With this piano sheet music, you can play ?Baby, It?s Cold Outside? on piano!

The famous duet "Baby, It's Cold Outside" was written in 1944 by Frank Loesser, who regularly performed the song at celebrity parties with his wife, Lynn Garland.

In 1949, the song appeared in the film "Neptune's Daughter", and won an Academy Award for Best Original Song!

The song is clearly winter-themed (talking about the blizzard outside!), but it doesn?t mention anything holiday-related. Anyway, the song is generally considered a Christmas song.

Of course, the song has been covered by countless artists since the 40s.

Some of the most memorable recordings include such fantastic duos as Louis Armstrong and Velma Middleton, Ray Charles and Betty Carter, Rod Stewart and Dolly Parton, Idina Menzel and Michael Bubl�, Cee Lo Green and Christina Aguilera, Lady Gaga and Joseph Gordon-Levitt, Seth MacFarlane and Sara Bareilles!

?Baby, It?s Cold Outside? also appeared in an episode of Glee (?A Very Glee Christmas?, Season 2, Episode 10), where it is performed by members of the Glee Cast (Blaine Anderson/Darren Criss and Kurt Hummel/Chris Colfer).

Time for you to play it!

These piano sheets come with seperate systems for the two singers, so you?ll always have an easy oversight who?s singing when. Of course, the full lyrics and chords are included as well.

You can use these piano sheets to play the song for yourself on piano, accompany singers, or sing along yourself!

Listen to the full arrangement here: https://youtu.be/Y5gtxqT_Ewo

Here are the full lyrics to ?Baby, It?s Cold Outside?:

[VERSE 1]

I really can't stay (but baby, it's cold outside)

I've got to go away (but baby, it's cold outside)

This evening has been (been hoping that you'd drop in)

So very nice (i'll hold your hands, they're just like ice)

My mother will start to worry (beautiful what's your hurry?)

My father will be pacing the floor (listen to the fireplace roar)

So really I'd better scurry (beautiful please don't hurry)

But maybe just a half a drink more (put some records on while I pour)

The neighbors might think (baby, it's bad out there)

Say what's in this drink? (no cabs to be had out there)

I wish I knew how (your eyes are like starlight now)

To break this spell (i'll take your hat, your hair looks swell)

I ought to say, no, no, no sir (mind if I move in closer?)

At least I'm gonna say that I tried (what's the sense in hurtin' my pride?)

I really can't stay (oh baby don't hold out)

But baby, it's cold outside

[VERSE 2]

I simply must go (but baby, it's cold outside)

The answer is no (but baby, it's cold outside)

Your welcome has been(how lucky that you dropped in)

So nice and warm (look out the window at this dawn)

My sister will be suspicious (gosh your lips look delicious)

My brother will be there at the door (waves upon the tropical shore)

My maiden aunts mind is vicious (gosh your lips are delicious)

But maybe just a cigarette more (never such a blizzard before)

I've gotta get home(but baby, you'd freeze out there)

Say lend me a coat(it's up to your knees out there)

You've really been grand (i thrill when you touch my hand)

But don't you see? (how can you do this thing to me?)

There's bound to be talk tomorrow (think of my lifelong sorrow)

At least there will be plenty implied (if you got pnuemonia and died)

I really can't stay (get over that old out)

Baby, it's cold outside

German.

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner?s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON N�RNBERG ?Die Meistersinger von N�rnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera?s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche?s publication \"Jenseits von Gut und B�se\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ?magnificent, ornate and ponderous art? and Wagner?s music in general as being ?rough and coarse?. This music according to Nietzsche possesses ?no trace of the fine southern clarity of the sky and nothing of grace?, but instead ?a cumbersome garb, with a touch of licentious barbarism and solemnity? and ?even a certain degree of ungainliness?. Nietzsche?s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, S�mtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott?s S�hne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. [?] When the saying ?the music sets the tone? is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.? (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).