Piano Sheets > Keith Forsey Sheet Music > Flashdance... What A Feeling (ver. 1) Piano Sheet

Flashdance... What A Feeling (ver. 1) by Keith Forsey - Piano Sheets and Free Sheet Music

  
About the Song
"Flashdance... What a Feeling" is an Academy Award winning song from the 1983 film Flashdance which was performed by Irene Cara. In addition to topping the Billboard Hot 100 and earning a platinum record in 1983, "Flashdance... What a Feeling" won the Academy Award for Best Original Song and the Golden Globe Award for Best Original Song in 1984. Despite the title, the word "Flashdance" is never used in the lyrics. The instrumental backing tracks of the song make extensive use of synthesizers. The song has appeared on the original soundtrack album of Flashdance, and Irene Cara's second solo album, What a Feelin'. The song also won the Grammy Award for Best Pop Vocal Performance, Female in 1984. It was also nominated for Record of the Year. Keith Forsey (born on 2 January 1948 in London, England) is an British soundtrack composer, drummer, songwriter and record producer. As drummer and long-time.    Download this sheet!
About the Artist
Keith Forsey (born on 2 January 1948 in London, England) is an British soundtrack composer, drummer, songwriter and record producer. As drummer and long-time associate of producer Giorgio Moroder, Forsey can be heard on several Donna Summer albums until 1981. He co-wrote several songs on the albums Bad Girls, The Wanderer and I'm a Rainbow. Forsey also formed a dance band called TRAX with Moroder's co-producer Pete Bellotte and produced two dance albums. Forsey's powerful drum sound was the mainstay of many Moroder productions during the 1970s including Sparks seminal electronic album "Number One In Heaven", "Get On The Funk Train" by Munich Machine (Moroder/Bellotte's in-house band), as well as various other studio/disco acts based in Munich at this time such as Boney M. He also played on Moroder's early 70s international breakthrough novelty Moog synthesizer hit "Son Of My Father", along with an as yet undiscovered Donna Summer. Forsey was also well-known as the producer for Billy Idol. Forsey began working with Idol in the '70s when he was lead singer for UK Punk band Generation X and stayed with him into his solo career, producing the albums.
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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...)