1 Goin’ up the ladder
R ESO U RCES P CD1 track 1 (performance); CD2 track x (backing)
Information
‘Goin’ up the ladder’ is a call and response song, similar in
style to many street games, work songs, and military
chants. Rarely pretty, the style is about being together
with others and singing with spirit. This type of song is
often accompanied by a physical activity such as skipping,
clapping, or dancing, which helps to cement the rhythm
and give a sense of pulse.
This is an entry-level song, ideal for less experienced or
younger singers. Both parts are suitable for all voices.
Starting
… 44 >Š Š Š >Š q >Š Š Š >Š q .
1
Start by clapping the following rhythm, in swing,
emphasizing the first and fourth quaver/eighth-note:
1
As you repeat, make the second and third claps quieter,
and eventually just think them, clapping only first and
fourth notes.
1
Now play the bass-line of the piano part, and ask the
group to listen to the rhythm and clap what they
hear––note that the rhythm just covered appears in the
second bar.
1
With more advanced singers, split the group into two
and get them to clap the piano and vocal parts together,
being sure to anticipate the beat in the piano part only.
1
The melody of this song is based on the major
pentatonic scale. After some deep breaths, sing an F to
‘ah’––strong and simple. Expand the range down to D
and C, and then up to G and A. Finally, put them
V b44 Š Š Š Š Š Š Š Š ‰ q
together starting on the fifth (C), focusing on each pitch
as you go:
Teaching and rehearsing
1
This song is easily taught by rote. Start with the chorus,
using call and response: you sing the first part to the
group, and they sing it back by ear. Practise the smears
on ‘Don’t hold me back!’.
1
Next teach the last four bars, where the call is different
from the response. Add this to the section from bar 45
(a repeat of the opening). Note that this section is up a
tone from the beginning.
1
Finally, work on the verses, with the two parts singing
together on ‘work to be done’, ‘gonna see it through’,
etc.
2 1. Goin’ up the ladder
1
When everyone feels confident, divide the choir into
two equal groups––one sings the call and the other the
response.
Ideas
1
Experiment with who sings which part. Swap around
the groups in the choruses, so everyone gets to sing
both call and response, or perhaps use a soloist on part
1 in the verses. Alternatively, to give as many as possible
the chance for a short solo spot, ask individuals to sing
the phrase after the counting in the verse:
Group 1: Up one,
Group 2: Up one,
Soloist: Work to be done.
1
The group can use this song as a basis to create their
own call and response. Perhaps invent new words using
the existing melody or compose your own tune. The
counting rhyme in the verses can be extended as far as
you like, with the leader signalling the return to the
chorus.
1
Try singing while jumping! Playing a game such as
‘double dutch’ while singing can improve breathing and
make the sound more powerful.
Listen out
1
Make sure all the singers remember where the key
change happens.
1
#
Listen out for the tuning of the G on ‘heaven’ in bar
38––this is the only note outside the pentatonic scale.
1
Check that the rhythm of ‘You mean there?’ is secure in
bar 53, with no gap between the entries in the first and
second parts.
1
Is the tone suitable for this type of song? Keep the
sound bright and solid throughout. Try omitting the
pitch altogether at the end.
Performing
1
This song works best if singers interact with each other
during performance, as if part of a street game. Have
fun, and show this in your movements and facial
expressions.
1
Stomp, clap, or click during the piece, or add
homemade percussion (pots, pans, brooms).
1
Try creating an assembly line or a ‘taking a break from
work’ tableau.
1
Include the audience by asking them to join in with the
chorus or movements.
 1 Goin’ up the ladder Music and words: Steve Milloy,

h = 84
with additional words by Norman Welch

V b 22 p q r #Š/ Š t eŠ
Funky march; swing
b
ˆˆ ‰‰
F7 B 7/F

bŠ Š >-
{ B b 22 r Š-. r Š-. t Š-e q .Š- - r Š-. r Š-.
t Še q
Piano mf

Š-. Š -

V b #Š/ Š r q q r #Š/ Š
5 F7

ˆˆ ‰‰ t eŠ b
B 7/F

bŠ bŠ Š >-
{ B b r Š r Š t Še q
Š-. -. -. - Š- Š
.
- r Š-. r Š-. t Še q
-

€V b mfŠ Š Š Š Š Š p ŠŠŠ Š Š p
Chorus
9

p p
Go-in’ up the lad-der, got-ta get up there.

2
 V b Š
mf
Š Š Š Š Š ŠŠŠ Š Š
Go-in’ up the lad - der, got-ta get up there.

V b #Š/ Š r q q
F7

r #Š/ Š ˆˆ ‰‰ t eŠ B 7/Fb
bŠ bŠ Š >-
{ B b r Š r Š t Še q
-. -. - .Š- - r Š-. r Š-.
Š t Še q
-
© Oxford University Press 2012

Š-.
This page may be photocopied 1. Goin’ up the ladder 3
€V b Še Š Še Š r q r t Še Š Š Š Š Š
13
(
 V b p Še Š Še Š r q r t Še
Don’t hold me back! I’m gon-na get up there.

(
V b #Š/ Š r q q
Don’t hold me back! I’m

r #Š/ Š ˆ
F7

bŠ bŠ ˆ
{ Š-. Š-. Š-. Š-e q Š- Š-. r Š-.
B b r r t r
€V b q
16

r Š Š r q
f
Še Š Še Š ( Š
b
V Š Š Š Š Š r Š Š r Še Š Še Š r
1. Up one, work to be done. Up
f (
-Š
bV r t b Š Š. Š. =b Š- .Š r Š. b ŠŠ. #Š/>Š . =ŠŠ. e r
>
gon - na get up there. 1. Up one, work to be done.
F7

f Š.
{ B b Š-. t Š-e q bŠ- >Š. Š- r Š-. t Š-e q
f

€V b Š r q
19

ŠŠŠŠ Š Š Š r q
V b r Š Š r Š Š Š Š Š r r Š Š r
two, gon - na see it through. Up three,

-Š > -
bV =b Š- .Š r Š. b ŠŠ. #Š/Š . =ŠŠ. e r Š. =b Š-Š .Š r Š. b ŠŠ.
Up two, gon - na see it through. Up three,

{ B b bŠ- >Š. Š- r Š-. t Š-e q bŠ- >Š. Š- r

© Oxford University Press 2012

4 1. Goin’ up the ladder This page may be photocopied

15 Hard Times Come Again No More
SSA or TBarB version

€V # # # # 4
Stephen Collins Foster

p . p p
h = 72
p
arr. Steve Milloy

[ 4
Contemporary country folk; earthy and hopeful

Voices

# # #
V # 44 r t Š/Š Š Š Š . Š/Š Š Š Š ‰‰ ŠŠ ‰‰ Š Š Š ŠŠ
( )

mff Š Š Š
A E E/B B9(sus4) E A E

{ #44
B# # # p .‰ Š Š ‰ ‰ ŠŠ Š.Š . ŠŠe
Piano

€V # # # # q Š Š ‰ Š Š Š ‰ Š Š Š Še Š Še
[ Š
(opt. solo or soli)
5 mp
( )
( (
1. Let us pause in life’s plea - sures and count its ma - ny tears,
2. While we seek mirth and beau - ty and mu - sic light and gay,
3. There’s a pale, droop - ing mai - den who toils her life a - way,

# #
V # ˆˆ t t
4. ’Tis a sigh that is waft - ed a - cross the trou-bled wave,

# e Š Š Š Š Š Še Š Š ‰ r ‰ Š
Š
#
Š ‰
E E/G A

{ # ˆˆ
B# # #
‰. Š ‰ ŠŠŠ ‰ ‰
mp

€V # # # # ‰ mfŠ Š Š ‰ ‰Š Še Š . Š Š Š ˆ
[ Š
9

( )
While we all sup sor - row with the poor;
There are frail forms faint-ing at the door;
With a worn heart whose bet - ter days are o’er:

# #
V # ŠŠ ‰ (=)Š Š Š/‰ Š Š ‰‰ Š ŠŠ Š Š Š
’Tis a wail that is heard up - on the shore,

#
E A E/B A6/B E A

{ # ‰ Š #Š ‰ ‰ ‰ ‰ ‰ ‰
B# # # mf
© Oxford University Press 2012

82 15. Hard Times Come Again No More This page may be photocopied
 €V #### q mp Š Š ‰ Š Š Š ‰ Š Š Š Še Š Še
[ Š
13

( )
( (
There’s a song that will lin - ger for - ev - er in our ears;
Though their voi - ces are si - lent, their plead-ing looks will say,
Though her voice would be mer - ry, ’tis sigh - ing all the day,

#
V # # t t
’Tis a dirge that is mur-mured a - round the low - ly grave.

# Š Š mp‰‰ Še Š Š Š Š Š Še Š Š ‰ r ‰ Š
‰ Š
E/G # # F m7 E E/G# A

{ #
B# # # ‰ ‰ ‰. Š ‰ ŠŠŠ ‰ ‰
€V # # # # ‰ ‰
17
Š.Š . Še Š Š Š
mf
Š ŠŠŠ ŠŠ ˆ q Š ŠŠ
Chorus
mf
f
(mel.)
1
2
[
# #
( ) (mel.)

#
[ ‰ ‰
V # Šmf. Še Š Š Š Š ŠŠŠ ŠŠ q Šmf Š Š
Oh, hard times come a -gain no more. ’Tis the song,

3
ˆ
# #
V # ŠŠ ‰ (=)Š Š Š Š Š Š ŠŠ ŠŠ Š Š Š
( )

# E A

Š Š/‰ Š
E/B

Š ‰‰ Š
A6/B E A E B5

{ # ‰ Š #Š
B# # # ‰ ‰ ‰ ‰ ‰ Š ŠŠ ‰ ‰
mf

€V # # # # ‰ r Š Š .. #ŠŠe ŠŠ Š (=)ˆ‰ Š =Š Š Š ‰ .. Š.
r Š. Še Š Š Š
f
22 f
f
# #
[
# #
( )

[ ‰ r
V Š Š . =Še Š Š ‰ . Š ‰ . r Šf . Še Š Š Š
the sigh of the wea - ry, Hard times

# #
V # Š Š/‰ ŠŠ .. = # ŠŠe ŠŠ ŠŠ = ŠŠ .. Šf Š Š ŠŠ ŠŠ .. ŠŠe ŠŠ ŠŠ ŠŠ .. ŠŠ ŠŠ Š
( )

#
b
Š
E E7( 5) E7 A E A6/B E

f
{ B## # ‰ ‰
#
ŠŠ ŠŠ ‰ ‰ ‰ ‰ ‰ Š Š
© Oxford University Press 2012

mf f

This page may be photocopied 15. Hard Times Come Again No More 83
€V # # # # Š Š Š Š r
27

Š ŠŠŠ ŠŠ
mf unis.

ŠrŠŠŠ
mp
( ‰ Š Š Š ‰ Š
# # # #
[
[ Š Š Š Š r
V Šmf Š Š Š Š Š Š r mpŠ Š Š ‰ Š Š Š ‰ Š
( )
hard times come a-gain no more. Ma-ny days you have lin - gered a -

(
# .
V ## # ŠŠ . ŠŠf ŠŠ Š t eŠ Š Š Š Š t Še Š Š ‰
( )

# ˆˆ ŠŠ Š = ‰‰
# # # # #
Š
F m/C C m7 F7 B A/B E E/G

{ #‰ ‰
B# # # ‰ ‰ ŠŠŠŠ ‰. Š ‰ ŠŠŠ
dim. mp

€V # # # # Š e Š Še ‰ ‰ Š.Š . Še Š Š Š Š ŠŠŠ ŠŠ ˆ
ŠŠ
32
f dim.

f
(
#
[
#
(mel.)

#
( )

V
[ Š # Š Še Š Še ‰ ‰ Šf . Še Š Š Š Š ŠŠŠ ŠŠ
- round my ca-bin door; Oh, hard times come a - gain no more.

( ˆ
V #### r
( )

‰‰ ŠŠ ŠŠ ‰ (=) Š Š Š/‰ Š Š ‰‰ Š ‰‰ Š Š Š ŠŠ
dim.
A E A E/B A6/B E A E

{ #‰
B# # # ‰ ‰ Š #Š ‰ ‰ ‰ ‰ ‰ Š ŠŠ
f dim.

€V # # # # p .
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p x4
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rit.

p p
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V # ŠŠ .. Š/Šf Š Š Š . Š/Š Š Š Š Š Š
# Š ‰‰ ŠŠ F
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‰‰ Š‰ Š Š Š Š/ˆˆ
rit.
A x4 E E/B B9(sus4) E A E

{B#### ‰ q . ‰ Š Š ‰ ‰ Š
Š ‰‰
mpF
mf
ˆ
© Oxford University Press 2012

84 15. Hard Times Come Again No More This page may be photocopied
18 Guiding Light
R ESO U RCES P CD1 track 18 (performance); CD2 track x (backing)
Information
‘Guiding Light’ is a contemporary R&B ballad for female
voices, inspired by artists such as Mary J. Blige and
Corinne Bailey Rae. The scoring is flexible, making the
song ideal for a mixed-ability group of girls containing
both high and low voices. A less-experienced group can
sing it straight through in two to four parts, while more
advanced singers can perform it as a round, with each
person starting with Part 1 and continuing all the way
through to Part 4.
Starting
1
Stretch up high with both hands. Reach up higher and
towards the centre with one hand, and lean sideways.
Feel the stretch up that side of your body from your
hips to your shoulders. Repeat on the other side, and
then release slowly, exhaling as you do so.
1
a
Establish the pulse at = 66, counting four beats in a
bar out loud. Subdivide into quavers/eighth-notes,
saying ‘1-an-2-an-3-an-4-an’, and then finally
semiquavers/sixteenth-notes:
‘1-ee-an-a-2-ee-an-a-3-ee-an-a-4-ee-an-a’. With this
subdivision in mind, say the words ‘Nothin’ left to fear’.
1
Sing a low ‘ah’, with a warm, rich tone. Yawn, and try
again, aiming for a feeling of space at the back of your
mouth as you raise your soft palette. Now try singing
the word ‘light’ instead, again on long, low notes. If you
keep the yawning feeling at the back of your mouth,
you shouldn’t need to open your jaw too much.
Teaching and rehearsing
1
Start with everyone on Part 1, singing in any octave
that is comfortable at this stage. Focus on creating a
sustained sound on the long notes, and on careful
tuning.
1
For Part 2, say the words to the rhythm first, aiming for
clarity and referring back to the exercise above if
necessary. Sing it through, and then put Parts 1 and 2
together.
1
If you prefer a simpler version of the song, end with the
‘last time’ bar after Part 2. Otherwise, move on to Parts 3
and 4. These lines are best suited to higher voices, and
they work well as backing vocals, since the rhythms are
similar.
1
Finally, either allocate a group of singers to each part
and end with the ‘last time’ bar or, if your singers have
the range to perform all four parts, sing the whole song
in sequence as a round, as on the CD demo.
102 18. Guiding Light
1
Rounds are much more interesting to sing from
memory, so try to memorize the song as you go, over a
couple of sessions. This will ultimately encourage
listening among the group, and develop ensemble skills.
Ideas
1
Try giving each line a different tone quality. The first
part could be smooth and personal, mid-level, with
chest resonances. Part 2, with its low
semiquavers/sixteenth-notes, needs clearer diction so
that the words cut through the texture. Parts 3 and 4
should be light and floating, in head voice, possibly
with some breathiness (see the ‘voo, voo, voo’ exercise
on p. x).
1
Experiment with different forms. Here are some ideas:
0
Have a soloist perform Parts 1 and 2 to open the song.
0
Perform the whole song as a round initially, then split
it up into separate lines.
0
Add an instrumental verse without singing.
1
Dynamics have not been given for the vocal parts, so
once you’ve decided on a form, experiment to see what
works for your group. One option would be to build the
dynamics gradually as the different parts enter.
Improvising toolbox
1
Try adding an improvised line above the round, or
include a section with solo or group improvising. You
can use the piano part as a backing, or sing a cappella.
1
To start, sing the minor pentatonic scale on A to ‘oh’,
VŠ Š Š Š Š Š
‘do’, and ‘yay’:
V Š Š Š bŠ =Š Š Š
1
=
Make this into a blues scale by adding in an E :
1
Now try out some fragments that you can use in your
improvising. It can help to see the scale in two parts. In
the lower half, try A C A, then A C ‘D C A, then A C D
1
b = = =
E D C A; and in the upper half E G E , then E G A G A.
Also try playing a copying game. In a circle, one person
chooses and sings a phrase from the song (such as
‘You’re my light’) and everyone sings it back. Repeat
this with a different person and phrase, and so on. Do
the same again, but this time each singer makes up their
own phrase, wordless or with lyrics, and everyone
 copies back. Encourage singers to use ideas from the
game in their improvisation.
Listen out
1
Listen carefully to words like ‘guide’ (‘g-ah-ee-d’), which
contain diphthongs, and ask singers to identify other
examples. Are they aware of when they move from the
‘ah’ to the ‘ee’ on long notes? Do they move together?
1
Rather than positioning singers according to part, try
mixing everyone up. This can teach inexperienced
singers to sing their own part with added confidence.
1
Rounds can be tiring to sing, so listen out for signs of
fatigue. Decide on a form and length to suit the group.
Performing
1
Remember that you can vary the form each time you
perform the song. This will keep the performance fresh
and singers on their toes. Each line works on its own, so
most performances should include some sections in
unison and some in parts. This will also enable the
audience to hear the story of the song, and to recognise
parts sung in combination that they initially heard one
by one.
1
Think about the person being described in the song,
and the strong commitment the singer feels to them.
How might that affect the way you sing?
1
The director should cue the Coda clearly, as singers can
easily get lost in a round.

18 Guiding Light Music: Charles Beale

€V 4 p i = 66
q
Words: John Moysen

Š Š
R&B ballad; melancholy

1
4
V 44 p p
You’re my

3 V 44 p p
4
V 44 p p
i = 66
V 44 ŠŠ =# ŠŠ ... t Š
R&B ballad; melancholy

ŠŠ ŠŠ ŠŠ ŠŠ
Fmaj7 #
E7( 9)

(#)Š
{ B 44 Š Š. Š Š. e Š Še Š . t r t Š bŠ
Piano p
© Oxford University Press 2012

* Sing each part through in sequence.

This page may be photocopied 18. Guiding Light 103

€V r
ˆ Š Š Š
3 Part 1*

V ŠŠ t .
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
Š tŠ . 
life, like a

Š
Part 2
( (
V ‰. Š Š ‰. r
no-thin’ left to fear when your love is near, I on-ly need to hear your voice, my dear. There’s
Part 3

V ‰. ŠŠ Š r r tŠ Š
guid - ing light,
Part 4

V . ŠŠ ŠŠ .. ŠŠ. r r #= ŠŠ ŠŠ ... ŠŠ r
guid - ing light, you’re my

ŠŠ
Dm7 # E7( 9)

..
{ .Š
B mp
Š Š. Š Š . Š .ue
Š.- Š Š Š Š. Š u Še.
-
€V r
Š Š Š ‰ Š Š Š
5

VŠŠ t . t .
star at night. In my

Š Š
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
( (
V ‰. Š Š. Še Š t ŠŠ
no-thin’ in the world that I’d ra-ther do than sit a-round and spend my life with you. There’s

Š
V ‰. ŠŠ Š r r tŠ Š
guid - - - ing ligh - - - hight, you’re my

uŠ Še.
guid - - - ing light, you’re my

V =ŠŠ ŠŠ ŠŠ b ŠŠ Š b ŠŠŠ ŠŠ ŠŠ ..
Am7 Fm(add4)/A b Gm11 C9(sus4) b
Em7( 5)

Š. Š .
{B Š Š .Š Š Š bŠ Š. =ŠbŠ Š. Š. u Š-e.
© Oxford University Press 2012

104 18. Guiding Light This page may be photocopied

19 Gonna Make a Wish
R ESO U RCES P CD1 track 19 (performance); CD2 track x (backing)
Information
Many classic 1960s pop tunes were heavily influenced by
the vocal inflections and forms of the gospel music of US
black churches. For this reason, pop, early R&B, gospel
jazz, soul, and Motown overlapped to a considerable
degree, with artists such as Ray Charles, Sam Cooke, and
Tina Turner paving the way for the likes of Elvis Presley
and the ‘queen of blue-eyed soul’, Dusty Springfield.
‘Gonna make a wish’ embodies the spirit of that gospel
soul style.
Presented here for lead voice and backing vocals (any
octave), the song would work equally well for SSAB or SAB
plus soloist.
Starting
1
Stand still in silence and become aware of tension in
your body. Release it as best you can. Feel your head
floating up and forward away from your body, and
swing your arms from side to side. Feel naturally tall,
without trying.
1
Next massage your own neck for a few seconds, and
then massage a friend’s. Shrug your shoulders, and find
the place where they float in a relaxed way, not too far
forward or back.
1
Once everyone’s relaxed, add some energy. To the
groove of the music, sway flexibly from side to side, as if
the top half of your body is disconnected from the
bottom. As you sway, take a deep, relaxed breath and
sing ‘Gonna make a wish’. Feel how the body
movement frees up your breathing apparatus and
connects the voice with the breath.
Teaching and rehearsing
1
Start by singing the first verse in unison to get the
overall shape. Take a moment to work on the tone
quality and vowel sound, especially for the low Bs.
1
Assign parts for verse 2. If using mixed voices on each
part, aim for approximately half the group singing the
lead line and half the backing vocals (divided into
three). Listen for balance and adjust as necessary.
1
Next focus on the final build-up from bar 37. Check
that ‘really’ becomes ‘really, really’ at the right time (on
cue at bar 39), and make the most of the interplay
between the parts. The ‘hoo!’s in the lead part are just a
bit of fun, so the tone can be less pretty and more
piercing.
1
Finally work on verse 3, after the key change. This
should build up considerable intensity, allowing the top
F in the lead part (bar 30) to be confident and soaring.
Ideas
1
To lengthen the arrangement (and give the singers a
break!), try repeating the form of the first two verses
with an instrumental solo replacing the voices.
Listen out
1
Are the words and rhythms coming across clearly at
tempo? Rehearse slowly to ensure clarity, and then try
singing faster than the given tempo to loosen things up.
When you go back to the original speed, the song
should feel relaxed but forward-moving.
1
Listen carefully to the key change. Does the group really
rise a complete semitone/half-step? If in doubt, invent a
warm-up where first one note and then a familiar
melody is sung twice––once at pitch and again up a
half-step.
1
The phrase ‘really can come true’ repeats many times
and needs care to ensure that the anticipation of the
beat on ‘true’ sounds relaxed. Encourage singers to
listen carefully to the piano part to help the groove to
lock in.
Performing
1
In the 1960s there was a certain formality to the
presentation of this type of song, especially on big TV
occasions. Smart dress is therefore to be encouraged,
ideally with glamour!
1
This song is ripe for a 60s-style dance routine. For
inspiration, look up old video clips featuring the Twist,
the Mashed Potato, the Watusi, or the Pony.
19. Gonna Make a Wish 107
 19 Gonna Make a Wish
> ^
Music and words: Charles Beale,
i = 168
# # # t ^ e t t ^ > ^
with additional words by David Major

V 4 r Š Š =Š Š. Še Š Š Š . Š Še Š Š =Š Š. Še Š ŠŠ ŠŠ .. ŠŠe .
# Š Š . Š
Sassy 1960s gospel soul
E A E
E A E

> >
4
^ ^ ^ ^
{ # 4 r Š Š f Š. f Š Š Š f Š Š. Še .
B# # # f .t
=Š Š Š Š Š Š t e =Š .
Š t Š Š
Piano

4
€V #### . t mf Š r q t
Še Š Š =Š Š Še Š Š =Š Š Š
5

Lead
[
( ( )

#
( )

# # p p
1. I’m gon-na make a wish, ’cos it - ’ll set me

V[ # . mp e e
r ŠŠ ŠŠ Š
2. I’m gon-na have a dream; gon-na scream and
2nd time only
1

# #
2

V[ # # . p r f fmpŠ Š Š Š Š p
Backing ( )
(2.) Gon-na have a dream;
vocals 2nd time only
3

# #
V # . r Š Š =Š Š. r ŠŠ ŠŠ .. ŠŠe r Š Š =Š Š.
#
( )
(2.) Gon-na have a dream;
E A E

. .
{ B# # # # . r Š Š =Š .
Š Š . Še Š. e Š. r Š Š =Š .
Š
Piano mf

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Š ŠŠŠ
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free! I’m gon-na tell the whole world who I want to be.

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shout! I’m gon-na tell the whole world what I dream a - bout.

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gon-na scream and shout! ah

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gon-na scream and shout! ah
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© Oxford University Press 2012

108 19. Gonna Make a Wish This page may be photocopied

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r ‰ Š ˆ
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Just be - lieve wish-ing makes the world brand new

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Just be - lieve dream-ing makes the world brand new

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What I dream a-bout. Just be - lieve dream-ing makes the world brand new

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What I dream a-bout. Just be - lieve dream-ing makes the world brand new

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And all your wish - es real - ly can come true.

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And all your wish - es real - ly can come true.

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© Oxford University Press 2012

This page may be photocopied 19. Gonna Make a Wish 109