Jerome Kern Collection 2nd Edition Piano Vocal Guitar Chords.

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The definitive collection of the work of Jerome Kern, one of the most beloved composers of all-time. This second edition features 49 original sheet music arrangements including all verses. Also includes a biography with photos ofJerome Kern, a brief narrative and photos for each song, plus Oscar Hammerstein’s moving eulogy for his friend.

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Featured songs include:

• All the Things You Are • Can’t Help Lovin’ Dat Man • A Fine Romance • I’m Old Fashioned • The Last Time I Saw Paris • Let’s Begin • Look for the Silver Lining • Ol’ Man River • Nobody Else but Me • Smoke Gets in Your Eyes • The Way You Look Tonight • Who? • Why Do I Love You? • and more.

Songs included:

• You Are Love
• All The Things You Are
• All Through The Day
• Who?
• Make Believe
• Bill
• Look For The Silver Lining
• Ol’ Man River
• Can I Forget You
• Can’t Help Lovin’ Dat Man
• Can’t Help Singing
• Dearly Beloved
• Don’t Ever Leave Me
• Remind Me
• A Fine Romance
• The Folks Who Live On The Hill
• I Dream Too Much
• I Won’t Dance
• I’m Old Fashioned
• I’ve Told Ev’ry Little Star
• In Love In Vain
• Ka-Lu-A
• The Last Time I Saw Paris
• Let’s Begin
• Long Ago (And Far Away)
• Lovely To Look At
• The Night Was Made For Love
• Nobody Else But Me
• Pick Yourself Up
• She Didn’t Say Yes
• The Siren’s Song
• Smoke Gets In Your Eyes
• The Song Is You
• Sunny
• Sure Thing
• They Didn’t Believe Me
• Till The Clouds Roll By
• The Touch Of Your Hand
• Up With The Lark
• The Way You Look Tonight
• Whip-Poor-Will
• Why Do I Love You?
• Why Was I Born?
• Yesterdays
• You Couldn’t Be Cuter
• You Were Never Lovelier

Jerome Kern

Jerome David Kern was born in New York City on January 27, 1885, a generation after Victor Herbert and a generation before Richard Rodgers. Factually as well as stylistically, he was the bridge between the old “Viennese” school and the new indigenous “American” one.

His first published song, “At the Casino,” was written while he was attending Newark High School in New Jersey. After high school he studied piano, harmony and composition at the New York College of Music and at Heidelburg’s famous Conservatory, in Germany.

In 1905, Jerome Kern returned home and went to work for T. B. Harms & Co., music publishers. He wanted practical experience and knowledge of the publishing business, as well as a chance to make contacts and perhaps work his way closer to his goal: writing for the theater. He became the company’s utility man, office boy, piano player and general jack-of-all-jobs. He worked further as a song plugger at John Wanamaker’s department store; when customers wanted to buy sheet music there, he would play tunes for them, like any salesman demonstrating his product.

Jerome Kern’s first entry into show business came when he was sent to Hammerstein’s Victoria Theatre on 42nd Street, in answer to a hurry call for an accompanist by Marie Dressler, then one of vaudeville’s leading knock-about comediennes. But he was more interested in plugging Kern tunes, and he soon found out the best way to do it. Oscar Hammerstein II tells us:

He became a rehearsal pianist, and he used this job as a device for selling his own compositions. Here is how it would work: about the third week of rehearsals, when the director, producers and the whole company were pretty tired of the Viennese score they had been rehearsing all that time, Jerry would come back early after lunch and start to tinkle a little tune of his own on the piano.

Everyone who came in would say ‘What’s that?’ ‘Oh just a little thing of my own,’ Jerry would answer. Pretty soon, everyone thought he had discovered a great potential hit. Jerry’s tune had a freshness for them that the over-rehearsed score couldn’t possibly have1 and the first thing you knew he had interpolated a song into the foreign score!

Kern got songs interpolated into shows with such unlikely titles as MR. WIX OF WICKHAM AND THE RICH MR. HOGGENHEIMER. The songs themselves had pretty unlikely titles, too: Poker Love,” for example, and “Don’t You Want a Paper, Dearie?” His first hit was “How’d You Like to Spoon with Me?” from a show called THE EARL AND THE GIRL. That song, incidentally, is the first in this collection, written in 1905; Kern was twenty.

For the next ten years, his interpolations were taken thicker and faster, through a welter of oddly-named shows: FASCINATING FLORA, MORALS OF MARCUS, MIND THE PAINT GIRL and A WINSOME WIDOW, to name a few. The “interpolation” part of Kern’s career was climaxed in 1914 when he wrote one of his loveliest ballads for Julia Sanderson in THE GIRL FROM UTAH: “They Didn’t Believe Me.”

Wodehouse. Together, the three men turned out a series of musicals often referred to as “The Princess Theatre Shows,” the Princess Theatre being where most of them were produced. This was a tiny house-capacity two hundred and fifty-on West Thirty­ninth Street. The Princess Theatre shows had much the same invigorating effect on musical theater that “The Garrick Gaieties” had nine years later. Both were fresh and even startlingly new in sound and form-and both for the same reason: necessity. As Hammerstein describes The Princess Theater:

There was no room on the stage for large choruses, and so there were no choruses at all, except for ensemble quartets and sextets. A revolutionary orchestra was devised by Kern and his orchestrator, Frank Sadler. A new instrumentation called for eleven musicians because that was about all the pit would hold. These small shows had an intimate quality and a finesse that could not be matched in the larger houses on Broadway, and for many years the three collaborators were the darlings of the critics as well as the Broadway audiences they strove to please.

Jerome Kern’s career was now under full steam. In 1915, he was represented in seven productions on Broadway-three of them complete scores. In 1917 and 1918, there were five Kern musicals. One of them, LEAVE IT TO JANE, took him only eight days to write. And not only did the titles of his shows become less and less outlandish, but the titles of his songs were more familiar.

The top of his Broadway career was reached in 1927 with the production of SHOW BOAT. I say “top” because although he wrote four successful Broadway shows, afterwords SHOW BOAT is generally considered Kern’s best and most popular score. It is the only Broadway score, to my knowledge, to contain as many as five standards: “Bill,” “Can’t Help Lovin’ Dat Man,” “Make Believe,” “Why Do I Love You?,” and “01′ Man River.” (This list excludes “You Are Love,” which is only sightly less well known than the others.).

After ROBERTA in 1 933, Kern wrote mostly for motion pictures. His last show was VERY WARM FOR MAY in 1939. It was a flop, though “All the Things You Are,” the first act ballad, will still be around when many of today’s hit shows are long forgotten.

In the course of his career, Kern worked with almost sixty collaborators. The lyricists who worked with him most consistently were P.G. Wodehouse, Otto Harbach, Dorothy Fields and Oscar Hammerstein II. According to the latter, Kern was a sharp-tongued, quick-humored man who demanded almost as much from others as from himself. “He could be reasonably tolerant of incompetence, but he could not stand incompetence masquerading as genius,” Hammerstein said. “When he met cheapness of any kind he was merciless and shattering.”

Vocal affectations also distressed him. Once he was directing an actress who stressed her R’s so outrageously that Kern could bear it no longer. When the actress drawled, in her stagy accent, “Tell me, Mr. Kern-you want me to c-r-r-ross the stage, but I’m behind the table. How shall I get ac-r-r-ross?” Kern, gazing at her like an amiable macaw, countered: “Why, my dear, just r-r-roll over your R’s!”

In 1945, Jerome Kern came East from California not only to attend rehearsals of a revival of SHOW BOAT but also in connection with the score he was about to write, ANNIE OAKLEY, marking his return to Broadway. A few days after his arrival, he collapsed on Park Avenue and was taken to the Welfare Island hospital where he remained in a state of unconsciousness. Hammerstein’s description of this is very moving:

He lay unconscious!/ in the same institution in which Stephen Foster had died. The critical nature of Jerry’s condition did not permit his removal to a private hospital. [Kern was moved two days later]. He was in a ward with some fifty or sixty other patients­mental cases, drunks and derelicts for the most part. The doctors had gathered this heterogeneous group together and explained to them slowly and clearly who the new patient was!I and asked them to be very quiet and not create the usual disturbances that characterized this room. Not one man disobeyed. The nurse in charge did not go home that night. She extended her duty for that day to twenty-lour hours. When Mrs. Kern expressed her gratitude!/ the nurse answered simply that he had given so much pleasure to her and to the world that she thought she would like to give something to him. It was clear to us all that special consideration and loving care were being granted to this man in a public hospital not because he was wealthy or powerful but because he had devoted almost all his lifetime to giving the world something it needs and knows it needs-beauty.

Jerome Kern died at 1:10 P.M. on November 11, 1945 of a cerebral thrombosis at Doctors Hospital, East End Avenue and Eighty-eighth Street. He was sixty years old.
The songs in this book, selected from over 1,000 songs and 108

complete scores, are divided into two sections: JEROME KERN ON BROADWAY and JEROME KERN IN HOLLYWOOD. They are presented in chronological order.

Jerome Kern – All The Things You Are [1939]

Jerome Kern – All The Things You Are [1939]

“All the Things You Are” is a song composed by Jerome Kern with lyrics written by Oscar Hammerstein II. The song was written for the musical Very Warm for May (1939) and was introduced by Hiram Sherman, Frances Mercer, Hollace Shaw, and Ralph Stuart. It appeared in the film Broadway Rhythm (1944).

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