Piano Sheets > Allen Collins Sheet Music > Free Bird (ver. 1) Piano Sheet

Free Bird (ver. 1) by Allen Collins - Piano Sheets and Free Sheet Music

  
About the Song
"Free Bird" is a song by the American southern rock band Lynyrd Skynyrd. It was first featured on the band's debut album (pronounced 'lÄ•h-'nérd 'skin-'nérd) in 1973, and has been included on subsequent albums released by the band. Released as a single in late 1974, "Free Bird" became the band's second Top 40 hit on the Billboard Hot 100 chart in early 1975, where it peaked at #19.[2] A live version of the song also reached the Billboard Hot 100 chart in 1977, peaking at #38.[2] Free Bird also achieved the #3 spot on Guitar World's 100 Greatest Guitar Solos.[3] It is used as a finale by Lynyrd Skynyrd during their live performances, and it is their longest song, often going well over 14 minutes when played live. Larkin Allen Collins Jr.[1][2][3](July 19, 1952 – January 23, 1990) was one of the founding members and guitarists of Southern rock band Lynyrd Skynyrd, and co-wrote.    Download this sheet!
About the Artist
Larkin Allen Collins Jr.[1][2][3](July 19, 1952 – January 23, 1990) was one of the founding members and guitarists of Southern rock band Lynyrd Skynyrd, and co-wrote many of the band's songs with late frontman Ronnie Van Zant. He was born in Jacksonville, Florida. Allen Collins joined Skynyrd from the South just two weeks after Ronnie Van Zant and Gary Rossington, along with Bob Burns and Larry Junstrom. So came the birth of Lynyrd Skynyrd in the summer of 1964. Allen Collins and lead singer Ronnie Van Zant co-wrote many of the biggest Skynyrd hits, including "Free Bird", "Gimme Three Steps", and "That Smell". The band received national success beginning in 1973 while opening for The Who on their Quadrophenia tour. The Skynyrd plane crashed into a forest in Mississippi killing three band members, including Van Zant. Collins was seriously injured in the crash, suffering two broken vertebrae in his neck and severe damage to his right arm. While amputation was recommended, Collins' father refused and Allen eventually recovered. During the early 1980s, Collins continued to perform on stage in The Rossington-Collins Band which enjoyed modest.
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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...)