Piano Sheets > Melvin Endsley Sheet Music > Singing The Blues (ver. 1) Piano Sheet

Singing The Blues (ver. 1) by Melvin Endsley - Piano Sheets and Free Sheet Music

  
About the Song
"Singing the Blues" is a popular song. It was written by Melvin Endsley and was published in 1956. The best-known recording of the song, released in October 1956 by Guy Mitchell, spent 9 weeks at #1 on the Billboard chart from December 8, 1956 - February 2, 1957, despite competition from rival versions by Tommy Steele and Marty Robbins. Tommy Steele's version also made no. 1 in the UK Singles Chart for one week on 11 January 1957, sandwiched by the two weeks that Guy Mitchell spent at #1 in the UK. The song became a UK Top 30 hit for Dave Edmunds in 1980. Other notable cover versions include a 1960 recording by Bill Haley & His Comets, a 1963 version by Dean Martin, and a 1971 version by Black Oak Arkansas. In the United Kingdom both the versions by Steele and Mitchell hit #1 in the same year. The song was a hit again in 1994 when covered by Daniel O'Donnell. It is not related to the song "Singin' the Blues," written by Sam Lewis, Joe Young, Con Conrad and J. Russel Robinson and recorded by Frank Trumbauer and Bix Beiderbecke in 1927. The tune was also sung by Vivian Vance and William Frawley (Ethel and Fred of I Love Lucy fame) for a Ford Motor Company television commercial promoting the Edsel. A cover version was released by Marie Osmond on her 1975 album In My Little Corner of the World. (MGM SE4944) "Singing the Blues" was performed live by Paul McCartney on the MTV show Unplugged in 1991 and included on the subsequent soundtrack, Unplugged (The Official Bootleg). A cover version was released by the Kentucky Headhunters on their 1997 album Stompin' Grounds. A "Singing The Blues" cover version was released by Gene Summers on his 1981 French album Gene Summers In Nashville (Big Beat Records BBR-0011) The first line of this song is famously the last line of London Calling by the Clash, cut short and echoed in the final mix of the song (I never felt so much a-like, a-like, a-like...). This song has also famously been used by Sheffield Wednesday fans since the 'Boxing Day Massacre', on December 26, 1979, where the Owls beat their fierce rivals, Sheffield United, 4-0. One of the Wednesday scorers on that day,Terry Curran, even recorded a version of the song and is still used at Hillsborough to this day.    Download this sheet!
About the Artist
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...)
Click here if the video doesn't work
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...)