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I'll Be There (ver. 1) by Jacksons - The - Piano Sheets and Free Sheet Music

  
About the Song
"I'll Be There" is a soul song written by Berry Gordy, Bob West, Hal Davis, and Willie Hutch, which resulted in two U.S. number 1 hit singles: the original 1970 recording by American vocal quintet The Jackson 5 and a 1992 live version by American pop singer Mariah Carey and American R&B singer Trey Lorenz. It was also covered by Me First and the Gimme Gimmes on the album Take a Break. The Jackson 5 original was recorded for the Motown Records, and released as the first single from their third album, appropriately named, Third Album in 1970. Produced by the songwriters, "I'll Be There" was The Jackson 5's fourth number 1 hit in a row, following "I Want You Back," "ABC," and "The Love You Save." "I'll Be There" is also notable as the most successful single released by Motown during its "classic Detroit era" (1959-1972). The Jackson 5 (also spelled The Jackson Five or The Jackson 5ive, and later.    Download this sheet!
About the Artist
The Jackson 5 (also spelled The Jackson Five or The Jackson 5ive, and later known as The Jacksons) was a two-time Grammy Award-nominated American popular music family group from Gary, Indiana. Founding group members Jackie, Tito, Jermaine, Marlon and Michael formed the group after performing in an early incarnation called The Jackson Brothers, which originally consisted of a trio of the three older brothers. Active from 1966 to 1990, the Jacksons played from a repertoire of R&B, soul, pop and later disco. During their six-year Motown tenure, The Jackson 5 were one of the biggest pop-music phenomena of the 1970s, and the band served as the launching pad for the solo careers of their lead singers Jermaine and Michael, the latter brother later exploiting his early Motown solo fame to greater success as an adult artist. The Jackson 5 were the first act in recorded history to have their first four major label singles ("I Want You Back", "ABC", "The Love You Save", and "I'll Be There") reach the top of the American charts. Several later singles, among them "Mama's Pearl", "Never Can Say Goodbye" and "Dancing Machine", were Top 5 pop hits and number-one.
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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...)