Piano Sheets > Otto Harbach Sheet Music > Smoke Gets In Your Eyes (ver. 1) Piano Sheet

Smoke Gets In Your Eyes (ver. 1) by Otto Harbach - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
"Smoke Gets in Your Eyes" is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for their 1933 operetta Roberta. It was performed by Irene Dunne for the 1935 film adaptation, costarring Fred Astaire, Ginger Rogers and Randolph Scott. It has been covered by numerous artists, beginning with Paul Whiteman and His Orchestra with Bob Lawrence on vocal, which went to the top of the charts in 1934, and including Nat "King" Cole who first covered it in 1946. Possibly the most famous version was recorded in 1958 by the doo wop group The Platters, which became a number one hit on the U.S. Billboard Hot 100 in 1959. In 1956, Vic Damone covered this song with a very dramatic, different and interesting rendition. "Smoke Gets in Your Eyes" became one of Vic Damone's most famous songs. A 1972 remake by British band Blue Haze also became popular. Saxophone player Boots Randolph did.    Download this sheet!
About the Artist
Otto Abels Harbach, born Otto Abels Hauerbach (August 18, 1873 – January 24, 1963) was an American lyricist and librettist of about 50 musical comedies. Some of his more famous lyrics are for "Smoke Gets in Your Eyes", "Indian Love Call" and "Cuddle Up a Little Closer". Harbach was born in Salt Lake City, Utah to Danish immigrant parents Adolph Hauerbach and his wife Sena Olsen, and attended the Salt Lake Collegiate Institute, transferring to Knox College, in Galesburg, Illinois, where he was a friend of Carl Sandburg, joined Phi Gamma Delta Fraternity, and graduated in 1895. He obtained his masters degree in English from Whitman College in Walla Walla, Washington, and attended Columbia University in New York with the goal of becoming an English professor. In the early 1900s, complaining of eye difficulties making prolonged reading uncomfortable, he became a newspaper reporter. He also worked at various advertising agencies. He collaborated as lyricist or librettist with Karl Hoschna, Rudolf Friml, Oscar Hammerstein II, Jerome Kern, Louis Hirsch, Herbert Stothart, Vincent Youmans, George Gershwin, and Sigmund Romberg. He was a charter member.
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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...)