain ” 10 SONG ( Eliza with Ur and 2nd Maids and Mrs. Pearce ) “ I Could Have Danced all Night ” 10a CHANGE OF SCENE “ Ascot Gavotte ’’ 11 CHORUS 12 END OF SCENE ( Ensemble ) 13 SONG ( Freddy , with Mrs . Pearce ) . . “ On the Street Where You Live " 14 ELIZA S ENTRANCE 15 INTRODUCTION TO PROMENADE 16 PROMENADE EMBASSY WALTZ 17 1 2 3 4 4a
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II ACT II 18 19 20 20a 20 b 21 22 23 24 24a 25 26 27 28
ENTR ACTE “ You Did It ” DUET ( Higgins , Pickering and Chorus ) REPRISE ( Eliza ) “ Just You Wait ” M On the Street Where You Live ” REPRISE ( Freddy ) Show Me ” SONG ( Eliza with Freddy ) . . “ The Flower Market ’ * . . MALE CHORUS ( with solo , Eliza ) . . “ Get Me to the Church on Time ” SONG ( Doolittle and Chorus ) CHANGE OF SCENE “ A Hymn to Him ” SONG ( Higgins , with Pickering ) CHANGE OF SCENE “ Without You ” .. SONG ( Eliza with Higgins ) I ’ ve Grown Accustomed to Her Face SONG ( Higgins ) MUSIC FOR CURTAIN CALLS EXIT MUSIC 14
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FREDERICK LOEWE
ALAN JAY LERNER Cut :
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HIGGINS : A woman who utters such depressing' and disgusting sounds has no right to be anywhere no right to live . Remember that you are a human being with a soul and the divine gift of articulate speech : that your native language is the language of Shakespeare and Milton and the Bible , and don’ t sit there crooning tike a bilious pigeon .
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—
SONG ( Higgins)
N? 5 <<
I M AN ORDINARY MAN
-
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H I G G I N S: I f i i d t h a t t h e m o m e n t I l e t m y s e l f b e c o m e f r i e n d s w i t h a w o m a n . I b e c o m e s e l f i s h a n d t y r a n n i c a l . S o h e r e l a m , a c o n f i r m e d o l d b a c h e l o r, a n d l i k e l y t o r e m a i n s o . A f t e r a l l , P i c k e r i n g .
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CHANGE OF SCENE
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Chappell
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N? 7
a
“ JUST Cue :
a a a a a a a a a a
SONG
—(
47
Eliza)
YOU WAIT ”
HIGGINS: Eliza , I promise you you will pronounce the letter “ a” correctly before this day is out , or there’ ll be no lunch , no dinner, and no chocolates!
Eliaa slam: her study book down on the floor
m
Pesante
Eliza
i**l ^
70
ff fz f pi
ELIZ
a
ELIZ
^
i-
sor
—
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Just you wait , ’en - ry ' igigins, just you wait!
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late!
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’en - ry ’ ig- - gins , till you’re
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it
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H 48
doc - tor doub - le
scream to fetch a
^^ y\ ^
quick !.
ELIZ
5
T r b n.
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==
7
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19
S 5
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Oh , ho
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7 Bsn
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ELIZ
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7
ry
’ ig - gins!
^
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7
44169
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7
f
a cramp a
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wait.
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I
un
til we’re swim - min’ in the
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7
-
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ji j>
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ry ig -’gins
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7
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yell you’re gon na drown , I’ ll get
7
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just you
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straight to the the - a
ELIZ
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ELIZ
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5 5
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49 ELIZ
a
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J |lr _ j > > h JNIJ ^ '
to town ! Oh , ho , ho ,
dressed and go
•
’en -
ry ’ ig - gins! Oh , ho ,
^ji
SE
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wait !
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p 7m
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a a a a a
2
m
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ELIZ
Just
4*
ry ’ ig - gins!
-
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ho,
$
ri
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PSEIE §=
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Amabile
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ELIZ
5
2 be fam
- ous! Ill
I I
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and prim!
to
Go
P
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simile P
per
pro
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Bsn. Harp P
be
P
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P
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a Saint
„
Janies
+-
_ sooft - en ^ ^
cm ELIZ
_
£
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—
f
thing-,
I
will
X
call
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p-
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-
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p-
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want
rajuIn
- //
all
of
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#
eve - ning-
p-
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l
3f P h Ji Eng - land your
iJ Jv prai
- ses
to sing.
Next
i£
& T
p
r
the King will say,‘Oh ,
£
£
jji
p-
s
44169
Saint Jim . One
it
P-
//
r
m
Chappell
r
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50 BLIZ
42
I
S JrJri Jrt the twen- ti
week , on
m
- eth
May,
of
Trpt
I
.
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mf
m
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pro - claim Li
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the peo
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will cel
e
1
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brate the £ lo
ry
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of you ,
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you wish
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simile
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sat
^
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and want
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will do. Thanks a
glad
1
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p
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m ELIZ
p
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ELIZ
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King” says I ,
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man - ner well bred ;
a
in
IpH I I jLg J^rMrjgj “ But all
I want is
’en - ry ’ ig - gins i
J—
JJL&JJ / I TI ~
#-
" #- "
poco rit\. boco n ,. -pp
’ ead! ”
I ^PlFlf 58 A
5
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stroke .
fm
2
9 Sir.
2
1
-
Done" says the King‘‘wlth a
j' a tempo 2
.
>
A
2
7
Poco piu mosso
S
ELIZ
44109
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54
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snti mu fl B
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a a
a a a a a a a a a a
EUZ
m
51
i
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run
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bloke! *
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in
ff
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Allegro uaiLiaio r v x i o g m lmarziale EUZ
i
tyJ
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you ’ en - ry
march
Ii
’ ig
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to
the
§
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5= S
^
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king will tell me: Li
=
7
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5
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As they raise their ri - fles high - er, I *11 shout:
muffled Dr.
ELIZ
7
^
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ho ,
n\ Oh ,
Fire !
,,
A
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the
7
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7
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9
go!
And
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t
9
ELIZ
mf
3 ' j 3 51 4 4 I * «ti
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gins ,
they*!!
Then
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you
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9
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3 Chappell
:; B B
52
n
CHORUS- ( with Higgins and Eliza )
N? 8 -
Cue : E L I Z A :
‘ POOR PROFESSOR HIGGINS >1
-
-
H a h a h a h a . . .. H I G G I N S : G o o n! G o o n!
B
The stage darkens. Six servants are seen at one side of the stage
a
Moderato j
I
^
E£ri
3§Ei
Poor
Pro - fes -sor Hig gins !
Bass
Poor
TfPro fes sor
-
Moderato
/
III
Str
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p
=
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[ft GHO
^_
-
-
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-
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-
/
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Up
CHO
*
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pyf
and down un
- til he’s numb .
H i A«
m
-
1
Kii tel »
i.
P~
H
-
m
til he’s numb .
^
5
, T » !T
Does - nt rest -
taJ J
p subito -
T rT
-
Does n’ t rest ;
Mr r J „Jii
on his feet ;
on his feet ; 44
- -
i JM _ _t jM j 1 f f 1 f TT r
p
W nF ~
5§jr
^5=
kg: t= 0t~
»f
r
i
Does - nt eat ,
j
(
M
All day long
C7
m \ % M rFi i
w
Up anddownun
Jit
*
r
i * Hf f
All day long
-6
^
= ji
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Pro - fes -sor Hig - gins .
at
cresc . poco #-
< 7-
$
i
_ )_
4 #
1
1
Night and day he slaves a - way ! 01) , poor
P¥
Pro - fes -sorHig- gins!
^^
Pro - fes - sor Hig - gins .
B
f -F~ [i t- fc
T~T T 1 jfcf - 0£= j .
Night and day he slaves a - way! Oh , poor
£
-
Poor
B
Pro - fes - sor Hig - gins!
\
f!
^^
rJ
r fr r r "
1
Poor
rr Hig gins ! _
T r p t. m u t e d
1
f
Alto
Tenor
^
a
Soprano;*
n?
Does - nt touch a
U J ^ o-
servants disappear
SL
‘f i n
-#
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ILf f T =N4g -
B B B B B B B
B B B
n&
HI #-
a
n
crumb .
d i m m.
#
B B
n
i
Does - nt eat , Ah ,
£
B B
-
Horn Chappell
H ft n n
'
Ssisi
n
a a
I
£ £ AY rrf k-
3
a a a a a a a a a
/
i
H
you ,
of
continues
£
H you . How
of
kind
to
of you
kind
0E
come .
me
let
Si 8§
£
Bsn
P Cfl £ ; /
HIGGINS : Oh , it won t go to waste . I know someone who’s immensely fond of strawberry tarts . ELIZA: Aaaoooowww ! The servants appear m n c c n legato Durr. Piii mosso * *• Piu
-
*1
EE
E
. Prn - fes -spr
Poor
CHO
PlU Strm .
ITIOSSO
£ , =
> h «.
Xji . . : *
poe.oVJL
=
cMA
ir^ cu t :
rr
Pro - fes -sor Higgins !
Poor
tt ry=
m s - spr Higgins!
Higgins! '
«Ji. 4 XP~3
legato
53
Dialogue
He plays Xyloph one
HIGGINS : ( Spoken )
Pro - fes -sor Higgins!
Poor
—
Trpt .
3 a * -f5£
iM
n^
f#
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.
t f-fl 5
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On he plods , against all odds ,- Oh . poor Professor Higgins ! Nine P. M . ,
CIIO
* S
^^ ^ ^ ^ w
~
cresc..
O / OOO
poco
t/ '/ O l/
_
tbbJijJ-
(
e v -’ ry night .
a 44169
i
§
^
-
O n e A . M .,
ev - ’ ry night .
j-
On through midnight
|
|
Tej
\
Professor Higgins !
-|
I
P. M . ,
Qp through midnight
|l §
:
-
A
1
CHO
5
On he plods , against all odds; Oh , poor
- -
f
Ten P. M . ,
j jt h iM — ’ ^ $^m ^ mM M _finite i h f L 4 rtrr r ^ ^ 4 4^ r!
“
p|
=r
i*
h z -\
h
i
#
r r.i w c .. f 77ieservants HIGGINS
disappear ) four ,
Two A . M .,
J J
One A . M . ,
,
J ft
Six marbles
Five ,
Or-
Dialogue continues
gj Sp
Three .
A
ns
s
Two A . M . , Three .
j= j= = i ^ =\ ^ - == — - =
^ »^ zi?
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,
l
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f
Horn
.
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Bsn .
-
^
s
S
Chappell
r
$
—^
T
h is IS 54
Cue .-
Ancora piu mosso
I
^ Gz
j
CHO
IS
HIGGINS: .. . W h a t s t h e m a t t e r? W h y d i d y o u s t o p ? ELIZA: I Swallowed one. H I G G I N S : O h , d o n’ t w o r r y . I h a v e p l e n t y m o r e . O p e n y o u r m o u t h ... O n e , t w o , t h r e e, f o u r ... . ( Again the servants are seen )
£
g
If1
7»
L
& s
^.fet
rr r r
Pro - fes - sor Higgins !
Quit ,
Pro - fes -sor Higgins !
Quit ,
4
Hearourplea , oi
V
|
Quit ,
Aricora piu mosso .
Pro - fes -sor Higgins !
Quit ,
Pro - fes -sor Higgins!
i
A
HearourpIea , or
IS
W.W ’
Trpt
ft
pocoSy^ L. pow
mAjjg^
#
p^
g=E
pay - day we will quit , |
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¥
^
f, J
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177
.
.
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Pound - ing, pound ing
CHO
f #£
,
iii
#
rain
in
3
P 44109
V
poco nt . e
dim.
Spain
“ Ay ” not “ I ”;
/
•
#
i
stays
w ;
not "Ow’ -
#*
mainly
j J J.
j_
=*=-
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( =$4 _~a ,
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“ O’;
.
Tzf
“ O’,’ not “ Ow ” ;
8* - : , . b* *t .J* * f
*
HIGGINS The
"Ay" not “ I ” ;
r1
-.
4
'!
in our brain .
O ; not
fT-
I" 1
in our brain .
Pound - ing, pounding
N
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^
IS
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jBg5>
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4Hj jJ 1:3= a| lH H fet if
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Pro fes -sor Higgins !
-m-
pf
-0-
"A y ,’’» Jnot " Ti ”
Pro - fes- sor Higgins !
pay - day we will quit ,
J=
m 65
f 11 ± 7 iWD 9
CHO
&
c esc.
*
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^
g
Ah!
vamp.
,
_
-e * *~a Pa mm\ n
,r-- -
f
*
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i1 in
Mil
Dont say “ Rine” say “ Rain’.’
“ O’,' not “ Ow ” ;
*
The sei rants d is appear
*
»
I
Dialogue continues
plain
the
|
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= =
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3 3 3 3
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‘T H E R A I N I N S P A I N ”
Cue :
3 3 3_ 3 3 3
3
3 3 3 3 3
’
The r a i n in Spain
main - l y i n
stays
H G G 1NS: I think she’s got i t !
plain .
the
1 think s.' i e’s
Tempo di Habanera
^
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-
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3
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got i t !
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Eliza # w
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On the
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Higgins
Eliza
¥
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On the plain !
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Now once a - gain, where does i t
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(
11
Sings
got i t !
/ oco
t
plain .
2
eT
ELIZ
the
in
main - l y
1
—
i
Higgins
r-
1
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r
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±
By George, she
-L The
i
m
Cliz .T
w1
HIG
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got i t !
i5
r ¥
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3 3
4
Now; t r y i t again . The rain i n Spain stays mainly i n the plain . ELIZA HIGGINS : Wh S-t waS that ? ELIZA : Tte r a i n i n Spain stays mainly i n the plain. HIGGINS : Again .
HIGGiNS ;
ELIZA :
3
3 3 3 3
55
TRIO - (Eliza , Higgins and Pickering)
N? 9
2
f
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And
^
r i
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where s
i
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that sog - gy
In
plain ?.
U-
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Chappell
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fl fl Eliza, Higgins
56
ELIZ
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Tl Spain !
In
Spain ! 0
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plain !
The
7
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in Spain stays
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The rain
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.and Pickering 19
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Higgins 27 Poco piu mosso
£
ALL
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plain
Hert - ford , Her - e - ford and Hamp - shire ?
In
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± £
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Eliza
3=
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Hur - r i - canes hard - ly
hap - pen .
_ *
35
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Eliza -0
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rainV .
£
-0
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On the
On the plain !
Strgp.
0
kind of you to #• 1- •
Vln. Solo/ P
35
me come Now once a
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Eliza (Spoken )
7 J -J—
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57 ELIZ
i
Eliza
m
-#
w h e r e’s
And
plain !
that bias
-
In
p l a i n?.
ted
3
t-
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9
ELIZ
i T
T-
t Eliza , Higgins a n d Pickering ± ±
i f
.
4 JAncora
,
.
,
Spain !
a
9
>
rain
i
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ir $m J iibir J-71
The
r
In
>
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Spain !
>
a a a a
a a a a
Higgins
in Spain stays
main
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plain!
the
in
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9
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T
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g
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ain
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They dance an impromptu Spanish fandango
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SONG — ( Eliza , ) (with 1st & 2 nd Maids and Mrs. Pearce )
N ? 10
I COULD HAVE DANCED ALL NIGHT
»
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.
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M r s . P E A R C E : Y o u’ v e a l l b e e n w o r k i n g m u c h t o o h a r d . I t h i n k t h e s t r a i n i s b e g i n n i n g t o s h o w E l i z a , I d o n’ t c a r e w h a t M r. H i g g i n s s a y s , y o u m u s t p u t d o w n y o u r b o o k s a n d g o t o b e d .
Cue :
a a
Allegro molto
Eliza
a a a a a a a a a a a a a a
)
S t r . , W. W.
p sempre
mf
c o u l d - n’ t
I
Bed
lied!
T
T
staccato
ffftM
m
go
to
i
i
i
h
P
P
P
P
3
illj
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—1 #
i
EL1Z
light
heads too
try to set
to
it down!
m
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w
m
Harp
s
V
e
-eE LI Z
i£
£ S l e e p!
Sleep!
I
=5=
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could n t sleep to night
i
p
Not
for
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all
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bed!
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etc .
7—
7
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have
still
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for
begged
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wings
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thou
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ELIZ
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so
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7
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what made i t
7
7
fore .
done
7
I’ve
S3 S3
e er
S3
¥
things
T etc .
7
v
S3
7 /"
ELIZ ii e
S3 S3
7
m
And Am done a
7
7
7
$ 7I 7 f -
=r?
22 <s>-
I could have
-LLT^cijfe$ 7|7 f 7 j
iif l
7
EUZ
all
I could have danced
night !
a l
danced
ELIZ
*
f
ET.IZ
5
S
7
*
£3
7 Chappell
S3
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ten . ten . ten .
t
e
EL 1 Z heart
once
flight .
took
on
I
- \y
ten . ten . ten .
a a a a
a a a a a a a a a
a a a a i i i i i i i i i i
1-S I
7
3
¥
2o
5
#
7
w•
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1*
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rr"
2
he
PSP
u.
A
E L1 Z
when
know
s
2
7
4? 7
lf
j
9
.
9
B
be -gan to dance
with
&
I could have danced , danced ,
me S
G ZJ
a tempo
i
i ELIZ
$
danced , .
I
s
w
45 L’ istesso tempo
-o-
—
w
night !.
All
Trpt .
7
^
$5
Trpt .
r~ r
mp
H73
2
lii -
*
*
6
o-
xy
Eliza
$
i
f *
£
I could have
1st Maid
£-#
U 159
=-
#
It’s af - ter three, now. Don' t you a - gree , now,
i
u
2 nd Maid 3
Both
=fS3f tf5 r r
5
She ought to be
P muted Tpt -
#
£
£
bed ?
in
Harp
HmT
%
-4:
-# -#
3t
-#
TT
3z
-#
r
f p
4r
f
r—
¥ -
4
sempre
** C h a p p e !!
M
”
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s:
s: 62
£
53
£
ELIZ
night !
all
danced
P
J’ Jj
7
I could have danced
2 nd Maid
maio st Maid 11 ST
A
'
^
You re tired out . W. W.
-4
1 /
-6 7;
efT
I it gM br j, <5
3-
sf.
•
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still
And
night !
v pp $|
^
if
I I
7
TL 1» .
c s: s
=c
.
M v i b i i J>-M
Now say good - night ,
ff
-?
for
begged
please .
Turnout the light ,
please.
"
if ifv
t 7
•it
7
9
9
more .
I
3=
£ I’ ts
real
7
*
7
=:
7
- ly
* 7
time
7
* 7
m
for
you
7
p 7
7
to
be
in
bed
*
7
p
*
7
s: s:
c s: s:
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u
44109
have
Both
maio nd Maid 2zno
Your eyes are red .
BOTH
7 If
s:
A
ELIZ
r
«
f
9
I
s: «:
Your face is drawn .
,
ELIZ
all
1i st s i Maid mam
You must be dead .
4* wfif
=
s
f
could have
.
7
Chappel 1
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.
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63 ELIZ
$
61 6^
£
spread maia f \ 1 st Maid
a a
Ji
& 7
7
yj
a a
a a a
J
EE
I
I
sand
2nd Maid
*
£
as you’re told .
(j o
etc
ji i- -?
y
£ thou
Or
Mrs . Pearce
.
dF
=E
EE
5:
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=£=^=t=v
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3
j
^
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ELIZ
I’ve
things 2n d M
nev
apt
to scold .
i^ 1LJ_T ELIZ
done
You’re
* up
be
ji J -
£
And sure as fate
miss ,
5 =E
Si
5
.
is
er
Both
11 i i J JI
ruiss ,
too late ,
E g y j
7
7 1
cn
-
1
-gjp
3=
-#
5=
-
rai
9
nev
p
=5
ft
ft
o fore.
- er
know
what made it
==S
T
BOTH
Y o u 11 c a t c h a
cold. S t r.
0
a
o
a a a a
i
f-
7
7
it
t V
7 t 7
t
9—
tu
=:
7
i
p
7 <5
§ sempre
*
7
1
=2
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7
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7
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Why all
lngi
at
J
it
=E
7
7
£s=S
ex
so
=sm^
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e
E ;Z
a a a a a a
-
in
/
t
a
f
a
a a
*
_ a llong * » *,
- come Do
n
a a
a a a a
) Ji .
,
*)
w
And done
wings .
my
&
EE
-7
g EE
i
sb
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ten . ten . ten
.
ELIZ
once
»,
i
heart
in y
rnilil
rrr]
y
y
flight .
took
on
I
- ly
7
—
7
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>
^
e
'
p
c
== s= im =
ten. ten . ten . t
£
E S
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ten ten. ten. s
E
e;
k
«
ELIZ
l i
77 when
know
he
1st Maid
^
P i- gan P
_
be
2 nd Maid
3E
3P
dance
?
f
v
33J
Now set - tie down
H f?:-r f
6 •'
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with
Both
The work -’ ll keep .
Put down your book .
£
to
<s^
f- j
f 91 cresc .
a tempo -#
£
ELIZ
me .
BOTH
ii ^
*
Anri go And (T o
to sleep clooi . to
1
5
I
E
£
£
danced ,
all
=£ E
—
-#•
-s
^
7
C?N
musi
= 1
-o-
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tr
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I could have danced , danced ,
*
3E
y
-fc
«-
y 5
m
3t
5
>
>
i
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&
Chappell
lfin v k
1
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a a a a a a a a a a a a a a
, -
835#'
65
84 Poco meno
ELIZ
I
¥
35:
£
3F
4
night !
Mrs . Pearce
& I
JTJ ) h
j -
It’s all been gTand , dear .
-
un der stand , dear .
00
But now it 's time
sleep .
4
3t
-0
TT
to
4
r
e-
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6
m
Tempo I
Eliza
-4
PP -2£ I could have
jji ftnm \
—
mf
3¥4
l
dim .
A
PP -f i t-
0
a ELIZ
I
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all
danced
tl f -«
£
a ELIZ
- o
92
7 «f
night ! .
—
^E3 f
-0
¥
I could have danced
'
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I
J
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3t
-6M-
r
5zr. «f
7«
=
5
#
y
have
begged
for
And
4-S: r
-
LJ I T j
J
2
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u
still
night !
all
£
C7
*
more . .
TJ E -
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I could have
FI , 0b . 7
7
41169
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.
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7
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ELIZ
•i
100
$
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my
spread
wings
And done a
¥
w
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f
7
7
7
-0nev
er
f o r e.
be
done
rm rrfi
FI.
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f f MT f ^TiTs y
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ELIZ
I 11
what made it
- Clt
3
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ex
50
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cresc .
a
foco
7
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know
7
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ner er
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ELIZ
y
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7
7
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things
sand
thou
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Why
;
f
7
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a f all
at
once
my
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7
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y
y
y
y
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l Chappell
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a a a a a a
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116
i
t
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-it:
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flight . .
took
heart
«
on - ly
I
{
i
f ±
±
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f
know
when
i- g 7 C
mf a tempo 7
i
3E
: ?
f
crescendo
=[
ir
tr
&
ELIZ
*
a a a a a a a
E began to
dance
I could have
me
"
.
i
2
C
.
2
2
=
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danced,
danced , ?*
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>
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ir
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n
all
night
:
«
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ELIZ
danced
a
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with
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ttr
4
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No . 10 A Capriccioso
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m 44169
Chappell
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68
CHORUS
No. 11 t
"ASCOT GAVOTTE ’’
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Mrs HIGGINS : Charles , you’d belter stay close to the car . I may be leaving abruptly.
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71 There is complete silence . With nerveless faces the spectators watch the progress of the race . When it is overt they sing :
race !
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END OF SCENE - (Ensemble )
N ? 12
ELIZA : Have I said anything I oughtn' t ? Mrs . HIGGINS : Not at all , my dear. ELIZA : Well , that ’ s a mercy , anyhow . What I always say is . . . PICKERI NG . I don’ t suppose there’s enough time before the next race to place abet ? ‘
Come , my dear. Mrs . HIGGINS : l ’ m afraid not , Colonel Pickering .
Tempo di Gavotte
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FREDDY : I have a bet on number seven . 1 should be so happy if you would take it . You 11 enjoy the race ever so much more .
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ELIZA : That’s very kind of you .
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FREDDY : 0
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His name is Dover .
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Again complete silence. The one exception is Eliza Come on , ELIZA : Come on , come on , Dover Dover !! ! Move your bloomin’ arse !!!! ~ n
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run , ¬
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FRED
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FRED
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She com -plete ly done me
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Freddy
F R E D D Y: I s n’ t i t a h e a v e n l y d a y ?
When she
5 Con moto
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a a a a
ON THE STREET WHERE YOU LIVE”
£
p a f -r FRED
with Mrs. Pearce )
F L O W E R G I R L: T h a n k y o u k i n d l y , s i r
F R E D D Y: H e r e
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( Freddy ,
F R E D D Y : O f f i c e r , I k n o w t h i s i s W i r a p o l e S t r e e t , b u t c o u l d y o u t e l l m e w h e r e 2 7- A i s ? P O L I C E M A N : R i g h t t h e r e, s i r F R E D D Y: T h a n k y o u . . . . A r e t h o s e f o r s a l e ? F L O W E R G I R L: Y e s , s i r . A s h i l l i n g
Cue :
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SONG
N 9 13
75
farce,
Than the
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76 FREDDY: Is Miss Doolittle Mrs. PEARCE: Whom shallI
Imw w m 9
FRED
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Mrs. Pearce
athome ?
sayiscalling?
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BE
mo - ment when she shout - ed,“ Move your bloom-in’..’’Yes, sir ?
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FREDDY : Freddy Eynsford - Hill. I f she does n’t remember me, tell her I’m the chap who was sniggering at her. #
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Mrs . PEARCE: Yes, sir. FREDDY : And would you give herthese ? ,, v
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21 Allegro moderato Mrs. PEARCE : Yes,sir. FREDDY:
You needn’t rush.I want to drink in this street where she lives
.
Mrs. PEARCE: Yes, sir.
Freddy
I have
Str. W. W.
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27 Tempo giusto FRED
pi 3^ of
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walked
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But the
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I ’m
Know ing Cls .
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street where you
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in
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FRED
Can you
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town? .
51
part of town ?.
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Mrs .PEARCE: Magnificent ? Do you have FREDDY: Of course.Tell Mrs . PEARCE : But i t might FREDDY : But why ? She be days , sir. was magnificent ! her I’l l wait . the right address, sir ?
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N? 17
EMBASSY WALTZ
Mrs. HIGGINS; Henry, do you think it wise to stay HIGGINS: Stay ? Why not ? FOOTMAN : Miss Eliza Doolittle. KARPATHY: Ah , Professor you must introduce me . .
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HIGGINS :
126
Thank
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died
for
Zoltan Karpathy. If
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it
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m
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his
Mrs . PEARCE :
tricks .
old
Karpathy ?
134
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dreadful
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104
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(Dialog u e
c o n t i n u e s)
Chappell
,
Ills js
:
j 106
REPRISE
No . 20
“ JUST
—
JS
( Eliza )
YOU W A I T”
D a m n M r s. P e a r c e! D a m n t h e c o f f e e ! A n d d a m n y o u ! A n d d a m n m y o w n f o l l y i n h a v i n g l a v i s h e d m y h a r d e a r n e d k n o w l e d g e a n d t h e t r e a s u r e o f m y r e g a r d a n d i n t i m a c y on a h e a r t l e s s g u t t e r s n i p e ! ( He crashes into the table ,setting the recording machine going; hears the vowels and snaps it off , and marches out .
Cue : H I G G I N S :
”
“
Agitato e rubato
Vln. Solo
C l s.
I
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mf
7
3
F
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£
appassionato
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£1
s ELIZ
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7
S t r ., C l .
Hn .
t
sor - ry, but your tears
-’ l l
7
I
have
too
You will
to
F I ., B s n .
7
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7
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( The
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mo / Zo appassionato Tutti
#-
sx 9- O-
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scene
changes
£
f
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to
the street
outside
subito
3E
5 cries )
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t h e o n e i t’s d o n e t o ; A n d y o u’ l l
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7
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r e l l o, B a s s C
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7
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ELIZ
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ie
1
H e n - r y H i g- g i n s , j u s t y o u w a i t !
wail
you
lust
JS
andante
EE
v
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ELIZ
6 Poco
Eliza
/TN
-
Higgins’
i
house . )
£
5>-
Segue
W Chappell
r"
’
17 V
a
a
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FRED
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FRED
107
( Freddy )
(( on tne the steps )
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Freddy rreuuy
A
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No. 20 A
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FREDDY : Oh , no , darling. laugh at me, Miss Deoliule , but this is ELIZA . Freddy , you don’t think I m a heartless How could the only place . . . guttersnipe , do you ? | 1
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and the world is full of
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Freddy
I
3
109
( ElizaHwith Freddy )
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and my heart be - gins to
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ELIZ
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t
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f '» f
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burn - ing Read me
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of no
talk me
a no
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bove. r h y m e!
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S h o w m e! S h o w m e .L
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ELIZ
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H e r e w e a r e t o - g e t h - e r i n t h e m i d -d l e o f t h e n i g h t ! Nev-er do I e v - e r w a n t t o h e a r a n - o t h -e r w o r d .
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been in love ’ll tell you that dream; i n what ought to be a
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A n - y o n e w h o’s e v - e r Here we are to - geth - er
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MALE CHORUS- (with Solo, Eliza)
N? 21
“ THE
a
FLOWER MARKET ”
Tranquillo
a a a a a a a a
( Curtain ) Early morning. Vendors and flower s k iH J ns ob. j ^
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FIRST COCKNEY: Good morning , miss . ELIZA : Do you mind if I warm my hands? SECOND COCKNEY : Go right ahead , miss . Can I help you ? 1
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ELIZA : No . . .Thank you .
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SECOND COCKNEY : Can I get you a taxi , ma’ am ? A Lady like you shouldn’t be
:
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ELIZA : Yes ?
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FIRST COCKNEY : Good morning', miss
v 7
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a
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Eliza picks up a bunch of violets from the basket
i
a
a a a a
$ $
a a s a a a a a
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ELIZ
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it
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Lov-er - 1 y!
L o v - e r - l y!
is o
r r
L o v - e r - l y!
L o v- e r - l y !
_
O b.
Ob.
4 -4 16 9
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76
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SONG - ( Doolittle ) and Chorus (with Solo , Harry)
N 9 22
Cue : FREDDY :
“ GET ME TO THE CHURCH ON TIME ”
you all finished here ? ELIZA : Yes , Freddy. I’m all finished here. Good luck , Dad JAMIE .' Come along- , Alfie . Are
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7
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ir Chappell
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c PICKERING. Of course
138
not .
3
8
HIG
i TE
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you re al - ways at
ease.
Would you be slight - ed i f
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id i f
”
PICKERING. Never ! 118
-
«109
B:
f ft } p 3 3 ji
B B B
f1
3
3
be like you ?
Tutti
l
3
3-
=34-7- 4—
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lion _
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123
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HIG
HIG
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fm
-
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0 0 0— 0 Would you be wound - ed i f I
iff ft p | p p » j
^
p
np l # f WM H t
c
1r J
Higgins
Br ss Why can’t a
flow - ers ?
.
HiggiPS - -
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two ?
or
PFWrnfT t
S § r V r U J \ UJ
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0
a
-
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hours ?
j i-_ g i j
\
PICKERING: Nonsense.
Higgins
HIG
did - n t speak for
1
W— 7 7 V
4
^^ 3=3
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B B B B
3
$
per - haps , whose
f- 7 r -rwr r
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3
Chappel l
B
a 139
^
HIG
=
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m
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ft
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if
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Men are so
tlrtlr tlf l 7 7 kJ 7 7 is
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kind
7 7 7-7
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find .
w i 11
t=» 0— m rr r r7
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PICKERING :
If
EH
orcourse not .
r
=
7-7— ::3p
.
Higgins
IIIG
#
If
I
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t
3
coin
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W7 «
hours
were
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7— 7
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late
for
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for
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7
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7-7
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7-7
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din - ner would you
f '1 #f I Tf l *p 3
PICKEPUV 6:
155
•
bel - low ?
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I
0
9
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j 3= 7
7 7
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bet - ter
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7
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you ncv - er
ft
#
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t
r
s
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be -have like a
good nat - ured and
7-7
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truth - ful - ness you doubt
Nonsaase.
—
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fuss ?
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140
0
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srnfi >>> >
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ft:
£:
Tutti
E
EE
7
us.
be like
-
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Why can' t a
fel - low ?
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l
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wo - man
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Higgins
162
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Would you com - plain if
&
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PICN
Higgins
^
5
7 7
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PICKERING : [ telephoning ) Hello, is Brewster Budgin there please ?
iDialogue continues ) Cut : HIGGINS . You see tbai, Mrs. Pearce. I’m disturbed and he runs to help. Now there’s a good fellow.
,
Mrs Pearce, you’re a woman
Tempo di marcia
m
Higgins
i
*
Why cant
aa
Sp
H
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t
?
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7
7 7
7 7
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7
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7
7 7
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such re £ - u - lar
7r
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0
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7 7
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to
it
tt
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7
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0
chaps .
de - cent ,
Men are so
man ?
9
W.W. L
hfclj
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9- •» w- e - 1-F 0 0i Str.
m
l
be more like a
wo man
a
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through an - y
help you
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mis -
f
HIG
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7 7
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when - ev -
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7 7
er
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you
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it 7
s
7 7
7 7 Chappell
c
wmmmWZi
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a =a
141 HIG
a a a a a
a a a a
» n' t Why can
i i i i i i
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chum ?
be
Tutti
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Why don' t they straight - en
do .
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jpilijiliill %S m I ^ J m ^
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wo - man
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mess
that’s in side ?
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Why cant a
up
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be more like a
If
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4 4169
7 7
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mmIMS
wmmmmm 142
3 to a
4 IG
-
who a been
wo man
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Beenhailedas a prin - cess
ball ,
s
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5
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5 5
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ES +
IF
by one and by
I J mW
Would
all ;
te
*
m
j
f ? f pT 5 5=5
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<
h
WWW
=
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- flow- ing?
F
And car - ry
-
bath- tub
start weep lng like a
i-
J i J
HJ
j
my home were in
a
j
tree ?
.
HIG
off
and nev
- er
}
R tell me where Ini
go - ing ?
j }
f—
pm
5-
4
Why
j
run
3
P f Mf I M M *f IVf *
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o
up » #f
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44109
l
5
1
^> ^> ^ > Chappell
3 3 3
3
143
pH
111 G
3 3
i
-3-3-
be
like me ? A
g:
a
3 3 3 3 3
i f
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attacca
Sr
=
9-
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CHANGE OF SCENE
N ? 24 a Brilliante
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3
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3
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3 3 3 3 3 3 3
Curtain
:
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£
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Mrs . HIGGINS And you mean to say that ....
I
W. W.
mp
£
=.
(. Dialogue
continues )
P 3
Bsn ., Hn
-e-
Chappe 11
144
SONG : ( Eliza ) ( with Higgins )
N ? 25.
“ WITHOUT
YOU ”
ELIZA : Wring- away ! What do I care ? I knew you’d strike me one day. Aha , that’s done you, ’enry 'iggins , it ’as . Now I don’t care that for your bullying and your big talk .
Cue :
—
I
Allegro con anima Eliza What
£ a
-
•y
I
fool
3£
*
4
T
T
-
was! What a
r
P
P
think you were the earth
To
f
f= f
#
£
m- p P
dom in - at - ed fool !
T
and
- 9-
6
* ^
j s k y.
What a
fool
I
^
mut - tou - head - ed dolt
r
- dle - pat -
ed fool ! What
If
a
o
I
!>
P
t
ad
add FI.
1 1 Itfjfe Harp
was! What an
j
was
I
£
9
my
No
re -
yer
^
9
- ber - at - iag
-
$
fW
d
&
=c == =c = e t
_ LIZ C7
friend,
^
If* LL. H-. JJ l
'
5
E
§
You are
not
the
-
-
be gin ning and the
6
end ! .
±
T
5 ^.
i
e-1
JL
/
$
P
-# 44169
£ £
=
6 Chappell
P P
P
V
.
a a
I
a a 3 3 3 3 3 3 3 3 3 1 3 3 1 1 1 I I I I
i
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o£ --e -
ELIZ
spring
9
9
ELIZ
I
-
9 0
ELIZ
c m in
7
-
p
9
s
qf 7
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with out
0
*
7
8
a
And
If*
1
9
9
^
*
np
r
7
f
'
the sea;
-
^
f
7
T h e r e 11 b e
^
7 ip 7
F
F
0
0
y o u.
*p
#r
r
by
shore
0
pets ami tea
3 ELIZ
i
9
9
on the tree;
3
-
with out
be here
9
a d d F 1 . , C 1.
I
P
-
I
9
T h e r e’ l l b e f r u i t
7
will
F
*
7
9
j
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X
I
l
<9
y o u.
f?
£
C
•
Eng - land still
9
9
Harp
T
\
Bells ;
* H r*
Cello
rif .
-
-o-
y o u.
l 9
2: »
9
*
witb- out
ev - ry year
f h#
r
17 Allegro con moto
Art
and
mu
-
mu
5 7
7
7
t
t
r 7
Cello
-
with out
sic will thrive
F 9
9
9
you.
X
S o m e-b o w Keats
BellsJ
J.
X
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== -
LfJ
7
w i l l s u r- vive
44169
-
wtth out
X
*
you.
And there
J.
\
*
fpr 0
I I
±
F
pp Str .
»
Eliza T h e r e’ l l b e
t mm
a a
145
HIGGINS : You impudent hussy ! There isn’ t an idea in your head or a word in your mouth that I haven’ t pul there !
in
i
X
P *
*
5 Chappell
:
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-
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1.
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£
.
:’
IWIPjJP . -- ' . . - . '
•
LIZ
t
£
5will
still
a d d F I ., C l
f
7
£ -#
-#
-
i #-
E - ven
down in Spain,
on that plain
be rain
£ -#
£ -#
7
Ilf 2 f
7
f^
IP
f7
f
7
7
-.
with- out
t
#
7
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m 5 I
can
'
e ‘if
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^^
friend ,
who
3 J17^i j
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i
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you.
$ f -j-rl
36 You ,
-
with out
do
»«/* T r p t .
r-:r -r if
E
£ J t JL
I
•
.
you.
LIZ
-
•
-
will
3
1 L1 Z
t #
re maln
that
»
*
*
140
E
’
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|
talk
m
JE JE
well ,
SO
S t r. , W. W.
^
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7 *
J
T2bfj ^ kJ LJ 7k
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7
e t c.
.
7
7
7
7
b
HH 1 7
7
E ;LIZ
You
can
to
Hert
#
#
0
U
-
-
ford, Her - e - ford and Hanip shire . >
^ ^ Tb* 7
44189
7
f
7
P ^ ^ ^ *^ ^ i 7
7
f
7
7
*
71
7
g
7
7
f
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They can
>
JS
yVrpt .
p Cello
—
E
7 Chappell
JE E
T Vi 'V
’
'*
-
Sft 147
44
5®
ELIZ
a.
jj
^
> JI I
r u l e t h e l a n d w i t h-o u t
still
at
* a 3l at
r
i
>
you. .
Wlnd - sor Cas
f
Andwith -
you .
p
a ELIZ
£
- tie will stand with - out
£
E
P
3
HIGGINS: You brazen hussy !
$
£ We can
mucha - do
-out
5E£
Eliza
I
F?
-> iv
-
all r u u d - d l e t h r o u g h w i t h o u t y o u.
fitUWu? m
^
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1
i
With -
fJD Ul ‘MJ ¥ f 2
0
3:
0
52 Poco meno
ELJ 2
I
J ' j' j i i N
j 3
- o u t y o u r p u l l- i n g i t , t h e
tide
j conies
in
f EA 4416 9
1 ft
o u t y o u r t w i r l-i u g i t , t h e e a r t h c a n s p i n.
r
1
f r rrP .
5
f
Giusto £
5 5 ji h iJ
=
J
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poco rail .
m '
3t
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if A
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3
o u t y o u r p u s h i n g t h e i u , t h e c l o u d s r o l l b y I f t h e y can d o w i t h - o u t y o u ,d u c k-y
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do it ! 0
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knew it !
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magnificent!
51
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in your shell
7
m
HIG
f =p
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with out ~
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on my own
can stand
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t
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Dialogue continues
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* C happelt
ni ht B M
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fV{
No . 26
SONG u
—
149
( Higgins )
l’ VE GROWN ACCUSTOMED TO HER FACE ”
Cue : HIGGINS : She’s
an owl sickened by a few days of my sunshine ! Very well ! Let her go ! I can do without her ! lean do without anybody ! 1 have my own soul ! My own spark of divine fire ! Eliza ! ( Curtain ) Mrs . HIGGINS : Bravo
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her downs Are sec - ond na- ture lo me now ;
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Her smiles ,
whis - Ues night and noon.
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a a HIGGINS . Marry Freddy ! What an infantile idea ! What a heartless, wicked, brainless thing to do . she’l l regret it . Its doomed before they even take the vow !
151
But
41 Allegro molto
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a a a a a a a a a a
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HIG
4
T
-1ight - ful !
H I G G I N S:
How poignant it will be on that inevitable
Solo Vln.
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deserves ?
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and
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or
and lonely ,
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her in
a n d r a g s. M i s e r a b l e Cl.
hurl
3
her
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to
wolves ?
the
Will
Give
her
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kindness ,
or
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let
in tears
door
o
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113
hammers on my
7
7
contrite . Will
SI
97 Allegro molto
Vln
& take
her
^
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back
or
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throw the
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.
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HIG
nev - er take her
shall
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But
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she were crawl ing on her
k n e e s!
w . w.
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her
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a
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h e r m o a n!
i -f
7
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will
m *
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Chappell
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i
HIG
a
hl.nu :»
.
at
ft *
a a
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^ and
door
the
>
let
£
JTJ.
hell- cat
the
freeze!
;p ;my ft
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m
1
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dim. mom? 5
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Moderato con tenderezza Higgins
HIG
p
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But
Iiu
so
used
S t r.
1
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to hear her say,
«
“ Good
morn - ing ” ev
i
w
HIG
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and breath - ing in.
7
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now;.
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&
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i
her woes
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a
day.
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grate - ful
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worn
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like
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to
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recording machine
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calmando
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want
I
ft Ef f -;Elg r — ~
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t o b e a lady
m
Harp
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£
3
in
a
flower shop instead
3
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,
4
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El iza enters and stands bi/ the recording machine , listening.
7J
"T
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r
me . Well here I am ready to pay . . .
#
.
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more genteel .
J
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44169
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of sellin* flowers at the corner of Tottenham Court Road. But they won't take me unless I talk
He said he could teach |
9
.
mf y
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Eliza's recorded voice is hea rd :
^
t
m
•
Tempo TUbatO
pp tranquillo
rs
f
looks about his empty room .
gf
^ — ^
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p
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if
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He turns on the
9
f /ow /y
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a a a a
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f
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157
The scene has changed
:
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Chappell
B#
. . ii:» KCu \ S-V '
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158
197
not askin’ any favour and he treats me as if I was dirt . I know what lessons cost , and Im ready to pay.
I
§
-£
4
§5
W HIGGINS’ VOICE :
It ’s
f
irresistible .
almost
—r
f
t
-
=$
3
-
ii
ELIZA . I washed my
She switches face and hands before off the record- l came , I did . * g machine I *ing
She’s
m
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deliciously low,
so
204
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HIGGINS: (stretching back on his stool and pulling his hat down over his eyes)
Molto maestoso
Eliza? Where the devil are my slippers ?
s=£=
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