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Impossible (ver. 1) by Shontelle - Piano Sheets and Free Sheet Music

  
About the Song
"Impossible" is a song by Barbadian recording artist Shontelle. It is the lead single from her second studio album, No Gravity. The song was written by Arnthor Birgisson and Ina Wroldsen, and produced in Sweden by Birgisson. It was released digitally on February 9, 2010. "Impossible" peaked at number thirteen in the US on the Billboard Hot 100, number thirty-three on the Canadian Hot 100, and number five on the Danish Singles Chart, making it her highest-charting song on all three charts. Shontelle Layne (born October 4, 1985), known professionally as Shontelle, is an R&B singer-songwriter from Barbados. She released her debut album Shontelligence in November 2008. Her second album, No Gravity, was released in September 2010. Shontelle Layne was born on October 4, 1985, in Saint James, Barbados, to Raymond and Beverley Layne, the oldest of three sisters. Shontelle has stated that she was highly.    Download this sheet!
About the Artist
Shontelle Layne (born October 4, 1985), known professionally as Shontelle, is an R&B singer-songwriter from Barbados. She released her debut album Shontelligence in November 2008. Her second album, No Gravity, was released in September 2010. Shontelle Layne was born on October 4, 1985, in Saint James, Barbados, to Raymond and Beverley Layne, the oldest of three sisters. Shontelle has stated that she was highly athletic when she was young, participating in track & field while excelling in school. Shontelle's aunt, Kim Derrick, a Caribbean singer, encouraged her to pursue singing. While in high school, Shontelle participated in a group called Cadets in which she was a drill sergeant over Rihanna, which sprouted a friendship. Shontelle later became a student of entertainment law at Harrison College. She attended the University of the West Indies campus in Barbados and was on her way to becoming a lawyer when Carl Sturken and Evan Rogers heard "Roll It Gal" on the radio, a song that Shontelle had co-written for Alison Hinds, a fellow Bajan artist. This prompted the two to find her to create a cover version of the song, but later brought her to the US in.
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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...)