Piano Sheets > Moe Koffman Sheet Music > Swingin' Shep Herd Blues (ver. 2) Piano Sheet

Swingin' Shep Herd Blues (ver. 2) by Moe Koffman - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
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
Moe Koffman (December 28, 1928-March 28, 2001) was a Canadian jazz musician and composer. He played the flute, soprano, alto and tenor saxophone and clarinet. Although some jazz purists did not appreciate his sensitivity to popular tastes, his ability to adapt to changing styles reflected his technical skill as a musician and diverse musical interests. He was born Morris Koffman in Toronto in 1928. He attended the Toronto Conservatory of Music, now the Royal Conservatory of Music of Toronto, but later dropped out of school to perform in dance bands. In 1950, he moved to the United States, where he played with big bands including those of Sonny Dunham and Jimmy Dorsey. In 1955, he returned to Toronto where he formed a quartet and later a quintet. He recorded Swinging Shepherd Blues in 1958 which helped establish his reputation as a flutist and ranked him alongside Herbie Mann and Yusef Lateef and later Jeremy Steig as great influential jazz flute players. Koffman was inspired by Rahsaan Roland Kirk to play multiple instruments at once; and had a modified set of straps to hold a tenor and an alto saxophone so that he could put forward incredible chords and improvise at the same time. One of the more famous session musicians in Toronto, he appeared in countless commercials, background music, and film and tv soundtracks. Most work on bass flute in Canadian soundtracks from 1950 to 1990 in Toronto sessions was done by Koffman on this rare instrument. Koffman was also an exponent of circular breathing techniques for his large volumes of sound, and joined fellow Canadian Maynard Ferguson and new age multi-instrumentalist musician Ron Allen in this talent. During the 1970s, Koffman recorded several popular albums with arrangements of works by classical composers including Bach, Mozart and Vivaldi. He also was a guest performer with a number of symphony orchestras across Canada. He performed with Dizzy Gillespie and Peter Appleyard during the 1980s. He often performed with Rob McConnell's Boss Brass. From 1956 to 1990, Koffman booked performers for George's Spaghetti House in Toronto, where he performed weekly. His compositions "Curried Soul" and "Koff Drops" have been used as the opening and closing themes respectively for the CBC radio show As It Happens for over 30 years, and are consequently probably his best-known recordings. Koffman died of cancer in Orangeville, Ontario in 2001 at the age of 72. He had been diagnosed with non-Hodgkin's lymphoma about a year earlier. Some of his music for Duke Street Records remains unreleased; however Music for the Night was released and re-issued in 2007, and Devil's Brew will be re-issued in 2009. He was appointed to the Order of Canada in 1993 and inducted into the Canadian Music Hall of Fame in 1997. In 2002, Moe Koffman was a MasterWorks honouree (video clip) by the Audio-Visual Preservation Trust of Canada.
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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...)