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Make Believe (ver. 1) by Jerome Kern - Piano Sheets and Free Sheet Music

  
About the Song
"Make Believe" is a show tune from the 1927 Broadway musical Show Boat with music by Jerome Kern and lyrics by Oscar Hammerstein II. In the show, it is first sung as a duet by the characters Gaylord Ravenal, a handsome riverboat gambler, and the teenage Magnolia Hawks, an aspiring performer and daughter of the show boat captain, soon after their meeting in Act I. It reveals that they are smitten with each other almost immediately upon meeting and sets the tone for the contrasts between the ideal “make believe” world of the young lovers and the harsh realities of life that they will encounter throughout the story. In Act II, Ravenal sings it to his little daughter Kim, just before he deserts her and Magnolia because of his compulsive gambling. He tells Kim to sing it whenever she is lonely and to pretend he has never been away. The song was introduced by Norma Terris and Howard Marsh. It.    Download this sheet!
About the Artist
Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of popular music. He wrote around 700 songs, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "All the Things You Are", "The Way You Look Tonight", and "Who?", a 6-week number 1 hit for George Olsen & his Orchestra in 1925. His career spanned dozens of Broadway musicals and Hollywood films from 1902 until his death. Although Kern wrote almost exclusively for musical theatre and musical film, the harmonic richness of his compositions lends them well to the jazz idiom (which typically emphasizes improvisation based on a harmonic structure) and many Kern melodies have been adopted by jazz musicians to become standard tunes. Jerome Kern was born in New York City to Fanny and Henry Kern, both German Jews. They named him Jerome because they lived near Jerome Park (named after Winston Churchill's grandfather, Leonard Jerome), a favorite place of theirs. Kern grew up on East 56th Street in Midtown Manhattan, where he attended public schools. Fanny Kern encouraged her son to take piano lessons. Henry Kern was.
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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...)