HEAD_PV.pdf - HEAD OVER HEELS SONGS BY THE GO-GO'S BASED UPON THE ARCADIA BY SIR PHILIP SIDNEY CONCEIVED AND ORIGINAL BOOK BY JEFF WHITTY ADAPTED BY

HEAD_PV.pdf - HEAD OVER HEELS SONGS BY THE GO-GO'S BASED...

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Unformatted text preview: HEAD OVER HEELS SONGS BY THE GO-GO'S BASED UPON THE ARCADIA BY SIR PHILIP SIDNEY CONCEIVED AND ORIGINAL BOOK BY JEFF WHITTY ADAPTED BY JAMES MAGRUDER REHEARSAL PIANO 05/16/19 Head Over Heels Copyright © 2018 Songs by The Go-Go's, Based upon The Arcadia by Sir Philip Sidney, Conceived and Original Book by Jeff Whitty, Adapted by James Magruder ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Convention. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, professional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Broadway Licensing. No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Broadway Licensing. Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not concerning amateur and stock performance rights should be addressed to Broadway Licensing (see contact information on opposite page). Inquiries concerning all other rights should be addressed to Broadway Licensing, as well; such inquiries will be communicated to the author and the author’s agent, as applicable. Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to the Play, including the changing of character gender, the cutting of dialogue, the cutting of music, or the alteration of objectionable language, unless directly authorized by Broadway Licensing. The title of the Play shall not be altered. Author Credit. Any individual or group receiving permission to produce this Play is required to give credit to the author as the sole and exclusive author of the Play. This obligation applies to the title page of every program distributed in connection with performances of the Play, and in any instance that the title of the Play appears for purposes of advertising, publicizing, or otherwise exploiting the Play and/or a production thereof. The name of the author must appear on a separate line, in which no other name appears, immediately beneath the title and of a font size at least 50% as large as the largest letter used accorded the author. The name of the author may not be abbreviated or otherwise altered from the form in which it appears in this Play. Publisher Attribution. All programs, advertisements, and other printed material distributed or published in connection with the amateur or stock production of the Play shall include the following notice: Produced by special arrangement with Broadway Licensing ( ) Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this book is strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to be invented, including, without limitation, photocopying or scanning, without prior permission from Broadway Licensing. This Play may include references to brand names and trademarks owned included solely for parody, political comment, or other permitted purposes. Permissions for Sound Recordings and Musical Works. This Play may contain directions calling for the performance of a portion, or all, of a musical work not included in the Play’s score, or performance of a sound recording of such a musical work. Broadway Licensing has not obtained permissions to perform such works. The producer of this Play is advised to obtain such permissions, if required in the context of the ASCAP ( ), BMI ( ), and NMPA ( ) for further information on the need to obtain permissions, and on procedures for obtaining such permissions. The Rules in Brief 1) Do NOT perform this Play without obtaining prior permission from Broadway Licensing, and without paying the required royalty. 2) Do NOT photocopy, scan, or otherwise duplicate any part of this book. 3) Do NOT alter the text of the Play, change a character’s gender, delete any dialogue, cut any music, or alter any objectionable language, unless explicitly authorized by Broadway Licensing. 4) DO provide the required credit to the author(s) and the required attribution to Broadway Licensing in all programs and promotional literature associated with any performance of this Play. For more details on these and other rules, see the opposite page. Copyright Basics This Play is protected by United States and international copyright law. These laws ensure that authors are rewarded for creating new and vital dramatic work, and protect them against theft and abuse of their work. A play is a piece of property, fully owned by the author, just like a house or car. You must obtain permission to use this property, and must pay a royalty fee for the privilege—whether or not you charge an admission fee. Broadway Licensing collects these required payments on behalf of the author. Anyone who violates an author’s copyright is liable as a copyright infringer under United States and international law. Broadway Licensing and the author are entitled to institute legal action for any such infringement, which can subject the infringer to actual damages, statutory damages, and attorneys’ fees. A court may impose statutory damages of up to $150,000 for willful copyright infringements. U.S. copyright law also provides for possible criminal sanctions. Visit the website of the U.S. Copyright Office ( ) for more information. THE BOTTOM LINE: If you break copyright law, you are robbing a playwright and opening yourself to expensive legal action. Follow the rules, and when in doubt, ask us. toll-free phone: 1-866-NEW-PLAY email: [email protected] website: DIFFERENCES BETWEEN PIANO/VOCAL SCORE AND ORCHESTRATIONS • #1A We Got The Beat Playoff: There is one extra measure in the piano/vocal score at the end of the song. • #9 Cool Jerk: The orchestrations contain a fermata on beat 3 of measure 67, followed by a quarter note on beat 1 of measure 68. This is not in the piano/vocal score. • #10 Vacation: In the orchestrations, m. 98 changes to 6/4. It remains in 4/4 in the piano/vocal score. HEAD OVER HEELS Musical Numbers, Characters, and Page Numbers #1 We Got the Beat (Mopsa, Gynecia, Pamela, Dametas, Basilius, Musidorus, Philoclea, Company).............1 #1A We Got the Beat Playoff (Underscore).................14 #1B What Dost Thou Feel (Underscore).....................16 #2 Beautiful (Pamela, Suitors, Ensemble).................18 #2A A Giant Snake! (Ensemble)............................34 #2B The Oracle’s Temple (Underscore).....................36 #3 A Vision of Nowness (Pythio, Ensemble)................40 #3A ‘Tis Genius (Underscore).............................49 #4 Get Up and Go (Basilius, Gynecia, Dametas, Philoclea, Pamela, Servants)...................................50 #4A Skidmarks - Pamela (Ensemble)........................66 #5 Mad About You (Basilius, Musidorus, Sheep)............67 #5A Leaving Home (Underscore)............................77 #5B From Husband to Father to Widower (Underscore).......78 #6 Good Girl (Philoclea, Mopsa, Pamela)..................79 #6A Musidorus Enters Exhausted (Underscore)..............87 #6B Aslant My Avian Orbits (Underscore)..................88 #6C Skidmarks - Musidorus (Ensemble).....................90 #7 Vision of Nowness - Reprise (Pythio, Musidorus, Owlets).............................................91 #7A Lion - No Bear (Underscore)..........................94 #7B Time Should Lightly Fly (Underscore).................96 #7C Trumpetus Interruptus (Underscore)...................98 #8 Automatic Rainy Day (Pamela, Mopsa)...................99 #9 Cool Jerk (Gynecia, Company).........................108 #9A Hit the Hay (Underscore)............................114 #9B A Loud Alarum (Underscore)..........................115 #10 Vacation (Mopsa, Female Ensemble)...................117 #10A Vacation Playoff (Underscore)......................126 #10B Generous Amazon (Underscore).......................127 #11 How Much More (Pamela)..............................128 #11A The First Flag (Underscore)........................135 #12 Our Lips are Sealed (Philoclea, Musidorus, Mopsa, Pamela, Pythio, Ensemble)..........................137 #13 Head Over Heels (Musidorus, Philoclea, Mopsa, Pamela, Gynecia, Basilius, Ensemble).......................147 #13A Among Tents (Underscore)...........................157 #13B Skidmarks - Gynecia (Ensemble).....................158 #14 The Old Feeling (Gynecia, Basilius).................159 #15 Turn to You (Mopsa, Pamela, Ensemble)...............167 #15A Inside the Cave (Underscore).......................178 #16 Heaven is a Place on Earth (Oracle, Gynecia, Basilius, Ensemble)..........................................180 #16A The Third Flag (Underscore)........................189 #16B Our Meeting Sororal (Underscore)...................190 #17 Lust to Love (Basilius, Ensemble)...................192 #18 Here You Are (Philoclea, Gynecia, Pamela, Mopsa, Basilius, Ensemble)................................197 #18A Holy Skidmarks (Ensemble)..........................209 #18B Permanent Distemperature (Underscore)..............210 #18C The Golden Stag (Underscore).......................212 #18D To Hades I Had Fled (Underscore)...................214 #19 Mad About You – Reprise (Philoclea, Musidorus, Mopsa, Pamela, Dametas, Pythio, Ensemble).................216 #19A Bohemia’s Gates (Underscore).......................224 #19B Skidmarks - Tutti (Company except Pythio)..........226 #19C Go Round and Round (Underscore)....................227 #20 Finale (Company)....................................228 #21 Exit Music (Underscore).............................238 HEAD OVER HEELS (Broadway) Piano/Vocal 1 WE GOT THE BEAT (rev. 07/26/18) Music & Lyrics by The Go-Go's Arranged and Orchestrated by Tom Kitt (Scene 1. Outdoors in Arcadia. Annual feast and celebration of the flocks. This is also the once-a-year day opportunity to win the Princess’ hand in marriage. The COMPANY is rocking out to “We Got the Beat.”) Punk Pop/Rock q = 152 & 44 1 ã 44 4 &4 ∑ Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J f ?4 4 & ? œœ œœ Œ Œ Œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ J J ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ? œœ œœ Œ ? ∑ 6 œœ œœ Œ œ œ œ œ œ œ œ œ 9 ∑ 4 Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J Ó f A5 ? ∑ 3 Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J ∑ 5 ∑ 2 Ó œ œ œ œ œ œ œ œ œœ œœ Œ Ó œ œ œ œ œ œ œ œ ∑ 10 œœ œœ Œ ∑ 7 ∑ œœ œœ Œ Ó œ œ œ œ œ œ œ œ 1 œœ œœ Œ œ œ œ œ œ œ œ œ 11 ∑ 8 Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ ∑ 12 Ó ? œœ œœ Œ Ó œ œ œ œ œ œ œ œ Piano/Vocal MOPSA: & Œ 13 –2– œ œ œ See the peo - ple ? œœ œœ Œ ? œ œ & Œ 17 œœ œœ Œ Ó œ œ They don't know œ œ œ œ œ œ œ œ 18 ‰ œj œ œ œ œ œ where œ œ they wan - na go œ œ œ œ œ Fall in line just watch œœ œœ Œ Ó ∑ & Œ 15 walk - ing down the street! œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ 14 #1 - WE GOT THE BEAT (rev. 07/26/18) œ œ 19 16 - œ œ œ œ œ œ But they're walk-ing in ∑ ing all their feet. œœ œœ Œ Ó œ œ œ œ ˙ œ œ œ œ œ œ œ 20 Ó time— œ Ó œ œ œ œ œ œ œ #œ œ œ They got the beat ∑ Ó ALL: œ #œ œ œ They got the beat ∑ V ? œœ œœ Œ ? œ œ œ ∑ œœ œœ Œ Ó œ œœœ œ 21 & œ œ They œ got the & œ œ œ œ œ V œ They œ got œ œ œ œ œ the & w w D f ? œ œ œ œ œ œ œ œ ∑ Í œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ beat They got the beat, œ œ œ œ œ œ They œ got œ the beat, beat w ww G œ #œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & Ó œ œ œ œ œ œ œ 22 Ó œ 23 Œ Ó Ó ˙ œ œ œ œ yeah They got the beat! ˙ œ œ œ œ ˙ ˙ They got the beat! 24 yeah œ Œ ww w Ó œœ œœ œœ œœ ww w F C œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 Piano/Vocal –3– ∑ 25 & & ? œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ GYNECIA: œ œ œ See the kids ~~~~ ? œœ œœ Œ ? ∑ 28 œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ ‹~~~~ ~~~ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 30 just Ó œ œ œ œ œ Hang a-round 'til quart œœ œœ Œ 34 31 - Œ œ œ œ They can't wait œœ œœ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ 35 er af - ter twelve That's ∑ & Œ get - ting out of school! œ œ œ œ œ œ œ œ œ œ œ œ & Œ 33 ∑ 27 A5 & Œ 29 ∑ 26 #1 - WE GOT THE BEAT (rev. 07/26/18) œ œ œ 32 to hang Ó œ œ œ œ œ œ œ œ ˙ 36 ∑ out and be cool. œœ œœ Œ œ Ó œ œ œ œ œ œ œ œ Ó when they fall in line! ∑ œ œ œ œ œ œ #œ œ œ They got the beat, Ó œ #œ œ œ They got the beat, ∑ V ? œœ œœ Œ ? ∑ Ó œ œ œ œ œ œ œ œ œœ œœ Œ ∑ œœ Ó Í œ œ œ œœ œ œ œ œ 3 Ó œ #œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Piano/Vocal –4– 37 & œ œ They œ got the & œ œ œ œ œ V œ They œ got œ œ œ œ œ œ œ beat, they got the beat, œ œ œ œ œ œ they œ got œ the beat, 38 œ œ the beat, & w w fD ? œ œ œ œ œ œ œ œ 41 (Soul Train dance break!) ∑ & ã ? w ww Œ œ Œ ˙ œ œ œ œ yeah Kids got the beat! Ó ˙ œ œ œ œ ˙ ˙ Kids got the beat! yeah œ Œ Ó œœ œœ œœ œœ ? ww w F C œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ 42 ‰ j œ œ œ œœ œœ œ œœ œœ œ œ Ó ∑ 43 > Œ ‰ œ >> > œ œ œ œœ œœ œ œ œœ œœ œœ œœ Œ œœ œœ Œ Ó œ œ œ œ œ œ œ œ & ∑ ã Œ ‰ j œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ ∑ 46 > œœ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A5 4 ‘ œœ œœ Œ Ó œ œ œ œ œ œ t ‰ j œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó & œ œ œ œ œ œ œ œ ∑ 47 > > œœ œœ œœ œ œœ œ ∑ 44 Œ ‰ j œ œ œ œœ œœ œ œœ œœ œ œ A5 45 ? Ó 40 ww w G t ? œœ œœ Œ œ 39 #1 - WE GOT THE BEAT (rev. 07/26/18) ∑ 48 M M ∑ ∑ ∑ M > j œ œ Piano/Vocal –5– ∑ 49 & ã ∑ 50 t ? ∑ 53 & j t (tight) ã & ? œ ‰ Œ J œ A5 Œ Ó > œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ PAMELA: œ œ œ œ œ ∑ V ? œœ œœ Œ ∑ Ó œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 58 ∑ œ œ œ œ œ - œ œ œ œ œ œ œ œ œ Œ ly makes us dance! œœ œœ Œ ∑ ∑ 56 Œ œ œ œ œ ‰ œ œ œ ‰ œ J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ 55 t j œ œ Go - go mu - sic real ? Œ ‰ j œ œ œ œ œ œ œ œ œ œœ œœ œ 54 œ œ œ œ œ œ œ œ & Œ 57 Œ ‰ œj œ œ œ œœ œœ œ œ œ œœ B5 œ œ œ œ # œ œ œ œ ∑ 52 ‰ œj œ œ œ œœ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ & œ œ #œ œ œ œ œ œ œ œ ∑ 51 t ‰ œ œ œ œ œ œ œ œ œ œ œ œ œœ #1 - WE GOT THE BEAT (rev. 07/26/18) Œ Œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ J J œ œ œ œ œ œ œ œ œ ∑ 59 Œ œ œ œ MUSIDORUS: œœ œœ Œ œ œ œ œ œ œ œ œ 5 ∑ 60 œ œ Doin' the po - ny puts Ó ? œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ Œ œ us in a trance! Ó œ œ œ œ œ œ œ œ Piano/Vocal V Œ 61 –6– œ œ œ DAMETAS: œ œ 62 œ œ œ œ The wa - tu - si just ∑ & ? œœ œœ Œ ? Ó œ œ œ œ œ œ œ œ 65 & œ V œ œ œ We got œ œ œ œ the œ œ & w w fD ? œ œ œ œ œ œ œ œ Œ Œ ∑ 63 give us a chance— Ó ∑ V œ #1 - WE GOT THE BEAT (rev. 07/26/18) œ œ œ œ œ œ that's when we fall in line ALL: ∑ 64 œ œ œ œ œ Œ œ ‰ j #œ œ œ œ œ 'Cause we got the beat Œ œœ œœ Œ Ó œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 66 œœ beat œœ ww w G œœ We œœ œœ got œœ œ œ Œ ‰ œj œ # œ œ œ Ó œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & Í œœ 67 œœ the beat, œœ œœ ww w F Œ Ó 68 œ œ œ yeah Œ Ó œ œ œ œ >‹ ‹ ‹ We got it! > œ ‹ ‹ ‹ ww w C œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 Piano/Vocal –7– #1 - WE GOT THE BEAT (rev. 07/26/18) BASILIUS: Glory to Arcadia, our matchless Realm. (The crowd cheers.) Gather we here at summer solstice To celebrate our legacy. (GO ON) 24 .. ∑ 69 & 70 24 .. œ œ We 24 .. œ V ∑ ã Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J & œœ >œ A5 ? >œ Ó 2 .. 4 Œ Ó 24 .. ¿ ¿ ¿ ¿ ¿ Gift from the gods ã Œ œ œ 2 .. 4 Œ MOPSA: 3 & ¿ 73 œ ‰ got Œ œ œ J Œ œ p 74 .. 44 ‰ ¿ ¿ ¿ ¿ ¿ ‰ ¿ J J ∑ ALL: (vocal last x) ∑ & Vamp 71 œ œ the beat œ ‰ œ J .. 44 has ¿ ¿ ¿ ¿ Ó or - dered our lives ∑ ∑ ∑ œ œ .. 44 ∑ œ œ ‰ œ J .. 44 Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J ∑ .. 44 ∑ ∑ ∑ .. 44 ∑ ∑ ¿ ¿ ¿ ¿ Œ Œ œ For a - ges the beat 72 œ of their truth it's a sign œ BASILIUS: GYNECIA: ‰ ¿ ¿ ¿ ¿ ¿ ¿ J 75 The beat heats our grapes Œ œ œ œ ‰ œ œ œ ‰ œ J J Œ œ œ Œ œ ¿ and Œ œ œ œ ‰ J œ œ ‰ Jœ œ 76 ¿ œ ‰ Œ œ œ œ œ ‰ œ J J ¿ ¿ ¿ Œ - turns them to wine. Œ œ œ It Œ œ œ œ ‰ J œ œ ‰ œJ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ 7 ‰ ¿ J MUSIDORUS: Piano/Vocal & ¿ 77 –8– ¿ ¿ ¿ ¿ thresh-es our wheat ã Œ œ œ ¿ 78 and gives us to dine... Œ œ Œ œ œ œ œ ‰ œ J J œ ‰ ¿ ¿ ¿ ¿ Œ #1 - WE GOT THE BEAT (rev. 07/26/18) PAMELA: 79 ‰ ¿ ¿ J ¿ We heed its ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ Œ J rhy - thm, and fol - low its form. Œ Œ œ œ œ œ ‰ œ œ œ ‰ œ J J Œ œ œ œ ‰ œ œ œ ‰ œ J J DAMETAS: 80 Œ œ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ & ¿ ¿ ¿ ¿ Œ ‰ ¿ ¿ ¿ ¿ ¿ Œ J keeps us in line ã Œ œ œ œ ‰ 82 and Œ œ œ œ œ ‰ œ J J dic - tates the norm. Œ œ œ œ ‰ PHILOCLEA: ‰ ¿ J 83 Our ¿ ¿ ¿ ¿ Œ na - tion made strong Œ œ œ œ œ ‰ œ J J Œ œ œ œ ‰ ‰ ¿ ¿ ¿ ¿ ¿ Œ J 84 by Œ œ œ œ œ ‰ œ J J bril-liant de - sign Œ œ œ BASILIUS: ‰ ¿ J Ar - Œ œ œ œ ‰ J œ œ ‰ œJ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ 8 It Œ œ œ œ ‰ œ œ œ ‰ œ J J & 81 ‰ ¿ J Piano/Vocal –9– & ¿ ¿ 85 ¿ 3 ca - & Ó di - ¿ ans Œ V Ó ã Œ œ œ ‰ œ œ J ALL: ‰ swear… ¿ J ‰ Œ œ > œ ‰ œ 86 Our ‰ Œ #1 - WE GOT THE BEAT (rev. 07/26/18) ¿ J ¿ ¿ ¿ beat is di - vine di - vine 3 ¿ Our ¿ beat ¿ J ¿ 3 is ¿ ¿ ¿ 3 ¿ Œ ¿ Œ ¿ Ó Œ > t œ Œ Œ & ∑ ∑ ? ∑ ∑ BASILIUS: Keep we all to this steady, perfect beat Season upon season, Year after year, Generation after generation. (GO ON) ∑ 87 & ã & ? Œ œ f œ œ ‰ 88 Œ œ œ J œ œ ‰ œ J .. Vamp .. Œ œ ∑ .. ∑ .. p œ .. ∑ œ ‰ Œ œ œ J ∑ ∑ 9 ∑ 89 œ œ ‰ .. ’ f fill œ J ’ ’ .. ∑ .. ∑ ’ Piano/Vocal – 10 – ∑ 90 & 91 f œ œ œ œ Ó #1 - WE GOT THE BEAT (rev. 07/26/18) ∑ 92 f œ œ œ œ 93 Ó œ œ œ œ We got the beat ∑ V ã & Œ œ f Ó Œ œ œ ‰ œJ ‰ Jœ ‰ Jœ ? Œ œ Œ œ Œ œ ‰ Œ œ œ J Ó Œ œ œ ‰ œJ ‰ Jœ ‰ Jœ œ œ œ œ t Œ œ Œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 95 Ó œ œ œ œ We ∑ V ã ∑ ∑ 94 Œ œ We got the beat Ó + Mœ Œ ∑ 97 ∑ Œ œ ‰ Œ œ œ J ∑ Œ œ œ ‰ Jœ ‰ Jœ ‰ Jœ Œ œ œ ‰ Jœ ’ fill & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ 98 & ã œ ‰ œ J ∑ ∑ 99 Œ ‰ œ J Ó œ (scratch) Œ ‰ ∑ 100 j M M ‰ Œ œ J the beat œ œ œ œ o M œ Œ œ œ ‰ Jœ ‰ Jœ ‰ Jœ got ∑ 96 œ ‰ Ó œ ‰ Œ œ J ∑ 101 ‰ Œ o j M Ó œ j M M ‰ Œ (scratch) Œ ‰ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ 10 ’ Piano/Vocal – 11 – ∑ 102 & ∑ V ã ∑ 103 ∑ ∑ ‰ œJ œ œ 104 ‰ œJ œ œ œ ∑œ Œ #1 - WE GOT THE BEAT (rev. 07/26/18) ‰ ‹ ‹ ‹ ‹ J (to 106) We got the beat! Œ ‰ ‹ ‹ ‹ ‹ J M Ó M ∑ ∑ ∑ ? ∑ ∑ ∑ & Œ œ œ œœ œ ALL: Eve-ry - bod - y ∑ V œ œ œ œ Ó Œ 108 109 œ œ œ œ œ œ œ œ get on your feet Ó ã can Œ œ œ œ ‰ dance to the beat Ó Œ œ œ œ ‰ œ J Œ œ œ œ œ œ œ œ œ œ We got the beat œ Œ œ œ J > & Û Œ Ó ∑ ∑ ∑ Ó ∑ ∑ ∑ ∑ M œ œ œ œ œ œ Ó M Ó f A5 ? Œ >œ M œ œ œ 110 M Œ œœ M œœ œœœœ œœœœ œœ œœ œœ ∑ ∑ > œ ∑ wwæw F wæ w We know you We got the beat M Œ œ M Œ & 107 ∑ 106 11 œ œ J œ œ ‰ œ œ ‰ œ J Piano/Vocal & Œ 111 – 12 – œ œ 112 œ Œ œ Jump - in' Œ œ œ Œ œ œ œ ‰ œ œ œ ‰ œ J J & ∑ œ œ œ œ œ œ œ œ œ S/A 1: œ œ ‰ œ J 116 œ œ œ œ Ó We got the beat ∑ oh ‰ Jœ Œ oh ? œ round œ and œ round round and round œ œ œ œ Œ œ œ Œ œ œ œ œ œ ‰ œ œ œ ‰ œ J J ∑ 117 Ó oh œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ Œ Whoo! ‹ Œ Whoo! œœœœœœœœœœœœœœœ ∑ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ j œ 118 E5 œ œ Ó œ ‹~~~ ~~~ œ œ œ œ œ We got the beat œ œ œ œ Ó We got the beat ~~~~ & œ Round and ∑ S/A 2: œ œ ∑ We got the beat T/B: œ ...
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