Toward the end of his lecture on register in popular songs from c1900-1950, Michael Buchler summarizes his main points as a list of "Some Suggestions." For information on the lecture, see my post from 16 March: link.
The fifth of his suggestions is: "Embrace a broader notion of obligatory register. The upper register is the most likely space for closure in certain types of music- especially vocal music." An extended segment of the talk--starting at 27:00 and going to 35:00--is given over to this, the songs being "Oh, What A Beautiful Mornin'" from Oklahoma! (1943) and "It's Been A Long, Long Time" by Jule Styne (music) and Sammy Cahn (lyrics) 1945.
Here are four more with written-out alternative high-register endings:
C. K. Harris, "Just Behind the Times" (1896). Copy uploaded to IMSLP from the University of Wisconsin Libraries.
Richard Whiting, "Throw Me a Kiss (From Over the Sea)" (1917). Copy uploaded to IMSLP from the Ohio State University Libraries.
Egbert van Alstyne, "Because You're Irish" (1917). Digital copy from the Library of the University of Maine.
H. M. Tennent, "Tomorrow Morning" (1926).
Harris's "Just Behind the Times" comes from fairly early in his career, and that's obvious from the old-style (and low-quality) print. But the performance practice of ending high is clearly taken for granted (as it probably was on the musical stage much earlier in the 19th century).
Richard Whiting, "Throw Me a Kiss (From Over the Sea)" (1917).
Egbert van Alstyne, "Because You're Irish" (1917) digital copy from the Library of the University of Maine. This and Tennent's "Tomorrow Morning" are remarkable for their fully written-out upper-register endings.
H. M. Tennent, "Tomorrow Morning" (1926).
