Piano Sheets > Jerry Gray Sheet Music > A String Of Pearls (ver. 1) Piano Sheet

A String Of Pearls (ver. 1) by Jerry Gray - 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
Jerry Gray (July 3, 1915August 10, 1976) was an arranger, composer, and conductor who is best known for his work with popular music during the Swing Era. His name is inextricably linked to two of the most famous bandleaders of the time, Artie Shaw and Glenn Miller. Jerry Gray was born Generoso Graziano in East Boston, Massachusetts. His father Albert Graziano was a music teacher who began training his son on the violin at age 7. As a teenager he studied with Emanuel Ondricek and was soloist with the Boston Junior Symphony. By age 18 he had already formed his own jazz band and was performing in Boston-area clubs. In 1936 Gray joined Artie Shaw (then calling himself Art Shaw) and his "New Music" orchestra as first violinist. He studied arranging under Shaw and became a staff arranger a year later. During the next two years he penned some of the band's most popular arrangements, including "Carioca", "Softly, As in a Morning Sunrise", "Any Old Time", and the classic "Begin the Beguine". Many of his up-tempo arrangements show early evidence of the style that would eventually become his trademark: the melody is broken into two- to four-measure phrases, usually carried by the brass sections, that are repeated with increasing intensity until the song's climax. In November 1939 Artie Shaw suddenly broke up his band and moved to Mexico. The next day Glenn Miller called Gray and offered him a job arranging for his band. It was initially a difficult move because Shaw had usually allowed his arrangers great musical latitude, while Miller's commercial orientation often led him to second-guess his staff. Gray gradually found himself more in line with Miller's lessmercurial personality and was allowed more of the freedom that he appreciated. As Gray later told author George T. Simon, "To me, Glenn's band didn't swing like Artie's. ... But after I made up my mind to accept things as they were, things started to click. ... He was a businessman who appreciated music. ... I may have been happier musically with Artie, but I was happier personally with Glenn." Gray's time with the Glenn Miller Orchestra produced many of the most recognizable and memorable recordings of the era. He arranged "Elmer's Tune", "Moonlight Cocktails", and "Chattanooga Choo-Choo" among others, while his compositions included "Sun Valley Jump", "The Man in the Moon", "Caribbean Clipper", "Pennsylvania 6-5000" and his most famous song, "A String of Pearls". So many of Gray's pieces became best-sellers that he has been described as more responsible for the band's success than Miller himself, although publicly Gray always described the relationship as mutually beneficial.
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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...)