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Youth Ministry

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Keith Osborne
Keith Osborne

Where Do I Begin Love Story Chords


(C) Romeo, take me somewhere we can be alone(G) I'll be waiting, all that's left to do is run(Am) You'll be the prince and I'll be the princess(F) It's a love story, (G) baby just say yes (C)




Where Do I Begin Love Story Chords


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(C) Romeo take me somewhere we can be alone(G) I'll be waiting, all there's left to do is run(Am) You'll be the prince and I'll be the princess(F) It's a love story (G) baby just say yes


(C) Romeo save me, they're trying to tell me how to feel(G) This love is difficult, but it's real(Am) Don't be afraid, we'll make it out of this mess(F) It's a love story, (G) baby just say yesOh, oh


(D) Marry me, Juliet, you'll never have to be alone(A) I love you and that's all I really knowI (Bm) talked to your dad, go pick out a white dress(G) It's a love story, (A) baby just say (D) yes


Once is an enchanting, modern love story about the complexities of relationships and the power of music to connect us all. It tells the story of an Irish musician and a Czech immigrant drawn together by their shared love of music. Their unexpected friendship and collaboration evolves into a powerful but complicated romance, heightened by the raw emotion of the songs they create together. Winner of 8 Tony Awards including Best Musical, this unique theatrical experience, with breathtaking melodies by Glen Hansard of the Irish band The Frames, will have you falling in love from the very first note.


...is a restless love story between two musicians, inspired by the writer's relationship with her pianist father. The film captures a period of burning aspiration and teenage rebellion as Jaqueline Archer, a young violinist, struggles to break away from the control of her concert pianist father, Lawrence. The music that accompanies her life symbolizes the patriarchal code from which she must be freed; she must find her own voice.


The love-triangle story has resonances with the 19th-century Gothic novel. It is the sexual element of romantic melodrama, though, that is given fuller expression in The Piano - something denied writers like Emily Bronte because of the constraints of the period in which she wrote.


Jane Campion uses fewer tricks, with her framing and composition in this, her third feature film. But at one point a dreamlike flash of animated flames makes an incongruous appearance. Nor do we get a convincing sense of place, of the relationships between the people and buildings of the New Zealand village and farm where the story unfolds.


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