Medley: I Can't Give You Anything But Love, Baby with Pennies From Heaven, A Foggy Day (In London... by Billie Holiday TTB - Digital Sheet Music

SKU: A0.1842287

Frank Sinatra & Dean Martin – 1967 Television Medley
For Two Tenor Voices (Tenor I & II or 2-Part Tenor) and Piano
Optional Jazz Ensemble: Trumpet/Clarinet, Alto Sax, Trombone/Tenor Sax, Guitar, Bass, Drum Set

This arrangement is based specifically on the Frank Sinatra and Dean Martin television medley from the 1967 special, recreating the exact sequence of songs, the playful stage banter, and the relaxed swing style of that performance. Written for Tenor I & Tenor II (or 2-Part Tenor voices) with piano accompaniment, the piece brings the charm, humor, and rhythmic energy of that iconic televised medley into a school or concert setting.

The vocal lines are carefully transcribed from the original performance, reflecting how Sinatra and Martin actually sang each song in the medley, including phrasing, timing, and characteristic melodic nuances. The arrangement preserves the alternating solo style, harmony moments, and conversational interaction between the singers that made the original performance so memorable.

The medley includes I Can’t Give You Anything But Love, Too Marvelous for Words, Pennies from Heaven, A Foggy Day, Embraceable You, The Lady Is a Tramp, I’ve Got the World on a String, Oh Marie, All of Me, and When You’re Smiling, flowing continuously in the style and order of the original 1967 performance while maintaining a steady swing feel.

While written primarily for piano and voices, the chart also includes optional small-ensemble parts for Trumpet or Clarinet, Alto Sax, Trombone or Tenor Sax, Guitar, Bass, and Drum Set, allowing the accompaniment to expand into a small jazz combo or mini big-band texture when available.

Several notational features are included to assist performers:

• Small notes indicate optional pitches or alternate melodic moments. In the vocal parts, these may also represent optional spoken or comedic stage moments that may replace the written melody for theatrical effect.
• Flexible dynamics are intentionally used; performers should prioritize style, phrasing, and swing feel over strict dynamic contrast.
• Piano writing may be simplified when performed with bass and drums, allowing the pianist to comp more freely in a jazz trio style.
• Guitar, if used, should perform a traditional Freddie Green swing rhythm feel (long beats on 1 and 3, short accented chords on 2 and 4).

Directors and performers are strongly encouraged to listen to the original 1967 Sinatra and Martin television performance of this medley to internalize the phrasing, timing, humor, and relaxed stage presence that made it iconic. Optional staging elements—such as playful interaction or simple movement—can help recreate the spirit of the original performance.

This arrangement is ideal for high school or advanced middle school tenor ensembles (or female voices up an octave), jazz vocal groups, show choir, or concert programs celebrating the Great American Songbook.