Piano Sheets > Slide Hampton Sheet Music > A New Thing (ver. 1) Piano Sheet

A New Thing (ver. 1) by Slide Hampton - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
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...)    Download this sheet!
About the Artist
Locksley Wellington "Slide" Hampton (born April 21, 1932) is an American jazz trombonist, composer and arranger. He was a 1998 Grammy Award winner for "Best Jazz Arrangement Accompanying Vocalist(s)", as arranger for "Cotton Tail" performed by Dee Dee Bridgewater. He was also a Grammy nominee in 2005[1] for "Best Large Jazz Ensemble Album," The Way: Music of Slide Hampton, The Vanguard Jazz Orchestra, and received another nomination in 2006 for his arrangement of "Stardust" for the Dizzy Gillespie All-Star Big Band featuring Roberta Gambarini.[2] In 2005, the National Endowment for the Arts honored Slide Hampton with its highest honor in jazz, the NEA Jazz Masters Award. A masterly arranger and gifted trombone player, Hampton's career is among the most distinguished in jazz.[3 Slide Hampton was born in Jeannette, Pennsylvania. Laura and Clarke “Deacon” Hampton raised 12 children, taught them how to play musical instruments and set out with them as a family band. The family first came to Indianapolis in 1938. The Hamptons were a very musical family in which mother, father, eight brothers, and four sisters all played instruments.[4] Slide Hampton is one of the few left-handed trombone players. Although not naturally left-handed, as a child Hampton received a left-handed instrument from his father; as no one ever dissuaded him, he continued to play this way. [5] [6] At the age of 12, Slide played in his family's Indianapolis jazz band, The Duke Hampton Band,[2] from 1945-1952. The Hampton family members in the band included Virtue Hampton Whitted (double bass), Aletra (harp, piano), Marcus (trumpet), Dawn (alto sax), Russell "Lucky" (baritone-tenor-alto saxes), Locksley "Slide" (trombone, flugelhorn), Clarke, Jr. "Duke" (saxophones, drum, timpani, vibraharp), and Maceo (trumpet). The Hampton band got steady work performing as the house band at the Sunset Terrace on Indiana Avenue before becoming the house band at Cincinnati’s Cotton Club. It was there that they recorded “Lonesome Women Blues” by Aletra, and she sang “Baby Please Be Good To Me” and “The Push,” written by Lucky Hampton. The group recorded on the King and Aladdin labels, but disbanded after having appeared at Carnegie Hall, the Apollo Theater, and the Savoy Ballroom in New York City. In the 1950s, his sisters Virtue, Aletra, and Carmalita formed the Hampton Sisters after Dawn went to New York and became an established cabaret singer and songwriter.[7] The Hampton Sisters, performing for over 75 years![8][9] By 1952, at the age of 20, Slide was performing at Carnegie Hall with the Lionel Hampton Band. He played with the Buddy Johnson's R&B band from 1955-1956, then became a member of the Maynard Ferguson's band (1957-1959), where he played and arranged, providing excitement on such popular tunes as "The Fugue," "Three Little Foxes" and "Slides Derangement." In 1958, he recorded with trombone masters on the classic release of Melba Liston, "Melba Liston and Her 'Bones". As his reputation grew, he soon began working with bands led by Art Blakey, Tadd Dameron in 1969, Barry Harris, Thad Jones, Mel Lewis, and Max Roach, contributing both original compositions and arrangements. In 1962, he formed the Slide Hampton Octet, with horn players Booker Little, Freddie Hubbard, and George Coleman. The band toured the U.S. and Europe and recorded on several labels. In 1968 he toured with Woody Herman orchestra, settling in Europe where he remained until 1977. He taught at Harvard, artist-in-residence in 1981,[10] the University of Massachusetts, De Paul University in Chicago, and Indiana State University. During this period he led his own nine-trombone, three-rhythm band, World of Trombones, co-led Continuum (a quintet with Jimmy Heath that plays the music of Tadd Dameron), freelanced as both a writer and a player, and often worked in Dizzy Gillespie tribute projects, including with Jon Faddis and with his Jazz Masters. He also appeared on The Cosby Show 1986. The episode entitled "Play It Again, Russell", is a reference to "Play it again, Sam", a quote from Casablanca (1942).[11] Hampton also played the trombone in Diana Ross Live! The Lady Sings... Jazz & Blues: Stolen Moments (1992) dvd.[12]
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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...)