Piano Sheets > Boswell Sisters Sheet Music > Object Of My Affection (ver. 1) Piano Sheet

Object Of My Affection (ver. 1) by Boswell Sisters - 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
The Boswell Sisters were a close harmony singing group, consisting of sisters Martha Boswell (June 9, 1905 – July 2, 1958), Connee Boswell (original name Connie) (December 3, 1907 – October 11, 1976), and Helvetia "Vet" Boswell (May 20, 1911 – November 12, 1988), noted for intricate harmonies and rhythmic experimentation. They attained national prominence in the USA in the 1930s. They were raised by a middle-class family on Camp Street in uptown New Orleans, Louisiana. Martha and Connie were born in Kansas City, Missouri. Helvetia was born in Birmingham, Alabama. (Connee's name was originally spelt Connie until she changed it in the 1940s.) They came to be well known in New Orleans while still in their early teens, making appearances in local theaters and radio. They made their first record for Victor Records in 1925. However, the Boswell Sisters did not attain national attention until they moved to New York City in 1930 and started making national radio broadcasts. After a few recordings with Okeh Records in 1930, they made numerous recordings for Brunswick Records from 1931-1935. These Brunswick records are widely regarded as milestone recordings of vocal jazz. Connee's ingenious reworkings of the melodies and rhythms of popular songs, together with Glenn Miller's hot arrangements, and first rate New York jazz musicians (including The Dorsey Brothers, Benny Goodman, Bunny Berigan, Fulton McGrath, Joe Venuti, Arthur Schutt, Eddie Lang, Joe Tarto, Manny Klein, Dick McDonough, and Carl Kress), made these recordings unlike any others. Melodies were rearranged and slowed down, major keys were changed to minor keys (sometimes in mid-song) and rhythmic changes were par for the course. (Interestingly, they were among the very few performers who were allowed to make changes to current popular tunes. During this era, music publishers and record companies pressured performers not to alter current popular song arrangements). Connee also recorded a series of more conventional solo records for Brunswick during the same period. The name of their 1934 song "Rock and Roll" is an early use of the term. It is not one of their hotter numbers; it refers to "the rolling rocking rhythm of the sea". In 1936, the group signed to Decca and after just 3 records, broke up (the last recording was February 12, 1936). Connee Boswell continued to have a successful solo career as a singer for Decca. She later changed the spelling of her name from Connie to Connee in the 1940's, reputedly because it made it easier to sign autographs. (It's interesting to note that Connee sang from a wheelchair - or seated position - during her entire career, due to an accident she suffered as a young child. Amazingly, when she tried to get involved with the U.S.O tours. during World War II, she was not given permission to travel overseas due to her disability.) The Boswell Sisters chalked up 20 hits during the 1930s including the number one record "The Object of My Affection" in 1935. The Andrews Sisters started out as Boswell Sisters imitators. Young Ella Fitzgerald loved the Boswell Sisters and in particular idolized Connee, after whose singing style she patterned her own. Current groups The Pfister Sisters, Stolen Sweets, and Boswellmania, or the Italian trio Sorelle Marinetti continue to imitate the sisters' recordings. The Ditty Bops have covered Boswell sisters songs in concert. In 2001, The Boswell Sisters, a major musical based on their lives, was produced at the Old Globe Theatre in San Diego, California. The play starred Michelle Duffy, Elizabeth Ward Land, and Amy Pietz and was produced by the same team that produced Forever Plaid. The show was a hit with audiences and a critical success, but failed to be picked up for a much hoped-for Broadway run. The Boswell Sisters were inducted into the Vocal Group Hall of Fame in 1998. At a ceremony covered by the Pfister Sisters, the Boswells were inducted into the Louisiana Music Hall of Fame in 2008.
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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...)