Chords for Sondheim teaches Send In The Clowns (Part 1)

_ _ _ [Db] _ _ _ _ _
_ _ _ _ _ [Ab] _ _ [Db] _
_ _ _ _ Isn't it [Db]
rich, _ _ _ are we a pair?
_ _ We here at last on the ground, [Fm] you here [Gb] mid-air _ [Fm] _ _ _ [Ebm] and in [Ab] the cloud.
_ _ _ _ [Gb] _ _
[Db] _ [Ab] _ _ _ _ _ _ _
Isn't it bliss, _ _ _ [Gb] don't [Db] you approve? _ _ _ _
One who keeps tearing _ around, one [Fm]
who [Gb] can't move.
[Fm] _ _ _
[Eb] Where [Ab] are the clouds? _ _ _
[Gb] And in [Db] the clouds_
[D] Try it, try it.
See if you can make clear to the audience without gesturing that the one who keeps tearing
around is yourself.
The one who can't move, he can't move because he's caught in a dream of marrying a young girl.
And tearing around is, that's what she's done with her life.
So see if you can get a slight change of color, one who keeps tearing around and one who can't
move is you.
Without using your hands.
Let's see if we can get a little color in that.
Let's, uh, uh, second A.
_ Can we go for A? Yes, yes. _ _ _
_ _ [Ab] _ _ _ _ _ _
[Gb] _ _ [Ab] _ _ _ _ _ _
[Eb] _ [Gb] Isn't [Db] it bliss, _ _ _ don't you approve? _ _ _
_ One who keeps tearing around, one [Fm] who [Gb] can't move. _
[Fm] _ _ [Eb] Where are the [Ab] _
clouds?
_ _ [Gb] And in [Db] the _ clouds_
_ [Fm] Just when I'd stopped _ [Cm] opening [Fm] _ _ doors, [C] _ finally [Fm] knowing the one that I [G] wanted was [Bbm] _ yours.
_ _ [F]
Making [Bbm] my entrance [Gm] again with my [F] youth, [G] _ _ _ _ _ _ [Ebm] sure of [Fm] my _ _ _ _ _ [Gb] love, no one [Ab] is there.
All right, that's good.
Let's see if you can get a little more color in the flare line.
[D] _ _
_ _ She is used to sweeping in and out and so it's her, there's a certain amount of self-irony in that.
My usual flare, sure of my lines and then let the drop come in on, no one is there.
That's where you can darken your voice a little bit. _ _ _ _ _
_ Let's start from the top of the release, please.
You want everything in the voice, not too much.
Oh, it's not, exactly, exactly.
Don't overplay it, because you have a wonderful instinctive sense of phrasing.
And if I just, I want to work on vocal color, but also, also act as you see fit.
I'll tell you if I think it's too much.
Feel your [Bbm] way, feel your way around. _ _
Just when I'd stopped.
_ [Db] _ _ _ _
_ [Fm] Just when [F] I'd stopped. _ _
[Gm] _ [G] _ _ I'd stopped. _ _
_ _ _ [Db] _ _ _ _ _
_ [Fm] Just when I'd _ _ stopped.
[Cm] _ [Fm] Opening _ doors. _ _
[C] Finally [Fm] knowing the one that [Ab] I wanted [Bbm] was you.
_ _ _ Making [Db] my entrance [Gm] again.
[F] _ _ _ _
_ _ _ _ _ [Ebm] _ Sure of [Fm] my _ [F] _ _ [Fm] _ _ [Eb] lines.
No one [Ab] is there. _ _ _
_ _ _ [G] Try it again, let's try it again.
Use your smile, don't be afraid of using the smile.
_ And I'll tell you, another thing that might help is,
_ _ _ as Stuart takes a slight accelerando on the_ _ _ _ _
Keep that feeling going.
Just when I'd stopped opening doors, finally knowing the one that I wanted was yours.
Making my entrance again with my usual flare,
so that we have a slight accelerando in the middle of the phrase.
So in other words, don't keep it quite so even.
Again, this would be, much of this would be obviated if they had worked together before.
Kind of, again, a rubato passage.
And use your smile, don't be afraid of using your smile.
Because the voice is rich and we have to, I [Eb] want to lighten the _ flare parts.
[G] Darken it later.
But once more from the top of the release.
Just [Bbm] when I'd stopped.
_ _ [Db] _ _ _
_ _ _ [Fm] Just when I'd _ _ stopped [Cm] opening [Fm] _ _ doors.
_ [Cm] Finally [Fm] knowing the one that I [G]
wanted was yours.
_ _ [F] Making my entrance again with my usual flare.
_ _ _ [Eb] Sure of [Fm] my love, _ _ _ [Eb] no one [Ab] is _ there. _ _
_ [Gb] _ _ [Db] _ [Ab] _ _ _ _
_ _ _ Don't you love [Db] farce?
_ _ [G] The V in the F, it's an awkward moment in the lyric,
but that V and that F should be separated.
Don't you love farce?
And you can't do it without making a_
_ _ _ _ [F] _
_ _ [Ab] _ _ _ _ _ _
_ [Ab] Don't you [Db] love farce? _ _
_ _ [Gb] My fault, I [Db] fear. _
_ _ I thought that you'd want what I want.
_ _ Sorry, [Gb] my dear.
[Fm] _ _ And [Eb] where are_
I'll [G] try it.
I think it would have slight more irony if you_
I thought you'd want what I want.
Sorry, my dear.
So that I feel the connection between the want and the sorry,
as opposed to the thought, you want what I want?
Sorry, my dear, which is in fact the way it would read on paper.
But see, try phrasing it in, [Ab] let's see what happens.
I may be a bad idea, but I had the feeling the first time you sang it,
so I'm going to have it again just