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Ain't She Sweet (ver. 1) by Jack Yellen - Piano Sheets and Free Sheet Music

  
About the Song
"Ain't She Sweet" is a song composed by Milton Ager (music) and Jack Yellen (lyrics) and published in 1927 by Edwin H. Morris & Co., Inc./Warner Bros., Inc. It became popular in the first half of the twentieth century, one of the smash hit songs that typified the Roaring Twenties. Like "Happy Days Are Here Again" (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were elected to membership in the Songwriters Hall of Fame. Milton Ager wrote "Ain't She Sweet" for his daughter Shana Ager, who later grew up and became Shana Alexander, a political commentator. Jack Selig Yellen (Jacek JeleÅ„) (July 6, 1892 - April 17, 1991) was a Jewish-American lyricist and screenwriter. Born in Poland, Yellen emigrated with his family to the United States when he was five years old. He grew up in Buffalo, New York and began writing songs in high school. He graduated with honors from the University.    Download this sheet!
About the Artist
Jack Selig Yellen (Jacek Jeleń) (July 6, 1892 - April 17, 1991) was a Jewish-American lyricist and screenwriter. Born in Poland, Yellen emigrated with his family to the United States when he was five years old. He grew up in Buffalo, New York and began writing songs in high school. He graduated with honors from the University of Michigan in 1913 and after graduating became a reporter for the Buffalo Courier, continuing to write songs on the side. Yellen's first collaborator on a song was George L. Cobb, with whom he wrote a number of Dixie songs including "Alabama Jubilee," "Are You From Dixie?," and "All Aboard for Dixieland." He is best remembered for his collaboration with composer Milton Ager. He and Ager entered the music publishing business as part owners of the Ager-Yellen-Bernstein Music Company. Yellen also worked with many other composers such as Sammy Fain and Harold Arlen. Yellen's collaboration with vaudeville star, Sophie Tucker, for whom he was retained to write special material, produced one of Tucker's most well known songs, "My Yiddishe Momme," a song in English with some Yiddish text. Yellen wrote the lyrics which were set to.
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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...)