Piano Sheets > Joey Scarbury Sheet Music > Believe It Or Not (ver. 1) Piano Sheet

Believe It Or Not (ver. 1) by Joey Scarbury - 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
Joey Scarbury (born June 7, 1955) is an adult contemporary singer best known for his hit song, "Theme from The Greatest American Hero (Believe It or Not)", in 1981. Growing up in Thousand Oaks, California, Scarbury was continually encouraged in his ambition to sing by his mother. At the age of 14, after being spotted by songwriter Jimmy Webb's father, he was signed to a recording contract, and seemed to be destined for stardom. Scarbury's first single, "She Never Smiles Anymore," flopped, and he was soon without a record label. Scarbury, undaunted by what happened, stayed in music up through the 1970s singing backup for artists like Loretta Lynn, and occasionally recording his own material. Although he had a minor chart single with "Mixed Up Guy" in 1971, real chart success eluded him for the rest of the decade. This was to change when he started working for record producer and composer Mike Post. Post was hired along with Stephen Geyer to write the theme tune for a new TV series dubbed The Greatest American Hero, about a high school teacher who comes into possession of a superhero outfit, and Scarbury was chosen to record it. An extended version of the song (3:15 compared to the television theme's minute-long length), released by Elektra Records, shot up to #2 on the Billboard Hot 100. Scarbury could not follow it up however, and after charting at #49 with the single "When She Dances", Scarbury disappeared again from the charts. Scarbury went on to work with Post again in the mid 1980s to record the song "Back to Back", for the television series Hardcastle and McCormick and teamed up with Desiree Goyette to record "Flashbeagle" for the Peanuts special It's Flashbeagle, Charlie Brown. In 1990, Scarbury found success again as a songwriter. This time, his co-written song "No Matter How High I Get" was recorded by the Oak Ridge Boys and was a top 10 country music hit. His co-writer on this song was Even Stevens who previously had found success with co-writing songs for country star Eddie Rabbitt, as well as the Kenny Rogers hit "Love Will Turn You Around" from the motion picture Six Pack. His hit song from The Greatest American Hero appeared in Michael Moore's film Fahrenheit 9/11 on the scene when President George W. Bush declares the Iraq Mission Accomplished. As of 10/17/08, Joey is back on the radio after a long absence. His current single "How Do You Sleep At Night" released on Golden Records has broken the top 40 and is currently #48 on the Music Row secondary radio chart.
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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...)