Piano Sheets > Jerome Moross Sheet Music > Lazy Afternoon (ver. 1) Piano Sheet

Lazy Afternoon (ver. 1) by Jerome Moross - Piano Sheets and Free Sheet Music

About the Song
This was a song written for The Golden Apple, a musical adaptation of both the Iliad and Odyssey of Homer, with music by Jerome Moross and lyrics by John Treville Latouche. The show was one of the first musicals produced at the Off-Broadway Phoenix Theatre (in March 1954) and moved up to Broadway on April 20, 1954 at the Alvin Theater where the cerebral and through-sung musical played for only 125 performances despite rave reviews. The original production starred Kaye Ballard as Helen, and Stephen Douglass as Ulysses. The production won the Best Musical award from the New York Drama Critics Circle, and the lyrics are much praised. Jerome Moross (August 1, 1913 – July 27, 1983) was an American-born composer for the stage, and a composer, conductor and orchestrator for motion pictures. He was born in New York City in 1913. He became a talented piano player and composed music for the.    Download this sheet!
About the Artist
Jerome Moross (August 1, 1913 – July 27, 1983) was an American-born composer for the stage, and a composer, conductor and orchestrator for motion pictures. He was born in New York City in 1913. He became a talented piano player and composed music for the theater. In the 1940s he began to work in Hollywood, where he would compose music for 16 films from 1948 to 1969. His best known film score is that for the 1958 movie The Big Country, for which he was nominated for an Academy Award for Original Music Score. According to Moross, he composed the main title after recalling a walk he took in the flat lands around Albuquerque shortly before he moved to Hollywood in the late 1930s. Among his other works include the music for the films The Adventures of Huckleberry Finn (1960), The Cardinal (1963), and Rachel, Rachel (1968). He also composed the main theme to the 3rd-8th seasons of the TV series Wagon Train and was a composer on many other films. He also orchestrated for other composers, including such films as Our Town for Aaron Copland and The Best Years of Our Lives for Hugo W Friedhofer. Moross's concert works include a symphony, a sonata for.
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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...)