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Mame (ver. 1) by Jerry Herman - Piano Sheets and Free Sheet Music

  
About the Song
Mame is a musical with the book by Jerome Lawrence and Robert Edwin Lee and music and lyrics by Jerry Herman. Originally titled My Best Girl, it is based on the 1955 fictional novel Auntie Mame by Patrick Dennis and a 1956 Broadway play, by Lawrence and Lee, that had starred Rosalind Russell. Set in New York and spanning the Great Depression and World War II, it focuses on eccentric bohemian, Mame Dennis, whose famous motto is "Life is a banquet and most poor sons-of-bitches are starving to death." Her fabulous life with her wealthy friends is interrupted when the young son of her late brother arrives to live with her. They cope with the Depression in a series of adventures. In 1958, a film titled Auntie Mame, based on the play, was released by Warner Brothers once again starring Rosalind Russell in the title role. Russell was nominated for an Academy Award and won a Golden Globe for her.    Download this sheet!
About the Artist
Jerry Herman (born July 10, 1931) is an American composer and lyricist, known for his work in Broadway musical theater. He composed the scores for the hit Broadway musicals Hello, Dolly!, Mame, and La Cage aux Folles. He has been nominated for the Tony Award five times, and won twice, for La Cage aux Folles and Hello, Dolly!. In 2009, Herman received the Tony Award for Lifetime Achievement in the Theatre. Raised in Jersey City by musically inclined parents, Herman learned to play piano at an early age, and the three frequently attended Broadway musicals. His father, Harry, was a gym teacher and in the summer worked in the Catskill Mountains hotels. His mother, Ruth, also worked in the hotels as a singer, pianist, and children's teacher, and eventually became an English teacher. After marrying, they lived in Jersey City, New Jersey and continued to work in the summers in various camps until they became head counselors and finally ran Stissing Lake Camp in the Berkshire Mountains. Herman spent all of his summers there, from age 6 to 23. It was at camp that he first became involved in theatrical productions, as director of Oklahoma!, Finian's Rainbow.
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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...)