Sincerely gp3 Guitar Pro Tab is free to download. Tablature file Sincerely opens by means of the Guitar PRO program.

By: Alan Freed & Harvey Fuqua
The McGuire Sisters, The Moonglows
Key: F

-5 5 5 -55 6 -56 5 5
Sin-cere-ly, oh yes, sin-cere-ly
3 -3 4 -3 3-3 -2 -1-2
‘Cause I love you so dear-ly
-3 3 -2 3 -2
Please say you’ll be mine
-5 5 5
Sin-cere-ly
-5 5 6 -5 6 5 5
Oh, you know how I love you
3 -3 4 -3 3 -3 -2 -1-2
I’ll do an-y-thing for you,
-3 3 -2 3 -2
Please say you’ll be mine,

-2 -5 -3* 5 5*-5* 5 -3*
Oh Lord, won’t you tell me why
5-35-55-5 5 -3 -3 3
I love that girl-ie so,
3 -3 -4 3 3
she does-n’t want me,
3 3 -5 -5 3 3 -5 -5
Oh I’ll nev-er, nev-er, nev-er,
3 3 -5 -5 -5
Nev-er let her go

-5 5 5
Sin-cere-ly,
-5 5 6 -5 6 5 5
oh you know how I love you?
3 -3 5 -3 3 -3 -2-1-2
I’ll do an-y-thing for you,
-3 3 -2 3 -2
Please say you’ll be mine.

Sincerely Me gp3 Guitar Pro Tab is free to download. Tablature file Sincerely Me opens by means of the Guitar PRO program.

Oscar Greeley Clendenning Hammerstein II (/ˈhæmərstaɪn/; July 12, 1895 – August 23, 1960) was an American lyricist, librettist, theatrical producer, and (usually uncredited) director in the musical theater for almost 40 years. He won eight Tony Awards and two Academy Awards for Best Original Song. Many of his songs are standard repertoire for vocalists and jazz musicians. He co-wrote 850 songs.

He is best known for his collaborations with composer Richard Rodgers, as the duo Rodgers and Hammerstein, whose musicals include Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music. Described by Stephen Sondheim as an “experimental playwright,”[1] Hammerstein helped bring the American musical to new maturity by popularizing musicals that focused on stories and character rather than the lighthearted entertainment that the musical had been known for beforehand.

He also collaborated with Jerome Kern (with whom he wrote Show Boat), Vincent Youmans, Rudolf Friml, Richard A. Whiting, and Sigmund Romberg.

Early life

Oscar Greeley Clendenning Hammerstein II was born in New York City, the son of Alice Hammerstein (née Nimmo) and theatrical manager William Hammerstein. His grandfather was the German theater impresario Oscar Hammerstein I. His father was from a Jewish family, and his mother was the daughter of British parents. He attended the Church of the Divine Paternity, now the Fourth Universalist Society in the City of New York.

Although Hammerstein’s father managed the Victoria Theatre and was a producer of vaudeville shows, he was opposed to his son’s desire to participate in the arts.

Hammerstein attended Columbia University (1912–1916) and studied at Columbia Law School until 1917. As a student, he maintained high grades and engaged in numerous extracurricular activities. These included playing first base on the baseball team, performing in the Varsity Show and becoming an active member of Pi Lambda Phi, a mostly Jewish fraternity

After his father’s death, in June 1914, when he was 19, he participated in his first play with the Varsity Show, entitled On Your Way. Throughout the rest of his college career, Hammerstein wrote and performed in several Varsity Shows.

Early career

After quitting law school to pursue theater, Hammerstein began his first professional collaboration, with Herbert Stothart, Otto Harbach and Frank Mandel.  He began as an apprentice and went on to form a 20-year collaboration with Harbach. Out of this collaboration came his first musical, Always You, for which he wrote the book and lyrics. It opened on Broadway in 1920.  In 1921 Hammerstein joined The Lambs club.

Throughout the next forty years, Hammerstein teamed up with many other composers, including Jerome Kern, with whom Hammerstein enjoyed a highly successful collaboration. In 1927, Kern and Hammerstein wrote their biggest hit based on Edna Ferber’s bestselling eponymous novel, Show Boat, which is often revived, as it is considered one of the masterpieces of American musical theater. “Here we come to a completely new genre — the musical play as distinguished from musical comedy. Now … the play was the thing, and everything else was subservient to that play. Now … came complete integration of song, humor and production numbers into a single and inextricable artistic entity.” Many years later, Hammerstein’s wife Dorothy bristled when she overheard someone remark that Jerome Kern had written “Ol’ Man River”. “Indeed not,” she retorted. “Jerome Kern wrote ‘dum, dum, dum-dum’. My husband wrote ‘Ol’ Man River’.”

Other Kern-Hammerstein musicals include Sweet Adeline, Music in the Air, Three Sisters, and Very Warm for May. Hammerstein also collaborated with Vincent Youmans (Wildflower), Rudolf Friml (Rose-Marie), and Sigmund Romberg (The Desert Song and The New Moon).

Rodgers and Hammerstein

ammerstein’s most successful and sustained collaboration began when he teamed up with Richard Rodgers to write a musical adaptation of the play Green Grow the Lilacs. Rodgers’ first partner, Lorenz Hart, originally planned to collaborate with Rodgers on this piece, but his alcoholism had spiraled out of control, rendering him incapacitated. Hart was also not certain that the idea had much merit, and the two therefore separated. The adaptation became the first Rodgers and Hammerstein collaboration, entitled Oklahoma!, which opened on Broadway in 1943. It furthered the revolution begun by Show Boat, by thoroughly integrating all the aspects of musical theater, with the songs and dances arising out of and further developing the plot and characters.

William A. Everett and Paul R. Laird wrote that this was a “show, that, like Show Boat, became a milestone, such that that subsequent historians writing about important moments in twentieth-century theater began to identify eras according to their relationship to Oklahoma!” After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form – with such masterworks as Carousel, The King and I and South Pacific. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own”.

The partnership went on to produce not only the aforementioned, but also other Broadway musicals such as Allegro, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music, as well as the musical film State Fair (and its stage adaptation of the same name), and the television musical Cinderella, all featured in the revue A Grand Night for Singing. Hammerstein also wrote the book and lyrics for Carmen Jones, an adaptation of Georges Bizet’s opera Carmen, with an all-black cast that became a 1943 Broadway musical and a 1954 film, starring Dorothy Dandridge.

Advocacy

An active advocate for writers’ rights within the theater industry, Hammerstein was a member of the Dramatists Guild of America. In 1956, he was elected as the eleventh president of the nonprofit organization. He continued his presidency at the Guild until 1960; he was succeeded by Alan Jay Lerner.

Death

Hammerstein died of stomach cancer on August 23, 1960, at his home Highland Farm in Doylestown, Pennsylvania, aged 65,[23] nine months after the opening of The Sound of Music on Broadway. The final song he wrote was “Edelweiss”, which was added near the end of the second act during rehearsal. After Hammerstein’s death, The Sound of Music was adapted as a 1965 film, which won the Academy Award for Best Picture.

The lights of Times Square were turned off for one minute, and London’s West End lights were dimmed in recognition of his contribution to the musical. He was cremated, and his ashes were buried at the Ferncliff Cemetery in Hartsdale, New York. A memorial plaque was unveiled at Southwark Cathedral, England, on May 24, 1961. He was survived by his second wife, Dorothy, his three children, and two stepchildren.

Personal life

Hammerstein married his first wife, Myra Finn, in 1917; the couple divorced in 1929. He married his second wife, the Australian-born Dorothy (Blanchard) Jacobson (1899-1987), in 1929. He had three children: William Hammerstein (1918–2001) and Alice Hammerstein Mathias (1922-2015) by his first wife, and James Hammerstein (1931-1999)  by his second wife, with whom he also had a stepson, Henry Jacobson, and a stepdaughter, Susan Blanchard.

Reputation

Hammerstein was one of the most important “book writers” in Broadway history – he made the story, not the songs or the stars, central to the musical and brought musical theater to full maturity as an art form. According to Stephen Sondheim, “What few people understand is that Oscar’s big contribution to the theater was as a theoretician, as a Peter Brook, as an innovator. People don’t understand how experimental Show Boat and Oklahoma! felt at the time they were done. Oscar is not about the ‘lark that is learning to pray’ – that’s easy to make fun of. He’s about Allegro,” Hammerstein’s most experimental musical.

His reputation for being sentimental is based largely on the movie versions of the musicals, especially The Sound of Music, in which a song sung by those in favor of reaching an accommodation with the Nazis, “No Way to Stop It”, was cut. As recent revivals of Show Boat, Oklahoma!, Carousel, and The King and I in London and New York show, Hammerstein was one of the more tough-minded and socially conscious American musical theater artists. According to Richard Kislan, “The shows of Rodgers and Hammerstein were the product of sincerity. In the light of criticism directed against them and their universe of sweetness and light, it is important to understand that they believed sincerely in what they wrote.” According to Marc Bauch, “The Rodgers and Hammerstein musicals are romantic musical plays. Love is important.”

According to The Rodgers and Hammerstein Story by Stanley Green, “For three minutes, on the night of September first, the entire Times Square area in New York City was blacked out in honor of the man who had done so much to light up that particular part of the world. From 8:57 to 9:00 p.m., every neon sign and every light bulb was turned off and all traffic was halted between 42nd Street and 53rd Street, and between 8th Ave and the Avenue of the Americas. A crowd of 5,000 people, many with heads bowed, a*sembled at the base of the statue of Father Duffy on Times Square where two trumpeters blew taps. It was the most complete blackout on Broadway since World War II, and the greatest tribute of its kind ever paid to one man.”

Songs

According to The Complete Lyrics of Oscar Hammerstein II, edited by Amy Asch, Hammerstein contributed the lyrics to 850 songs,[43] including “Ol’ Man River”, “Can’t Help Lovin’ That Man” and “Make Believe” from Show Boat; “Indian Love Call” from Rose-Marie; “People Will Say We’re in Love”[citation needed] and “Oklahoma” (which has been the official state song of Oklahoma since 1953) from Oklahoma!;  “Some Enchanted Evening”, from South Pacific; “Getting to Know You” and “Shall We Dance” from The King and I; and the title song as well as “Climb Ev’ry Mountain” from The Sound of Music.

Several albums of Hammerstein’s musicals were named to the “Songs of the Century” list as compiled by the Recording Industry Association of America (RIAA), the National Endowment for the Arts, and Scholastic Corporation:

• The Sound of Music — # 36
• Oklahoma! — # 66
• South Pacific — # 224
• The King and I — # 249
• Show Boat — # 312

Awards and nominations

Hammerstein won two Oscars for best original song—in 1941 for “The Last Time I Saw Paris” in the film Lady Be Good, and in 1945 for “It Might as Well Be Spring” in State Fair. In 1950, the team of Rodgers and Hammerstein received The Hundred Year Association of New York’s Gold Medal Award “in recognition of outstanding contributions to the City of New York.”

Hammerstein won eight Tony Awards, six for lyrics or book, and two as producer of the Best Musical (South Pacific and The Sound of Music). Rodgers and Hammerstein began writing together before the era of the Tonys: Oklahoma! opened in 1943 and Carousel in 1945, and the Tony Awards were not awarded until 1947. They won a special Pulitzer Prize in 1944 for Oklahoma!  and, with Joshua Logan, the annual Pulitzer Prize for Drama in 1950 for South Pacific. The Oscar Hammerstein II Center for Theater Studies at Columbia University was established in 1981 with a $1-million gift from his family.

(4, 4 Count Intro)
_6 7_ _6 -5* -5* _6 7_
To show affection in your
_6 -5* -5* _6 7_ 6 7 7 6 5__
Direction you know I’m fit and able
_6 7_ _ 6 -5* -5* _6 7_
I more than merely love you
_6 -7 -7 _ 7 -8_
Sincerely my cards
_7 -8 -8 7 6__
Are on the table
7 -5 -4 3 -4 -5 7 -8 7 -6 -5 6__
There must be lots of other men you hypnotize
7 -5 -4 3 -4 -5 7 -8 7 -6 -5 5_ 5*_ -5_ 6_
All of a sudden I’ve begun to realize as follows

_-6 -6 -6 6_ 5_
My one and only,
-6 -6 -6 -6 -6 -6 7 -6 6 6 5_
What am I gonna do if you turn me down
_-6 -6 7 7* -7* 7* 7_ -6__
When I’m so crazy over you?

_-6 -6 -6 6_ 5_
I’d be so lonely
-6 -6 -6 -6 -6 -6 7 -6 6 6 5
Where am I gonna go if you turn me down
_-6 -6 7 7* -7* 7* 7_ -6__
Why blacken all my skies of blue?

7 -7 -7* 9 -7* -7 -7* -7 7 -7 7 -6
I tell you, I’m not asking any miracle
-6 -6 -5 -6 -6 -6 -5 -6
It can be done, it can be done
7 -7 -7* 9 -7* -7 -7* -7 7 -7 7 -6
I know a clergyman who will grow lyrical
-6 -6 -5 -6 7* 7* -6 -7_
And make us one, and make us one

7 _-6 -6 -6 6_ 5_
So, my one and only
5 -6 -6 -6 -6 -6 -6 7 -6 6 6 5_
There isn’t a reason why you should turn me down
_-6 -6 7 7* 9 7* 7_ -6__ (Slow On Repeat)
When I’m so crazy over you
(Repeat Last Two Verses)
5 -5* -6 (On Repeat w/ Music)

This plays with karaoke music, same Artist, run time 2:37

2 <-1 2 3 2 3 -3 4 4
When I get older losing my hair,
4 6 4 -3 -5
Many years from now,
-4 4 <4 -5 -4 4 <4 -5 -4 <-3 -3
Will you still be sending me a- valentine
-4 4 <4 -5 6 <-5 -5 4
Birthday greetings bottle of wine?

2 <-1 2 2 2 3 -3 3 4
If I’d been out till quarter to three
6 6 -5 -3 4
Would you lock the door,
4 -3 4 <-5 -5 4 -3 4 -4 -3
Will you still need me, will you still feed me,
6 6 6 6 4
When I’m sixty-four?

6 -5 4 -4 3 -3 -4 4
oooo—————
-3 -4 4 7 6 -7 7
You’ll be older too, ah–
6 -5 4 -5 -5 -3
And if you say the word,
4 -3 3 -3 4
I could stay with you.

2 <-1 2 3 2 3 -3 3 4
I could be handy mending a fuse
4 6 4 -3 -5
When your lights have gone.
-4 4 <4 -5 -4 4 <4 -5 -3 -4 <-3
You can knit a sweater by the fireside
-4 4 <4 -5 6 <-5 -5 4
Sunday mornings go for a- ride.

2 <-1 2 3 2 3 -3 3 4
Doing the garden, digging the weeds,
6 6 -5 -3 4
Who could ask for more?
4 -3 4 <-5 -5 4 -3 4 -4 -3
Will you still need me, will you still feed me,
6 6 6 6 4
When I’m sixty-four?

4 -3 4 -3 4 -3 4 -3 4 -3
Every summer we can rent a cottage
4 -3 4 -2 3 3 3 3 -3 2
In the Isle of Wight, if it’s not too dear
-3 -4 4 7 6
We shall scrimp and save
6 -5 5 -5 -5 -3
Grandchildren on your knee
4 -3 3 -3 4
Vera, Chuck, and Dave

2 <-1 2 3 2 3 -3 3 4
Send me a postcard, drop me a line,
4 6 4 -3 -5
Stating point of view.
-4 4 <4 -5 -4 4 <4 -5 -3 -4 <-3
Indicate precisely what you mean to say
-4 4 <4 -5 6 <-5 -5 4
Yours sincerely, Wasting Away.

2 <-1 2 3 2 3 -3 3 4
Give me your answer, fill in a form
6 6 -5 -3 4
Mine forevermore
4 -3 4 <-5 -5 4 -3 4 -4 -3
Will you still need me, will you still feed me,
6 6 6 6 4
When I’m sixty-four?
4
Whoo!

When I’m Sixty Four

(2* 2 2* 3* 2* 3* -3* 3* 4*)

(-4* 5* -5* 6* -5* 5* -3* 5* -5* 5* 3* 1*)

When I get older, losing my hair Many years from now
2* 2 2* 3* 2* 3* -3* 3* 5* 5* 6* 5* -3* -5*

Will you still be sending me a Valentine
5 5* -5 -5* 5 5* -5 -5* -4* -4 -3*

Birthday greetings, bottle of wine
5 5* -5 -5* 6* 6 -5* 5*

If I’d been out till quarter to three Would you lock the door?
2* 2 2* 3* 2* 3* -3* 3* 5* 6* 6* -5* -3* 5*

Will you still need me? Will you still feed me?
5* -3* 5* 6 -5* 5* -3* 4* -4* -3*

When I’m Sixty Four
6* 6* 6* 6* 5*

(4* -4* -3* 3* -2* 2* -1* 2*)

You’ll be older too And if you say the word
-3* -4* 5* 7* 6* 6* -5* 5* -5* -5* -3*

I could stay with you
4* -3* 3* -3* 4*

(2* -2* 3* -2* 2* -1* 1* 3* 3* 3* 3* -4* -5* -6*)

I could be handy, mending a fuse When your lights have gone
You can knit a sweater by the fireside
Sunday mornings go for a ride
Doing the garden, digging the weeds Who could ask for more?
Will you still need me, will you still feed me?
When I’m sixty four

Every summer we can rent a cottage in the Isle of Wight
4*-3* 4*-3* 4* -3* 4* -3* 4* -3* 4* -3* 4* -2* 3*

If it’s not too dear We shall scrimp and save
3* 3* 3* -3* 2* -3* -4* 5* 7* 6*

Grandchildren on your knee Vera, Chuck and Dave
6* -5* 5* -5* -5* -3* 4* -3* 3* -3* 4*

(2* -2* 3* -2* 2* -1* 1* 3* 3* 3* 3* -4* -5* -6*)

Send me a postcard, drop me a line Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away
Give me your answer, fill in a form Mine forevermore
Will you still need me, will you still feed me?
When I’m sixty four

(2* 2 2* 3* 2* 3* -3* 3* 4*)

(-4* 5* -5* 6* -5* 5* -3* 5* -5* 5* 3* 1*)

7 7 7 7 7 7 7 7 7
Come in here, dear boy, have a cigar.

7 7 7 7 7
You’re gonna go far,
7 7 7 7 7
you’re gonna fly high,

7 7 -6 -6 -6 -6
You’re never gonna die,
-6 -6 -6 -7 -7 -7 -6 -7 -7 -6 6 -6 -6
you’re gonna make it if you try; they’re gonna love you.

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 -6
Well I’ve always had a deep respect, and I mean that most sincerely.

7 7 7 7 7 7 7 7 7 7 -6 -6 6 -6
The band is just fantastic, that is really what I think.

7 -7 -7 -7 -7 -7 -6
Oh by the way, which one’s Pink?

-6 -6 6 -6 -6 -6 -7 6 6 7 -6
And did we tell you the name of the game, boy

-6 -6 -6 -7 -7 -7 -7 -7 7 -7 -6 -7 -6 6
we call it Riding the Gravy T—–r–—a–—i–—n.

7 7 7 7
We’re just knocked out.

7 7 7 7 7 7 7
We heard about the sell out.

7 7 7 7 7 7 7 7
You gotta get an album out,

7 7 -6 -6 -6 -6 -6 -6 -6 -7 -7 -7 -6 -7 -6 -6
You owe it to the people. We’re so happy we can hardly count.

7 7 7 7 7 7 7 7 7 7 7 7 7
Everybody else is just green, have you seen the chart?

7 7 7 7 7 7 7 7 7 7 -6 -6 6 -6 -6
It’s a helluva start, it could be made into a monster

7 7 -7 -7 -7 -7 -7 -6 6 -6
if we all pull together as a team.
-6 -6 6 -6 -6 -6 -7 6 6 7 -6

And did we tell you the name of the game, boy

-6 -6 -6 -7 -7 -7 -7 -7 7 -7 -6 -7 -6 6
we call it Riding the Gravy T—–r–—a–—i–—n.

This is tabbed for a 24 hole Echo Celeste tremolo

This tab was able to be done thanks to the
Combined efforts of ,,, and myself.

-4 5 -4 -3 5 -4
It’s four in the morning,
-3 5 -4 -3 5 -4
the end of December
5 5 5 5 5
I’m writing you now
-4 -3 -4 -4 -4 5 -4
Just to see if you’re better
5 5 5 5
New York is cold,
-3 -3 5 5 5 5 -4
But I like where I’m living
-3 5 5 5 5 -4 -3
There’s music on Clinton Street
-4 -4 -4 5 -4
All through the evening.
5 5 -5 6 -5 -5 -6
I hear that you’re building your
-6 -6 6 6 6 6 -5 -5
Little house deep in the desert
5 5 5 5 -4 -4 -4
You’re living for nothing now,

-4 -4 -4 5 5 5 5 5 -4 -4
I hope you’re keeping some kind of record.
-3 4 4 6 6 6
Ye-s, and Jane came by
-6 7 7 -6 6 -5
With a lock of your hair
-5 -5 6 -6 -6 6 -5 5
She said that you gave it to her
5 5 -5 6 6 -5 5 -4
That night that you planned to go clear
-3 -4 5 -4 -3 -4
Did you ev—–er go clear?

-4 5 -4 -3 5 -4
The last time we saw you
-3 5 -4 -3 5 -4
You looked so much older
5 5 5 5 5 -4
Your famous blue raincoat
-3 -4 -4 -4 5 -4
Was torn at the shoulder
5 5 5 5 -3 -3
You’d been to the station
5 5 5 5 -4
To meet every train
-3 5 5 -4
And you came home
-3 -4 -4 -4 5 -4
Without Li-li Marlene
5 5 5 -5 6 -5 -5
And you treated my woman
-6 -6 6 6 6 -5
To a flake of your life
-4 -4 -4 5 5
And when she came back
5 5 5 -4 -4 -4
She was nobody’s wife.
-3 4 6 6 6
Well I see you there
-6 7 7 -6 6 -5
With the rose in your teeth
-5 6 -6 6 -5 5
One more thin gypsy thief
5 -5 6 -5 5 -4
Well I see Jane’s awake —
-4 5 -4 -3 -4
She sends her regards.

-4 5 -4 -3 5 -4
And what can I tell you
-3 5 -4 -3 5 -4
My brother, my killer
5 5 5 5 5 -4 -4
What can I possibly say?
-3 -4 -4 -4 5 -4
I guess that I miss you,
5 5 5 5 5 5
I guess I forgive you
-3 -3 5 5 5 5 -4
I’m glad you stood in my way.
-3 5 5 5 5 -4 -3
If you ever come by here,
-4 -4 -4 5 -4
for Jane or for me
5 5 -5 6 -5 -5 -5 -5
Well your en-e-my is sleeping,
6 6 6 6 -5 -5
And his woman is free.
-3 4 4 6 6 6 -6
Yes, and thanks, for the trouble
7 7 -6 6 -5
You took from her eyes
-5 -5 6 -6 -6 6 -5
I thought it was there for good
5 6 -5 5 -4
So I never tried.
4 6 6 6 -6 7 7 -6 6 -5
And Jane came by with a lock of your hair
-5 -5 6 -6 -6 6 -5 5
She said that you gave it to her
5 5 -5 6 6 -5 5 -4
That night that you planned to go clear —
5 5 -4 -3 -4 -4
Sincerely, L. Cohen