Piano Sheets > Henry Glover Sheet Music > Let The Little Girl Dance (ver. 1) Piano Sheet

Let The Little Girl Dance (ver. 1) by Henry Glover - Piano Sheets and Free Sheet Music

  
About the Song
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
Henry Glover (May 21, 1921 – April 7, 1991[1]), was an American songwriter, arranger, record producer and trumpeter. Glover was one of the first successful black executives in the music industry. He first rose to prominence in the late 1940s with the Syd Nathan independent (and white-owned) King label. Glover served at various times as a producer, arranger, songwriter (sometimes under the alias Henry Bernard), engineer, trumpet player, talent scout, A&R man, studio constructor, and later on as a label owner in his own right. Eclectic in his musical tastes, Glover worked with country, blues, R&B, pop, rock, and jazz artists over the course of his long career, plus he played a major role in building King Records into one of the biggest independents of its era. He is a 1986 inductee of the Alabama Jazz Hall of Fame. Glover was born Henry Bernard Glover, in Hot Springs, Arkansas. He grew up listening to all kinds of music on local radio, and as he got older, he moved freely among the different types of music available on the local club scene. A skilled trumpet player through high school and college, he joined Buddy Johnson's big band in early 1944, and with Lucky Millinder's orchestra as both a musician and arranger early in 1945. It was there that he met King Records founder Syd Nathan, who was impressed enough with Glover to hire him as an A&R man, with an eye towards beefing up King's roster in the area then dubbed "race music." Glover signed on and quickly proved himself in a variety of areas in addition to A&R, even physically helping to build King's first recording studio. A country fan since his boyhood, he produced sessions for the label's already-established set of country artists, including The Delmore Brothers, Hawkshaw Hawkins, Cowboy Copas, Moon Mullican, Grandpa Jones, Wayne Raney, and The York Brothers among others. The Delmore Brothers concert in particular was groundbreaking: Glover co-wrote "Blues Stay Away from Me" with them, rearranging saxophonist Paul Williams' "The Hucklebuck" for country audiences; not only was the record a pre rock and roll fusion of black and white sensibilities, it also made Glover first black producer in country music history. His first success with black audiences came with Bull Moose Jackson's 1945 cover of Joe Liggins' "The Honeydripper", and over the next two years Glover produced a steady stream of releases on King's subsidiary label, Queen Records.
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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...)