Piano Sheets > Jerry Jeff Walker Sheet Music > Mr. Bojangles (ver. 1) Piano Sheet

Mr. Bojangles (ver. 1) by Jerry Jeff Walker - Piano Sheets and Free Sheet Music

  
About the Song
Mr. Bojangles is a popular country song originally written and recorded by artist Jerry Jeff Walker for his 1968 album of the same title. Since then, it has been covered by many other artists, including The Nitty Gritty Dirt Band, whose version (recorded for the 1970 album Uncle Charlie & His Dog Teddy) was issued as a single and rose to number nine on the Billboard Hot 100 pop chart in 1971. Jerry Jeff Walker (born March 16, 1942) is a country music singer and songwriter. He is probably most famous for writing the song "Mr. Bojangles". "Mr. Bojangles" (written by Walker) is perhaps his most well-known and most-often covered song. It was about an obscure alcoholic but talented tap-dancing drifter, (not the famous stage and movie dancer Bill "Bojangles" Robinson, as usually assumed, nor was it about New Orleans blues musician Babe Stovall), a friend of Walker's. In his autobiography 'Gypsy.    Download this sheet!
About the Artist
Jerry Jeff Walker (born March 16, 1942) is a country music singer and songwriter. He is probably most famous for writing the song "Mr. Bojangles". "Mr. Bojangles" (written by Walker) is perhaps his most well-known and most-often covered song. It was about an obscure alcoholic but talented tap-dancing drifter, (not the famous stage and movie dancer Bill "Bojangles" Robinson, as usually assumed, nor was it about New Orleans blues musician Babe Stovall), a friend of Walker's. In his autobiography 'Gypsy Songman', Walker makes it clear the man he met was white. Further, in an interview with BBC Radio 4 in August 2008, he pointed out that at the time the jail cells in New Orleans were segregated along color lines, so his influence could not have been black. Bojangles is thought to have been a folk character who entertained informally in the south of the US and California, and some say he might have been one of the most gifted natural dancers ever. Authentic reports of him exist from the 1920s through about 1965. Artists from Neil Diamond to Nina Simone, Bob Dylan, Philip Glass, Tom T. Hall, Jim Stafford, Sammy Davis Jr., Lulu (New Routes), Nitty Gritty.
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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...)