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Your Face Sheet Music Your Face Sheet Music Download your face sheet music pdf now available in our library. We give you 5 pages partial preview of your face sheet music that you can try for free. This music notes has been read 2520 times and last read at 2021-09-22 07:30:06. In order to continue read the entire sheet music of your face you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Choir, Piano Accompaniment Ensemble: 3 Part, Sab, Ssa Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Face To Face An Original Hymn For Satb Voices Face To Face An Original Hymn For Satb Voices sheet music has been read 3741 times. Face to face an original hymn for satb voices arrangement is for Advanced level. The music notes has 2 preview and last read at 2021-09-24 05:25:12. [ Read More ] Face To Face With Christ My Savior Face To Face With Christ My Savior sheet music has been read 4302 times. 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[ Read More ] Poker Face For Brass Quintet Poker Face For Brass Quintet sheet music has been read 2465 times. Poker face for brass quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 00:10:05. [ Read More ] Powered by TCPDF (www.tcpdf.org).
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  • Program Notes
    “Come on along, you can’t go wrong Kicking the clouds away!” Broadway was booming in the 1920s with the energy of youth and new ideas roaring across the nation. In New York City, immigrants such as George Gershwin were infusing American music with their own indigenous traditions. The melting pot was cooking up a completely new sound and jazz was a key ingredient. At the time, radio and the phonograph weren’t widely available; sheet music and live performances remained the popular ways to enjoy the latest hits. In fact, New York City’s Tin Pan Alley was overflowing with "song pluggers" like George Gershwin who demonstrated new tunes to promote the sale of sheet music. George and his brother Ira Gershwin composed music and lyrics for the 1927 Broadway musical Funny Face. It was the second musical they had written as a vehicle for Fred and Adele Astaire. As such, Funny Face enabled the tap-dancing duo to feature new and well-loved routines. During a number entitled “High Hat,” Fred sported evening clothes and a top hat while tapping in front of an enormous male chorus. The image of Fred during that song became iconic and versions of the routine appeared in later years. The unforgettable score featured such gems as “’S Wonderful,” “My One And Only,” “He Loves and She Loves,” and “The Babbitt and the Bromide.” The plot concerned a girl named Frankie (Adele Astaire), who persuaded her boyfriend Peter (Allen Kearns) to help retrieve her stolen diary from Jimmie Reeve (Fred Astaire). However, Peter pilfered a piece of jewelry and a wild chase ensued.
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  • 99 Stat. 288 Public Law 99-86—Aug. 9, 1985
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  • “Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, Piano (1926) Added to the National Registry: 2004 Essay by Cary O’Dell
    “Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, piano (1926) Added to the National Registry: 2004 Essay by Cary O’Dell George Gerswhin Fred Astaire Adele Astaire For an artist so synonymous with dance, Fred Astaire is also certainly associated with a wide selection of musical standards—“Cheek to Cheek,” “Top Hat,” “Funny Face” and “Night and Day,” to name just a few. And for a man forever partnered with Ginger Rogers within popular culture, Astaire got his first taste of stardom while still teamed with his talented elder sister and longtime stage co-star, Adele. Both natural-born dancers with unbelievable technique and an innate sense of rhythm, the Astaires began performing as a brother-sister team in vaudeville in the 1900’s. Eventually, they worked their way up to the Orpheum Circuit. Filling their act with songs, sibling teasing and, of course, dance, the duo first appeared on Broadway, in the show “Over the Top,” in 1917. Meanwhile, though the brothers Gershwin, George and Ira, were each having some individual success as Tin Pan Alley tunesmiths in the early 1920’s, they achieved their greatest success when they teamed up together for the Broadway stage and wrote the musical “Lady, Be Good” in 1924. Along with composing that show’s long-enduring title tune, the Gerswhins also wrote “Fascinating Rhythm,” a bouncy duet that Fred and Adele would perform in the show in New York and in London’s West End. They would commit it to record, on Columbia, with George Gerswhin on piano, in 1926. This recording was named to the Library of Congress’ National Registry in 2004.
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  • Jessica Getman, Brooke Mccorkle, and Evan Ware (New York: Routledge, 2020)
    CURRENT POSITION JESSICA GETMAN ASSISTANT PROFESSOR OF MUSICOLOGY/ETHNOMUSICOLOGY CALIFORNIA STATE UNIVERSITY, SAN BERNARDINO FILM MUSIC ugAugust 2020– AMERICAN MUSIC MUSIC EDITIONS EDUCATION [email protected] PHD HISTORICAL MUSICOLOGY UNIVERSITY OF MICHIGAN, ANN ARBOR, 2015 Dissertation: “MUSIC, RACE, AND GENDER IN THE ORIGINAL SERIES OF STAR TREK (1966–1969)” Committee: Mark Clague (chair), Christi-Anne Castro, Caryl Flinn, Charles Garrett, Neil Lerner, James Wierzbicki Secondary Fields: American Music, Baroque Music, Ethnomusicology Certificates: Screen Arts and Cultures; CRLT Graduate Teacher Certificate MM MUSICOLOGY AND HISTORICAL PERFORMANCE BOSTON UNIVERSITY, 2008 Thesis: “THE ‘AIR DE JOCONDE’: A SURVEY OF A POPULAR FRENCH TIMBRE” BA MUSIC (oboe) CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO, 2002 RESEARCH INTERESTS Music in film, television, digital media, and video games Music and sound in science fiction film and television Musical manuscripts, editions, and textual criticism Cultural politics and identity in music George and Ira Gershwin Fan and amateur musical practices Historical performance (17th- and 18th-century) PUBLICATIONS 2019 “Gershwin in Hollywood,” in The Cambridge Companion to George Gershwin, ed. Anna Celenza (Cambridge: Cambridge University Press, 2019). 2019 “Audiences,” in SAGE Encyclopedia of Music and Culture, ed. Janet Sturman (Thousand Oaks, CA: Sage Publications, Inc., 2019). 2018 Media Review: Kyle Dixon and Michael Stein, Stranger Things, Vol. 1 and Vol. 2 (2016) in Journal of the Society for American Music 12:4 (Cambridge: Cambridge University Press, 2018). 2018 Book Review: Stanley C. Pelkey II and Anthony Bushard, Anxiety Muted: American Film Music in a Suburban Age (2015) in Journal of the Society for American Music 12:3 (Cambridge: Cambridge University Press, 2018).
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  • Symphony Pops
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  • Gershwin Lyrics and Song Information
    I GOT RHYTHM George Gershwin I got rhythm I got music I got my main girl Who could ask for anything more? I got daisies In green pastures, I got my main girl Who could ask for anything more ? Ol' Man TrouBle, I don't mind him. You won't find him 'Round my door. I got starlight, I got sweet dreams, I got my main girl, Who could ask for anything more? Who could ask for anything more? SONG INFORMATION • I Got Rhythm is from Girl Crazy Broadway show • The rhythm of the melody is a broken clave • The song's chorus is in a 32-bar American Song form • Its chord progression (although often reduced to a standard 32-bar structure, for the sake of improvised solos), is known as the "rhythm changes", and is the foundation for many other popular jazz tunes • The song was used as the theme in Gershwin's last concert piece for piano and orchestra, the Variations on "I Got Rhythm", written in 1934 • The song has become symbolic of the Gershwins, of swing, and of the 1920s Embraceable You George and Ira Gershwin Embrace me, my sweet embraceable you Embrace me, you irreplaceable you Just one look at you My heart grew tipsy in me You and you alone Bring out the Gypsy in me I love all the many charms aBout you Above all, I want my arms about you Don't be a naughty baby Come to mama, come to mama do My sweet embraceaBle you I love all the many charms aBout you Above all, I want my arms about you Don't be a naughty baby Come to mama, come to mama do My sweet embraceaBle you SONG INFORMATION • Embraceable You originally written in 1928 for an unpuBlished operetta
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  • Words Without Music the Ira Gershwin Newsletter No
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  • MUNI 20151123 – EVERGREENY 08 – George Gershwin (2) 'S
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  • Notes on Fred Astaire
    www.thecine-files.com DOSSIER ON FILM PERFORMANCE Notes on Fred Astaire Robert B. Ray Fred Astaire and Ginger Rogers in Follow the Fleet (1936). Scan from Doctor Macro collection. 1. Fred Astaire is one of the ten most important figures in twentieth-century American popular music. Here are the ten, in chronological order of their births: 1. Irving Berlin (1888) 2. Duke Ellington (1899) 3. Fred Astaire (1899) The Cine-Files 6 (Spring 2014) 2 4. Louis Armstrong (1901) 5. Richard Rodgers (1902) (with both Lorenz Hart and Oscar Hammerstein II) 6. Bing Crosby (1903) 7. Frank Sinatra (1915) 8. Thelonious Monk (1917) 9. Elvis Presley (1935) 10. Buddy Holly (1936) To forestall arguments, I will list the next fifteen, to complete a top 25: 11. George M. Cohan (1878) 12. Jerome Kern (1885) 13. Al Jolson (1886) 14. Cole Porter (1891) 15. George Gershwin (1898) 16. Benny Goodman (1909) 17. Billie Holliday (1915) 18. Ella Fitzgerald (1917) 19. Charlie Parker (1920) 20. Hank Williams (1923) 21. Chuck Berry (1926) 22. Ray Charles (1930) 23. Sam Cooke (1931) 24. James Brown (1933) 25. Bob Dylan (1941) This is heady company. Although Astaire had ambitions as a songwriter, he had only one minor hit, “I’m Building up to an Awful Let-Down” (lyric by Johnny Mercer), an obvious imitation of Berlin’s “I’m Putting All My Eggs in One Basket,” which Astaire introduced the same year in Follow the Fleet (1936). Although he was an accomplished drummer and pianist, he rarely relied on those skills in performance. (Exceptions would include his playing piano in Roberta (1935), and the drums in both A Damsel in Distress (1937) and Easter Parade (1948).) In Holiday Inn (1942), his vaudeville routine with Bing Crosby, “I’ll Capture Your Heart,” declares that Astaire’s singing will not do the trick: he will have to count on his dancing to win out over Crosby’s suit.
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  • Funny Face (Analyse) Robert-Claude Bérubé
    Document généré le 23 sept. 2021 15:46 Séquences La revue de cinéma Funny Face (analyse) Robert-Claude Bérubé Numéro 32, février 1963 URI : https://id.erudit.org/iderudit/51956ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Bérubé, R.-C. (1963). Compte rendu de [Funny Face (analyse)]. Séquences, (32), 67–72. Tous droits réservés © La revue Séquences Inc., 1963 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ •I Mill SHI FUNNY FACE (Drôle de Frimousse) *r. oDocumentatic 1. Générique Fred Astaire et Robert Alton. — Int. : Fred Astaire (Dick Avery), Audrey Hep­ Film américain 1958 — Réal. : Stanley burn (Jo Stockton), Kay Thompson Donen. — Seen. : Leonard Gershe, d'a­ (Maggie Prescott), Michel Auclair (Emi­ près sa pièce "Wedding Day". — Phot. : le Flostre), Robert Flemyng (Paul Du­ Ray June, avec les conseils de Richard val), Ruta Lee (Lettie), Dovima (Ma­ Avedon. — Mus. : Adolph Deutsch, d'a­ rion). — Prod. : Roger Edens, Paramount près des thèmes de George Gershwin. — Pictures. — Vistavision, Technicolor. — Chansons : George et Ira Gershwin, Ro­ 103 min.
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