Piano Sheets > Tony Macaulay Sheet Music > Love Grows (ver. 1) Piano Sheet

Love Grows (ver. 1) by Tony Macaulay - Piano Sheets and Free Sheet Music

  
About the Song
"Love Grows (Where My Rosemary Goes)" is a popular song by "one-hit wonder" Edison Lighthouse. The single hit the number one spot in the UK singles chart on 31 January 1970 where it remained for a total of five weeks. "Love Grows (Where My Rosemary Goes)" was written by Tony Macaulay, Barry Mason and Sylvan Whittingham. Essentially they were a studio group with prolific session singer Tony Burrows providing the vocals. When the song became number one a group needed to be put together rapidly to feature on the popular TV show Top Of The Pops. Sylvan Whittingham found a group called Greenfields and brought them to the auditions a week before Top of the Pops. Once chosen and rehearsed non stop they appeared on the show as 'Edison Lighthouse' to mime to the fastest climbing no 1 hit record in history. Burrows sang the song on the programme, which happened to be his third appearance on the same show.    Download this sheet!
About the Artist
Tony Macaulay (born Anthony Instone, April 21, 1944, England) is an author, composer for musical theatre, and songwriter, though it was the latter that made him a household name early in his career. In the early 1960s he worked as a song plugger for Essex Publishing, then moved to Pye Records as a record producer. It was here that he had his first major success with The Foundations, when they recorded, "Baby Now That I've Found You", a song he had co-written with John MacLeod, and it topped the UK Singles Chart in 1967. Further hits came with songs such as Marmalade's "Baby Make it Soon" and "Falling Apart at the Seams"; and The Fifth Dimension's "(Last Night) I Didn’t Get To Sleep At All", which he wrote on his own; and Donna Summer's 1977 single "Can't We Just Sit Down (And Talk It Over)"; as well as many with collaborators, among them Long John Baldry's "Let the Heartaches Begin"; Paper Dolls' "Something Here In My Heart (Keeps A-Tellin’ Me No)" and Pickettywitch's "That Same Old Feeling", also with John MacLeod; The Foundations’ "Build Me Up Buttercup", with Mike D'Abo; Scott Walker’s "The Lights of Cincinnati", The.
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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...)