Who Get The Guy chords/sheet music?

[spanisheyes]

I am a longtime reader of this forum. I am an admirer & collector of Bacharach's work and a musician myself...I consider myself a student of Burt's music. I am glad that Dionne's song Who Gets The Guy has been getting some attention recently...I agree that it's one of the, if not the pinnacle of Bacharach/David/Warwick...a masterpiece.

I have been looking for sheet music, or chords for this song, does anyone have an accurate transcription they could share? Also looking for sheet music for This Empty Place & more recent Bacharach compositions like What's In Goodbye, Love's The Answer.

Bye for now

[Hank]

Good to hear about your appreciation for Who Gets The Guy.
This is one of these songs that seems like just a piece of fluff....the lyrics are almost contrived, there is nothing stunning about the melody... but somehow the whole is, as you say - a masterpiece...
I too would love to get a hold of the chords. My Fm7 ...Cm7 noodling is just not cutting it...

[spanisheyes]

This song didn't grab me at first either. I think that's why it didn't do anything in the charts. But it's incredibly clever and rich musically and emotionally rewarding after a few listens. Dionne really takes it to another level with her phrasing, pauses, the bridge section, she is flawless on that one. There is tension on every line, in the bridge section, you feel like a sense of resolution but then again it takes another slight turn after that.

There was a recent article in the UK explaining how Bacharach purposely uses musical tools like change of rhythms, time signatures, pauses, chord embellishments to "manipulate" and create specific emotions within the listener. Which makes him an incredibly skilled composer, certainly ranking him with people like Ennio Morricone.

He knows exactly what musical device is going to bring in terms of emotions, feelings, which is why I guess he was always able to write from a non-personal point of view.I think he mentioned in an interview recently that very few of his love songs were inspired by his own experiences, if he needs to write a song, he just does it. I admire that, most songwriters need to feel strong emotions like heartbreak, love before finding inspiration to write anything. I am certainly that way.

[blueonblue]

The track in question, which I believe was Dionne's mother's favorite Bacharach/David song
performed by her daughter.
http://www.youtube.com/watch?v=CwrnmMYqt5s

"blue"

[BachtoBacharach]

The sheet music is available on e-bay from time to time.

[spanisheyes]

An extract from one of the best music blogs on the web. Certainly my favourite to check & read on daily basis!
http://theseconddisc.com/2013/06/03/wha ... bacharach/

"Another hidden gem given a reappraisal here is “Who Gets the Guy.” It may be the apotheosis of the Scepter years. The March 1971 A-side was her second-to-last single for the label and her final one written and produced by Bacharach and David. It barely made an impression on the charts (No. 57 Pop, No. 41 R&B) but touches on all of the elements that made their collaboration so special – musically, lyrically and vocally. “Who gets the guy at the end of the show?” Warwick asks, once again adopting the persona of someone done wrong in love. “I’d like to know…people say you have found another…Is it true what they say? When the picture’s over, will it be all over?” The strength and innate elegance of Warwick’s voice keeps her story from ever being maudlin, even when she later pleads “Tell me that the ending is a happy ending…” Hal David, in addition to ever-increasing the social awareness quotient in his lyrics (think “The Windows of the World’ or “Paper Mache”), gave mature voice to his protagonists in song, recognizing universal emotions in an elegant way. Bacharach, on “Who Gets the Guy,” employed his full range of recognizable orchestral colors. As with his best work, his arrangement is an integral part of the song’s very fabric: the rueful whistling that opens the song, the brass bleats that underscore the opening lines, the prevalent and varied horns that seem to comment on each lyric, the tack piano that lends an earthy feel, the organ that adds gravity. His melody lines had become even more fiendishly tricky to maneuver as the seventies dawned, but Warwick nonetheless glided effortlessly on extended phrases like “And that’s why I just keep listenin’ to the music to see if it’s happy or sad/Because if it’s happy that’s how I feel, and if it’s sad, well, that’s too bad for me…” It was too bad for all three parties that an era was almost over, but it was wonderfully encapsulated on this single – and singular – song."