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Fascination (ver. 1) by Dick Manning - Piano Sheets and Free Sheet Music

About the Song
"Fascination" is a popular waltz song with music by F.D. Marchetti and lyrics by Maurice de Féraudy (English lyrics by Dick Manning). Published in 1932, it was popularized in the 1957 movie, Love in the Afternoon. The recording by Jane Morgan was released by Kapp Records as catalog number 191. It first reached the Billboard magazine charts on September 9, 1957. On the Disk Jockey chart, it peaked at #7; on the Best Seller chart, at #12; on the composite chart of the top 100 songs, it reached #11. It was also recorded by Dinah Shore, Dick Jacobs, Nat King Cole, Earl Grant and David Carroll, all of whose versions, except Grant, made the charts. Paul Mauriat recorded an instrumental version of the song on his album Best of France. There is also a Portuguese language version, recorded by Carlos Galhardo in 1943. Elis Regina also recorded it for her album Falso Brilhante (1976). Pete Fountain.    Download this sheet!
About the Artist
Dick Manning (1912—April 11, 1991) was a Russian-born American songwriter, best known for his many collaborations with Al Hoffman. Mr. Manning co-wrote many popular songs, among them "Takes Two to Tango," "Fascination" and "Papa Loves Mambo." His works were published in 27 languages and sung by such artists as Perry Como, Jimmy Durante, Kate Smith and others. He was born in Gomel, U.S.S.R., and was named Samuel Medoff. His family moved to the United States when he was 6 years old, and he later studied music at the Juilliard School. In the early 1940's he had a radio program called "Sam Medoff and His Yiddish Swing Orchestra" on WHN (now WEVD) Radio. He changed his name in 1948. Mr. Manning was also the composer of "The Boys From Boise," the first full-length television musical, and "Nightbird," a symphonic work for piano and orchestra. He was also a vocal coach, an arranger and a radio jingle writer. "Fascination" is a popular waltz song with music by F.D. Marchetti and lyrics by Maurice de Féraudy (English lyrics by Dick Manning). Published in 1932, it was popularized in the 1957 movie, Love in the Afternoon. The recording by Jane Morgan.
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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...)