Piano Sheets > Tim Hardin Sheet Music > If I Were A Carpenter (ver. 1) Piano Sheet

If I Were A Carpenter (ver. 1) by Tim Hardin - Piano Sheets and Free Sheet Music

  
About the Song
"If I Were a Carpenter" is a song written by Tim Hardin. It was a Top Ten hit for Bobby Darin in 1966, reaching number 8 in the US, and has been covered by: * The Animals * Joan Baez * Harry Belafonte * Luka Bloom * Wes Carr * Johnny Cash and June Carter (a country-rock crossover in 1970). * Chicken Shack * Wayne Cochran * Dave Dee, Dozy, Beaky, Mick & Tich on Golden Hits (1967) * Neil Diamond * Dropkick Murphys * Ramblin Jack Elliot * Engineers (band) * Marie Fredriksson (Swedish version) * Flatt & Scruggs on Nashville Airplane (1968) * The Four Tops and Leon Russell (the first version of the song in 1962) * The Free Design * Emmylou Harris & Johnny Hallyday * Eldridge Holmes * John Holt * Burl Ives on The Times They Are a-Changin' * Bert Jansch * Ed Kuepper * Led Zeppelin * Raymond Lefevre *.    Download this sheet!
About the Artist
Timothy James Hardin (December 23, 1941 – December 29, 1980[1] ) was an American folk musician and composer. He is best remembered for writing the Top 40 hits "If I Were a Carpenter", covered by Bobby Darin, and "Reason to Believe", covered by Rod Stewart, as well as his own uneven recording career. Hardin dropped out of high school at age 18 to join the Marine Corps. He spent part of 1959 in Vietnam as a military advisor. He told the story that his sergeant was killed on patrol that year, but because the US didn't admit to any military dead until 1961, his sergeant was listed as having been killed that year. Hardin is said to have discovered heroin in Vietnam. "If I Were a Carpenter" is a song written by Tim Hardin. It was a Top Ten hit for Bobby Darin in 1966, reaching number 8 in the US, and has been covered by: * The Animals * Joan Baez * Harry Belafonte * Luka Bloom * Wes Carr * Johnny Cash and June Carter (a country-rock crossover in 1970). * Chicken Shack * Wayne Cochran * Dave Dee, Dozy, Beaky, Mick & Tich on Golden Hits (1967) * Neil Diamond * Dropkick Murphys * Ramblin Jack Elliot .
Random article
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...)