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Elvira (ver. 1) by Oak Ridge Boys - Piano Sheets and Free Sheet Music

  
About the Song
"Elvira" is a song written by Dallas Frazier. Originally recorded and released by Kenny Rogers and the First Edition, the song later became a famous country and pop hit by The Oak Ridge Boys. A Number One hit on the Billboard country music charts, The Oak Ridge Boys' version is considered one of their signature songs. Songwriter Dallas Frazier penned "Elvira" in 1966 and included it as the title track of an album he released that year. A number of recording artists, most notably Kenny Rogers and the First Edition, recorded the song through the years, to varying degrees of success. In 1978, alternative country recording artist Rodney Crowell recorded his cover of "Elvira," which became a very minor hit that year. However, Crowell's version did have its fans — most notably, The Oak Ridge Boys. In 1980, when the band began planning for their upcoming album Fancy Free, they decided to cover.    Download this sheet!
About the Artist
The Oak Ridge Boys is a country and gospel group that is based in the United States. The group was founded in 1945 as the Oak Ridge Quartet. They became popular during the 1950s. Their name was changed to the Oak Ridge Boys in the early 1960s, and they remained a gospel-oriented group until the mid 1970s, when they changed their image and concentrated more on country and pop music. The band's current lineup consists of lead singer and second tenor Duane Allen, baritone William Lee Golden, tenor Joe Bonsall, and bass Richard Sterban. The core group that would eventually lead to the Oak Ridge Boys first recorded together in 1943 as Wally Fowler and the Georgia Clodhoppers. When Wally Fowler decided to focus on gospel music, he formed the Oak Ridge Quartet with himself, Lon "Deacon" Freeman, Curly Kinsey, and Johnny New. In 1949 the other three men split from Fowler to form a new group and Fowler hired an existing group, the Calvary Quartet, to re-form the Oak Ridge Quartet. In 1957, Fowler sold the rights to the "Oak Ridge Quartet" name to group member Smitty Gatlin in exchange for forgiveness of a debt. As a result of more personnel changes, the group.
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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...)