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Fables of Faubus (ver. 1) by Charles Mingus - Piano Sheets and Free Sheet Music

  
About the Song
"Fables of Faubus" is a song composed by jazz bassist and composer Charles Mingus. It was written as a direct protest against Arkansas governor Orval E. Faubus, who in 1957 sent out the National Guard to prevent the integration of Little Rock Central High School by nine African American teenagers. The song was first recorded for Mingus' 1959 album, Mingus Ah Um. It is often claimed that Columbia refused to allow the lyrics to be included on this album, though the liner notes to the 1998 reissue of the album state that the piece started life as an instrumental, and only gained the lyrics later. Whichever is the case, it was not until 1960 that Mingus released the song with lyrics, on the album Charles Mingus Presents Charles Mingus, which was recorded for the more independent Candid label. On this album, in possible reference to the censorship the song had received, it was titled "Original Faubus.    Download this sheet!
About the Artist
Charles "Charlie" Mingus, Jr. (April 22, 1922 – January 5, 1979) was an American jazz bassist, composer, bandleader, and pianist. He was also known for his activism against racial injustice. Mingus is considered one of the most important composers and performers of jazz, and he recorded many highly regarded albums. Dozens of musicians passed through his bands and later went on to impressive careers. His tunes—though melodic and distinctive—are not often re-recorded, in part because of their unconventional nature. Mingus was also influential and creative as a band leader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz." His refusal to compromise his musical integrity led to many on-stage eruptions. Mingus was prone to depression. He tended to have brief periods of extreme creative activity, intermixed with fairly long periods of greatly decreased output. Most of Mingus's music retained the hot and soulful feel of hard.
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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...)