Piano Sheets > Richard Penniman Sheet Music > Tutti Frutti (ver. 1) Piano Sheet

Tutti Frutti (ver. 1) by Richard Penniman - Piano Sheets and Free Sheet Music

  
About the Song
"Tutti Frutti" is a song by Little Richard, which became his first hit record in 1955. With its opening cry of "Womp-bomp-a-loom-op-a-womp-bam-boom!"[1] (supposedly intended to be a verbal parody of a drum intro) and its hard-driving sound and wild lyrics, it became not only a model for many future Little Richard songs, but also one of the models for rock and roll itself. Although Little Richard Penniman had recorded for Peacock Records since 1951, his records had been relatively undistinguished and had sold poorly. In February 1955, he sent a demo tape to Specialty Records, which was heard by producer Robert 'Bumps' Blackwell. Blackwell heard promise in the tapes and arranged a recording session for Little Richard at Cosimo Matassa's studio in New Orleans in September 1955, with Fats Domino's backing band. The band included Lee Allen and Alvin "Red" Tyler on saxophones, Frank Fields on guitar,.    Download this sheet!
About the Artist
Rev. Richard Wayne Penniman (born December 5, 1932), known by the stage name Little Richard, is an American singer, songwriter and pianist. He is considered the key figure in the transition from rhythm and blues to rock 'n roll in the 1950s. The Rock and Roll Hall of Fame web site entry on Richard observes that "he claims to be 'the architect of rock and roll,' and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as "Tutti Frutti", "Long Tall Sally" and "Good Golly, Miss Molly" defined the dynamic sound of rock and roll."[1] Although he began his recording career in 1951, Penniman's reputation rests on a string of groundbreaking hit singles recorded from 1955 through 1957, which not only helped lay the foundation for rock and roll music,[1] but also influenced generations of rhythm & blues, rock and soul music.
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...)