Piano Sheets > Lorenz Hart Sheet Music > My Funny Valentine (ver. 1) Piano Sheet

My Funny Valentine (ver. 1) by Lorenz Hart - Piano Sheets and Free Sheet Music

  
About the Song
"My Funny Valentine" is a show tune from the 1937 Richard Rodgers and Lorenz Hart musical Babes in Arms. It is now a jazz standard, appearing on over 1300 albums performed by over 600 artists. Babes in Arms opened at the Shubert Theatre on Broadway, in New York, New York on April 14, 1937 and ran for 289 performances. In the original play, a character named Billie Smith (played by Mitzi Green) sings the song to Valentine "Val" LaMar (played by Ray Heatherton). In the song, Billie pokes fun at some of Valentine's characteristics, but ultimately affirms that he makes her smile and that she doesn't want him to change. The song first hit the charts in 1945, performed by Hal McIntyre with vocals by Ruth Gaylor. It only appeared for one week and hit #16. Lorenz "Larry" Hart (May 2, 1895 – November 22, 1943) was the lyricist half of the famed Broadway songwriting team Rodgers and Hart. Some of.    Download this sheet!
About the Artist
Lorenz "Larry" Hart (May 2, 1895 – November 22, 1943) was the lyricist half of the famed Broadway songwriting team Rodgers and Hart. Some of his more famous lyrics include, "Blue Moon", "Isn't It Romantic?", "Mountain Greenery", "The Lady Is a Tramp", "Manhattan", "Where or When", "Bewitched, Bothered, and Bewildered", "Falling in Love with Love", "I'll Tell The Man In The Street" and "My Funny Valentine". Hart was born in Harlem to Jewish immigrant parents. He attended Columbia University, where a friend introduced him to Richard Rodgers, and the two joined forces to write songs for a series of amateur and student productions. In 1919, the team's song "Any Old Place With You" was included in the Broadway musical comedy A Lonely Romeo. The great success of their score for the 1925 Theatre Guild production, The Garrick Gaieties, brought them great acclaim. They continued working together until Hart's death in 1943, along the way producing scores for a series of hit shows and making a substantial contribution to the Great American Songbook. Hart also translated plays for the Shubert brothers while continuing to collaborate with Rodgers (who.
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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...)