Piano Sheets > Howard Ashman Sheet Music > Once Upon A Dream In New York City (ver. 1) Piano Sheet

Once Upon A Dream In New York City (ver. 1) by Howard Ashman - 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
Howard Ashman (May 17, 1950 - March 14, 1991) was an American playwright and movie music lyricist. Ashman first studied at Boston University and Goddard College (with a stop at Tufts University's Summer Theater) and then went on to achieve his master's degree from Indiana University in 1974. He collaborated with Alan Menken on several films, notably animated features for Disney, Ashman writing the lyrics and Menken composing the scores. Ashman was born Howard Elliott Ashman into a Jewish family in Baltimore, Maryland and was the artistic director of the WPA Theater in New York. His play, The Confirmation, was produced in 1979 at Princeton's McCarter Theater and starred Herschel Bernardi. He first worked with Alan Menken on a 1979 musical adapted from Kurt Vonnegut's God Bless You, Mr. Rosewater. They also collaborated on Little Shop of Horrors with Ashman as director, lyricist, and librettist. Ashman was director, lyricist and bookwriter for the 1986 Broadway musical, Smile (music by Marvin Hamlisch). Also in 1986, Ashman wrote the screenplay for the Frank Oz directed film adaptation of his musical, Little Shop of Horrors (film), as well as contributing the lyrics for two new songs, "Some Fun Now" and "Mean Green Mother From Outer Space," the latter of which received an Academy Award nomination. Along with Menken, Ashman was the co-recipient of two Grammy Awards, two Golden Globes and two Oscars. His second Academy Award in 1992 was awarded posthumously for Best Song and was accepted by his partner, Bill Lauch. He succumbed to complications from AIDS at the age of 40 in New York City (some sources say Los Angeles, California) during the making of both Beauty and the Beast and Aladdin. Ashman and Menken had finished the songs for Beauty and the Beast and 11 songs intended for Aladdin, although only three were featured in the finished film ("Arabian Nights", "Friend Like Me", and "Prince Ali"). Tim Rice was brought in to finish the Aladdin songs with Menken. He was posthumously named a Disney Legend in 2001. Beauty and the Beast was dedicated to him, "To our Friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful. Howard Ashman 1950-1991" An album of Ashman singing his own work entitled Howard Sings Ashman was released on November 11, 2008 by PS Classics as part of the Library of Congress' "Songwriter Series." His interment was located at Oheb Shalom Memorial Park in Baltimore.
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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...)