Piano Sheets > Hoyt Axton Sheet Music > Evangelina (ver. 1) Piano Sheet

Evangelina (ver. 1) by Hoyt Axton - 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
Hoyt Wayne Axton (March 25, 1938 – October 26, 1999) was an American country music singer-songwriter, and a film and television actor. He became prominent in the early 1960s, establishing himself as a well-known folk singer on the West Coast with an earthy style and powerful voice. As he matured, many of his songwriting efforts became well known throughout the world. Among them are "Joy to the World," (which many know for its opening lyric "Jeremiah was a Bullfrog!") and "Greenback Dollar." He was born in Duncan, Oklahoma and spent his pre-teen years in Comanche, Oklahoma with his brother, John. His mother, Mae Boren Axton, co-wrote the classic rock 'n' roll song "Heartbreak Hotel", which became the first major hit for Elvis Presley. Some of Hoyt's own songs were also later recorded by Elvis. Hoyt's father, John T. Axton, was a Navy officer stationed in Jacksonville, Florida; the family joined him there in 1949. Axton graduated from Robert E. Lee High School in 1956 and left town after Knauer’s Hardware burned down on graduation night, a prank gone wrong.[1] Axton attended Oklahoma State for a short length of time before following his father and enlisting in the Navy. Hoyt served aboard the USS Princeton (LPH-5), before pursuing a music career. After his discharge from the Navy on the west coast, he began singing folk songs in San Francisco nightclubs. In the early 1960s he released his first folk album titled The Balladeer (recorded at the legendary Troubadour), which included his song Greenback Dollar, a 1963 hit for The Kingston Trio. Axton released numerous albums well into the 1980s, changing somewhat with the times but always retaining an honest, down-home and fairly "country" approach to his music. Axton had many minor singing hits of his own, such as "Boney Fingers" ("Work your fingers to the bone, what do you get? Boney fingers, boney fingers"), "When the Morning Comes", and 1979's "Della and the Dealer as well as Jealous Man" (which he sang in a guest appearance on WKRP in Cincinnati). His vocal style featured his distinctive baritone (which later deepened to near-bass) and use of characterization: at times gritty and defiant, other times exceptionally mellow, occasionally deliberately cartoonish. One song, "Officer Ray," is styled in self-parody, as Hoyt softly croons curses at a sadistic police officer that would seem more likely to come from the narrator of "The Pusher": "Officer Ray / .... / May you have a bad day / May your wife run away/ With a hippie."
Random article
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...)