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Little Children (ver. 1) by Mort Shuman - Piano Sheets and Free Sheet Music

About the Song
Little Children was a song written by J. Leslie McFarland and Mort Shuman. It was recorded by Billy J. Kramer & The Dakotas which reached Number One in the UK Singles chart in March 1964, and Number 7 in the U.S. later the same year. The lyric concerns a man's entreaties to his girlfriend's young siblings not to reveal his courtship of their elder sister and to leave them alone. As such, it was a departure from the traditional love songs hitherto recorded by Kramer (sometimes supplied by Lennon & McCartney)[1]. When offered another Lennon and McCartney song for his next single by the manager of both groups, Brian Epstein, Kramer turned it down and chose instead Little Children after a search for suitable material from music publishers. Mort Shuman (November 12, 1936 - January 2, 1991) was an American singer, pianist and songwriter, best known as co-writer of many 1960s rock and roll hits,.    Download this sheet!
About the Artist
Mort Shuman (November 12, 1936 - January 2, 1991) was an American singer, pianist and songwriter, best known as co-writer of many 1960s rock and roll hits, including "Viva Las Vegas". He also wrote and sang many songs in French, such as Le Lac Majeur, Allo Papa Tango Charlie, Sha Mi Sha, Un Eté de Porcelaine, Brooklyn by the Sea which became great hits in France. Shuman was born in Brooklyn, New York and went to Abraham Lincoln High School and then studied music at the New York Conservatory. He became a fan of R&B music and after he met Doc Pomus the two teamed up to compose for Aldon Music at offices in New York City's Brill Building. Their songwriting collaboration saw Pomus write the lyrics and Shuman the melody, although occasionally they worked on both. Their compositions would be recorded by artists such as Dion, Andy Williams, Bobby Darin, Fabian, The Drifters, and Elvis Presley, among others. Their most famous songs include "A Teenager in Love", "Turn Me Loose", "This Magic Moment", "Save The Last Dance For Me", "Little Sister", "Can't Get Used to Losing You", "(Marie's the Name) His Latest Flame" and "Viva Las Vegas". Pomus often drew on.
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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...)