Song. Sung in Italian. XVIIth century. Joyful & carefree. Male voice, Song. Sung in Italian. XVIIth century. Joyful & carefree. Male voice, mandolins, acoustic guitar & tambourin.歌词
Italianol coracino, che andava per mare, venne voglia di sposarsi. si fece un bel vestito di scaglie di spine pulito pulito con una parrucca tutta piena di rimasugli avvolti, con il colletto, fazzoletto da collo e polsini di seta inglese molto fine.
Con i calzoni di reti di fondo, scarpe e calze di pelle di tonno e mantella e mantellina di alghe e peli di bue marino, con bottoni e bottoniera di occhi di polipo, seppie e coregoni bianchi * fibbie, spada e fiocchi dorati di nero di seppia e fette di occhiata
Due belle catene di polmone di conchiglie, un capello elegante di codini di luccio salato. tutto inamidato** e ben stirato faceva il fighetto, girava di quà e di là per trovarsi la fidanzata
La Sardina, al balcone stava suonando il colascione*** e a suono di trombetta, cantava questa arietta: "O larello o marellena e la figlia della zia Lena ha lasciato il fidanzato perché niente glia ha regalato!"
Il Guarracino che la guardò della Sardina si innamorò, se ne andò dalla Bavosa. la più vecchia maliziosa. le diede una bella mancia per mandarle un messaggio. La bavosa, pissi pissi chiaro e tondo glielo disse.
Nel sentirla la Sardella rossa rossa si fecce, per la vergogna che la prese sotto uno scoglio si infilò, ma la vecchia Bavosa subito disse: "Ah, schizzinosa! In questa maniera non trovi partito in gola ti resta il marito".
Se hai voglia di accasarti tante smorfie non le devi fare, fuori la galanteria e via la timidezza, anima e cuore e faccia tosta". Ciò sentendo la zia Sardina s'affacciò alla finestrella e fece un occhiolino d'intesa allo speranzoso innamoratino.
Ma la Patella che stava appostata la chiamò faccia tosta, traditrice, svergognata, senza parola e malnata perché aveva piantato l'Alletterato, primo e antico fidanzato di carriera da questo andò e ogni cosa gli disse.
Quando la sentì il poveretto se lo prese un demonio andò a casa, s'armò di rasoio, si caricò come un mulo di fucili, di spingarde, polvere, palle, stoppa e schegge; quattro pistole e tre baionette in tasca si mise.
Sulle spalle settanta colubrine, ottanta bombe e novanta cannoni e come un guappo paladino andava cercando il coracino. La sfortuna vuole che in mezzo la piazza lo incontrò l'afferra per il cravattino e poi gli dice: "Ah malandrino!
Tu mi rubi la fidanzata e prenditela questa bastonata". Tuffete e taffete, a milioni, gli dava schiaffi e colpi alla gola, schiaffi, pugni e scappellotti, scappoloni, fecozze**** e percosse alla nuca, scapaccioni e pugni al volto e gli ammaccò ossa e cartilagini.
Succede che al rumore parenti e amici uscirono fuori, chi con mazze, coltelli e coltellini, chi con spade,spadoni e spadini quello con sbarre, questo con spiedi chi con mandorle e chi con nocciole, chi con tenaglie e chi con martelli chi con torroni e susamielli *****
Padri, figli, mariti e mogli si azzuffarono come fiere e milioni accorrevano a frotte, i pesci di questa e di quella fazione Quante ne vedesti di sarde e di alose di palamiti e sogliole e razze chiodate, saraghi, dentici e occhiate, sgombri, tonni e alletterati.
Pesci palombo e rane pescatrici, scorfani, cernie e alici, pastinace, seriole, musdee e ghiozzi rasposi, lecce stelle, lucci e storioni, merluzzi, gronghi e murene, capodogli, orche e balene, capitoni, aguglie e aringhe, cefali, caponi lira, tracine e cernie dorate.
Triglie, torpedini occhiute, trote e tonni, musdee, cepole, latterini e zerri, polipi, seppie e calamari, pesci spada e stelle di mare pesci palombo e pesci martello bocche d'oro e gianchetti, seppioline e coracini cannolicchi, ostriche e ricci di mare.
Vongole, cuori eduli e patelie pescecani e granchietti tordi marvizzi, marmore e bavose, boghe, vedove e spose, spigole, spondili, serpenti e salpe, scalze con gli zoccoli o con le scarpe, murici, gamberi e aragoste vennero perfino con le diligenze.
Capitoni, sauri e anguille, pesci grossi o piccoli, d'ogni ceto e nazione. Piccolini, piccoli, più grandi e grandissimi! Quante botte, mamma mia! Che si davano. Non sia mai! A centinaia le bastonate! A milioni le pietrate!.
Morsi e pizzicotti a bilioni! A pioggia i colpi alla gola! Non vi dico che fuoco vivo si faceva per ogni luogo. Te, te, ttè, qua pistolettate, ta, ta, ttà, là schioppettate tu, tu, ttù, qua le colubrine, bu, bu, bbù, là i cannoni.
Ma di cantare sono già stanco e ora mi manca il fiato, perciò, datemi licenza grazioso e bel pubblico. Fate che beva una mezza di "seje"******, alla salute di lui e di lei, altrimenti mi si secca il gargarozzo, svuotandosi il polmone.
English
The chromis that swam in the sea he decided to marry. He made a nice suit From the sharp scale, very neat. He' put on a curly wig Strewed with small cockle-shell, A collar, a shawl on a neck and cuffs made of english silk, very thin.
Trousers from a net, Boots and socks from a skin of tunny, A cloak and a cape From algae and bristle of a dugong, With buttons and press-buttons From eyes of octopus, cuttlefish and vendace, Buckles, a sword and gilded bands From ink of cuttle and a bile of saddle bream.
Two beautiful chains From cockle-shells, An elegant hat From tails of ling. Everything is starched and ironed, He seemed like a dandy. He swam here and there To find a bride.
A sardine stood on her balcony, Playing the lute; And hearing a sound of trumpet, She sang a song: "Oh, sea, sea, A daughter of my aunt Lena Left his fiance Because he gave nothing to her!"
The chromis saw her And felt in love with sardine. went away to a blenny Grumbling old fish. He gave her money To send a message to sardine. The blenny, in a whisper, Told it to her clearly.
Hearing this message, The sardine was blushed. From the shyness She hided under a rock. But old blenny told her: "Ah, fastidious! In this way you'll not find a fiance And remain without husband.
If you want to marry, You don't have to make difficulties! Forward the courtesy 1 and away the shyness! Be with the kind heart and soul!" Listening to an aunt, the sardine looked out from window And winked in consent At the lover, full with hopes.
But the patella that stood beside, called her "Impudent, Traitress, shameless, Not keeping word and rude", Because she had left the tunny, Her first fiance. She went away from him so fast And told him many things.
When poor tunny heard it, He was possessed by demon. He went to home, armed himself with knife, He loaded himself like a mule With guns, springalds, Powders, bullets, tows and gun tubes. Four pistols and three bayonets, He put them in his pocket.
On his shoulders there were seventy muskets, Eighty bombs and ninety cannons And like a cruel knight He came search the chromis. The misfortune wanted so, And in the middle of square the tunny found him, Has seized him by the collar And told him: "Ah, villain!
You've stolen my bride, Take this blow!" Million punches, He slapped him in the face. Slaps in face, clips on the back of head, Stabs, bumps, punches on head, Kicks, punches on face, He broke to pieces his bones and cartilages.
The noise was risen, Relatives and friends came out. Who with maces, knives and clasp-knives, Who with swords, rapiers and sabres. That came with girders, this came with spears, Who with almonds and who with nuts, Who with nippers and who with hammers, Who with turrons and susamielli 2.
Fathers, children, husbands and wives Fighted like the beasts. Millions gathered in throng, Fishes of two sides. How many sardines one could see, How many shads, plaices and various rays, Crucians, dentexes and saddle breams, Mackerels, tunnies and tunas.
Houndsharks and sea-devils, Scorpionfish, dusky groupers and anchovies, Stingrays, amberjacks, cods and gobies, Pompanos, barracudas and sturgeons, Hakes, congers and morays, Cachalots, killer whales and whales, Eels, garfishes and herrings, Mullets, gurnards, weeverfishes and tenches.
Surmullets, electric rays, trouts and tunnies, Pomfrets, bandfishes, sand-smelts, picarels, Octopuses, cuttlefishes and squids, Swordfishes and starfishes, Houndsharks and hammerhead sharks, Shade-fishes and sand eels, Octopuses and chromises, Sword razors, oysters and sea urchins.
Carpet shells, cockles and sea snails, Sharks and crabs, Wrasses, sea breams and blennies, Bogues, widows and married, Seabasses, sea daces, snakes, salema porgies, Barefooted, with heels or with boots, Sea snails, shrimps and spine lobsters, Everybody came with the diligence.
Eels, horse-mackerels and grigs, Small and big fishes Of every estate and nation, Small, big and biggest. How many punches, mama mia, They have made. Horror! Thousands punches with stick, Millions punches with stone!
Billions bites and tweaks, A hail of punches to neck. I cannot tell you what live fire burned everywhere. Te - te - ttè, here a wound from pistols, Ta - ta - ttà, there from guns, Tu - tu - ttù, here from muskets, Bu - bu - bbù, there from cannons. But I'm tired already sing about it And now I'm short of breathing. Therefore give me a respite, Dear and nice public! Let's drink a half glass Health of him and her, Otherwise my throat will be dry parched, The lungs will be empty.
Song. Sung in Italian. 80's. Tragicomic & jazzy. Male voice, piano, Song. Sung in Italian. 80's. Tragicomic & jazzy. Male voice, piano, brass & rhythm.歌词
ItalianoCo-sì, Cosi mi ha lasciato solo, Una mattina quasi normale Dopo il caffè.
Cosi, mi ha lasciato il cane e il pesce rosso, La pila di panni sporchi,
E i piatti da risciacquare.
Amore, non capirò mai, Quello che in me non va,
Cosa ho fatto di male,
Le donne, sempre si giocan di me,
Maledizione! Le donne,
Tutte da me, vanno via.
Così, Così mentre leggevo il giornale,
S'è fatta la valigia e ciao
Non l’ho vista più.
Così, Con passo svelto e leggero è fuggita
Un passo che mi diceva:
La cucina falla tu!
Français
Comme ça Comme ça elle m’a laissé seul, Un matin presque normal Après le café. Comme ça, elle m’a laissé le chien et le poisson rouge, La pile de linge sale, Et la vaisselle à faire.
Comme ça, Comme ça pendant que je lisais le journal, Elle a fait sa valise et ciao Je ne l’ai plus revue. Comme ça, D’un pas rapide et léger elle a disparu Un pas qui me disait : La cuisine fais-la toi-même !
Mon amour, je ne comprendrai jamais, Ce qui ne va pas Ce que j’ai fait de mal, Les femmes, se jouent toujours de moi, Malédiction ! Les femmes, S’éloignent toutes de moi.
English
Just like that, Just like that, she left me alone An almost ordinary morning After the coffee Just like that, She left me the dog and the goldfish The pile of dirty laundry And the washing up to do Just like that,
Just like that, Just like that, while I was reading the paper She packed her bag and ciao! I never saw her again. Just like that, With a quick and silent footstep, she disappeared A footstep saying to me: Do your own cooking.
My love, I’ll never understand What’s the matter What did I do wrong, Women scorn me A curse! Women, All get out of my way.
Song. Sung in Italian. 60's. Twist. Determined & dancing. Male voice, Song. Sung in Italian. 60's. Twist. Determined & dancing. Male voice, alto sax, electric guitar, female back-ups & rhythm.歌词
Italiano
Tutti giorni in questa strada,
alle sette ogni mattina,
il cuor turbato ma son pronto ad aspettare, un po’ nervoso,
questa ragazza camminando,
vedo passar davanti a me,
mi sembra un angelo caduto
solo per me.
Con tua pelle d'oro,
tuoi capelli di grano, e tuoi occhi d'azzurro,
tu sei, tu sei,
Con tua pelle d'oro,
tuoi capelli d’ebano di grano, e tuoi occhi d'azzuro,
tu sei, tu sei,
oh tu sei mi-o cie-lo.
Un lunedì dal cielo grigio,
vidi una stella nel tuo sguardo,
un enigma il tuo sorriso sulle tue labbra di velluto
il cuore mi suonò il tamburo,
ma presto lo sentii spezzare,
quando capii ché questa fiamma
bruciava, ma non per me.
Français
Tous les jours dans cette rue A sept heure tous les matins Le cœur troublé mais prêt à attendre un peu nerveux Cette fille qui avance, Que je vois passer devant moi, Et qui me semble être un ange tombé du ciel Seulement pour moi
Avec ta peau dorée Tes cheveux de blé Et tes yeux bleus Tu es, tu es, Avec ta peau dorée Tes cheveux de blé Et tes yeux bleus Tu es mon ciel
Un lundi de ciel gris Je vis une étoile dans ton regard Sur tes lèvres de velours Ton sourire était une énigme Mon cœur se mit à battre Mais très vite il se brisa
Quand je compris que cette flamme Brûlait Mais pas pour moi
English
Every day in this street At seven o’clock each morning The heart troubled but ready to way a little anxiously For this girl to go by She walks in front of me And seems to me like an angel Fallen from the sky Just for me
With your skin of gold And your hair of silk And your azure eyes You are you are Oh! you are my heaven
One Monday beneath a grey sky I saw a star in your eyes On your velvet lips Your smile was an enigma My heart began to beat But was quickly broken When I realized that this flame Was burning But not for me.
Positive, dreamy, hopeful. Delicate, heartfelt piano with bright, Positive, dreamy, hopeful. Delicate, heartfelt piano with bright, hypnotic synths and high string sustain. Light, relaxed, ethereal and emotive cue which drifts with a wondrous, meditative, spiritual feel.
Positive, dreamy, hopeful. Delicate, heartfelt piano with bright, Positive, dreamy, hopeful. Delicate, heartfelt piano with bright, hypnotic synths and high string sustain. Light, relaxed, ethereal and emotive cue which drifts with a wondrous, meditative, spiritual feel.
Dreamy, hopeful, wondrous. Bright synths with glimmering synth Dreamy, hopeful, wondrous. Bright synths with glimmering synth atmospheres and subtle vocal textures drift hypnotically. Inspiring and delicate bed with a sense of peace and meditative spirituality. Uplifting, positive and warm with distant, poignant piano.
Dreamy, hopeful, wondrous. Bright synths with glimmering synth Dreamy, hopeful, wondrous. Bright synths with glimmering synth atmospheres and subtle vocal textures drift hypnotically. Inspiring and delicate bed with a sense of peace and meditative spirituality. Uplifting, positive and warm with distant, poignant piano.
Dark, bleak, expansive. Atmospheric and ethereal flute with long, Dark, bleak, expansive. Atmospheric and ethereal flute with long, reverberating fade is joined by brooding synth swells and glistening, tinkling textures. Haunting, discordant strings ebb and flow with cold, eerie electronic elements. Uneasy, sparse and mysterious contemporary electronica.
Propulsive, evolving, hypnotic. Sparse intro of dramatic Propulsive, evolving, hypnotic. Sparse intro of dramatic reverberating mallet hits builds with driving piano melodies, ticking electronic beats and buzzing synth swells. Layers of repeating melodic patterns form an energetic cue which evolves through sections of determination, to those of suspense and uneasy, unsettling discordance with guitar riffs. Contemporary and atmospheric electronica.
Insidious, menacing & under pressure. Electric guitar, strings, Insidious, menacing & under pressure. Electric guitar, strings, electronics & obstinate rhythm.
Narrative, black & subterranean. Treated strings, electronics & Narrative, black & subterranean. Treated strings, electronics & percussion with an important reverb fx. Suggested for crime scenes.
Alternate without percussion. Narrative, black & subterranean. Alternate without percussion. Narrative, black & subterranean. Treated pizzicato strings, electronics & cymbals with reverb fx.
Garage rock / grunge / indie rock / action movie. Imposing, heavy & Garage rock / grunge / indie rock / action movie. Imposing, heavy & vigorous. Rock band.
Upbeat country & western love song about love betrayed. Male singer, Upbeat country & western love song about love betrayed. Male singer, rhythm section, pedal steel & electric guitar lead @ 1'20.歌词
FOOL # 1
CHORUS Am I fool number 1 Or am I fool number 2 Tell me how many fools have been fooled by you Now that it’s over, tell me the truth If you’re the queen of heartaches, Am I your number 1 fool?
VERSE I spent so much time gettin’ hurt in this race I don’t want to end up in second place
CHORUS Am I fool number one Or am I fool number two Tell me how many fools have been fooled by you Now that it’s over, tell me the truth If you’re the queen of heartaches, Am I your number one fool?
Instrumental break
VERSE Set ‘em up Joe, and we’ll knock ‘em on down To the potential number one fool in town
CHORUS Am I fool number one Or am I fool number two Tell me how many fools have been fooled by you Now that it’s over, tell me the truth If you’re the queen of heartaches, Am I your number one fool? If you’re the queen of heartaches, Am I the number one fool?
Underscore. Upbeat country & western typical cue..Rhythm section, Underscore. Upbeat country & western typical cue..Rhythm section, pedal steel & electric guitar lead @ 1'20.
Sad, emotional & rigorous. Piano arpeggio & viola @ 0'18. Builds up Sad, emotional & rigorous. Piano arpeggio & viola @ 0'18. Builds up gradually @ 1'21 with staccato strings until a fatal ending.
Alternate without percussion. Sad, emotional & serious. Piano Alternate without percussion. Sad, emotional & serious. Piano arpeggio & viola @ 0'18. Builds up gradually @ 1'21 with staccato strings until a fatal ending.
Expansive, rousing, organic. Mysterious bowed esraj strings with Expansive, rousing, organic. Mysterious bowed esraj strings with hopeful piano, atmospheric flute, delicate percussion, magical harp textures and emotive strings. Cinematic and rousing Indian orchestral cue with an epic, inspiring, emotive and panoramic feel.
Expansive, rousing, organic. Mysterious bowed esraj strings with Expansive, rousing, organic. Mysterious bowed esraj strings with hopeful piano, magical harp textures and emotive strings. Cinematic and rousing Indian orchestral cue with an epic, inspiring, emotive and panoramic feel. Stripped back underscore version.
Expansive, rousing, organic. Mysterious bowed esraj strings with Expansive, rousing, organic. Mysterious bowed esraj strings with hopeful piano, atmospheric flute, delicate percussion, magical harp textures and emotive strings. Cinematic and rousing Indian orchestral cue with an epic, inspiring, emotive and panoramic feel.
