Piano Sheets > Freddie Green Sheet Music > Corner Pocket (ver. 1) Piano Sheet

Corner Pocket (ver. 1) by Freddie Green - Piano Sheets and Free Sheet Music

  
About the Song
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)    Download this sheet!
About the Artist
Freddie Green (baptized Frederick William Green, March 31, 1911–March 1, 1987) was an American swing jazz guitarist. He was especially noted for his sophisticated rhythm guitar in big band settings, particularly for the Count Basie orchestra, where he was part of the "All-American Rhythm Section" with Basie on piano, Jo Jones on drums, and Walter Page on bass. He was born in Charleston, South Carolina on the 31st of March 1911. He was exposed to music from an early age, and learned the banjo before picking up the guitar in his early teenage years. A friend of his father by the name of Sam Walker taught a young Freddie to read music, and keenly encouraged him to keep up his guitar playing. Walker gave Freddie what was perhaps his first gig, playing with a local community group with whom Walker was an organizer. Interestingly, another member of the group was a young William "Cat" Anderson, who went on to become an established trumpeter, working with notable figures such as Duke Ellington. It was around this time that Green's parents died, and he moved to New York to live with his aunt and continue his education. The move opened up a new musical world to Freddie. While still in his teens, he began to play around the clubs of the city, earning money and a reputation. In one of these gigs, he was noticed by the legendary talent scout John H. Hammond, who realized the potential of Green and introduced him to Basie. In 1937, Basie and his ensemble went to one of Green's gigs on the advice of an associate. Basie was an immediate fan, and approached Green with a job offer, which he accepted. Except for a brief interruption, Freddie Green would remain a pivotal fixture of the Count Basie Band for the next fifty years.
Click here if the video doesn't work
Random article
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)