Annie Vocal Score PDF 80: How to Sing Along with the Classic Musical

Solo Instrument Score (Digital) A score PDF file is delivered via email upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.

annie vocal score pdf 80

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Full Score/Performance Score (Digital) The full score serves as a performance score for all players. A score PDF file is delivered via email upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.

Score and Parts (Print) A print edition of the score and part(s) ship to the customer's address upon receipt. Any electronic files associated with the work are included with every purchase. The email containing a link to download the electronic files is sent to the customer.

Solo Instrument Score (Print) A print edition of the score is shipped to the customer's address upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.

Full Score/Performance Score (Print) The full score serves as a performance score for all players. Print edition(s) of the full score/performance score are shipped to the customer's address upon receipt. Multiple copies are included if the work has more than one player. Any electronic files associated with the work are included with every purchase.

Choral Score (Digital) A PDF file of the choral score is delivered via email upon receipt. The set is priced to allow multiple copies of the PDF to be printed for performance by the purchasing organization only.

Dorothy Fields had the idea for a musical about Annie Oakley, to star her friend, Ethel Merman. Producer Mike Todd turned the project down, so Fields approached a new producing team, Richard Rodgers and Oscar Hammerstein II. After the success of their first musical collaboration, Oklahoma!, Rodgers and Hammerstein had decided to become producers of both their own theatrical ventures and those by other authors.[2] They agreed to produce the musical and asked Jerome Kern to compose the music; Fields would write the lyrics, and she and her brother Herbert would write the book.[2] Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945, to begin work on the score to Annie Get Your Gun, but three days later, he collapsed on the street due to a cerebral hemorrhage.[3] Kern was hospitalized, and he died on November 11, 1945.[4] The producers and Fields then asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs.[5] Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show".[5] Hammerstein persuaded him to study the script and try writing some songs based on it, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Can't Get a Man With a Gun", and "There's No Business Like Show Business".[6] Berlin's songs suited the story and Ethel Merman's abilities, and he readily composed the rest of the score to Annie Get Your Gun.[5][7] The show's eventual hit song, "There's No Business Like Show Business", was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it.[8] In imitation of the structure of Oklahoma! a secondary romance between two of the members of the Wild West Show was added to the musical during its development.[9]

Conductor John Owen Edwards along with JAY Records recorded the first-ever complete recording, with all musical numbers, scene change music and incidental music, of the show's score in the 1990s with Judy Kaye and Barry Bostwick. Christopher Lee had the role of Sitting Bull.[50]

The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and book were not particularly distinguished. John Chapman of the Daily News declared that the production had "good lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time show" but pronounced Merman the best part of the show, stating "She is a better comedienne than she ever was before", stating that "Annie is a good, standard, lavish, big musical and I'm sure it will be a huge success--but it isn't the greatest show in the world".[51] Louis Kronenberger of PM stated that the show was 'in many ways routine", but greatly praised Merman's performance, opining, "For me, Annie is mainly Miss Merman's show, though the rest of it is competent enough of its kind...Irving Berlin's score is musically not exciting--of the real songs, only one or two are tuneful".[51]Ward Morehouse of The New York Sun declared, "The big news about Annie Get Your Gun is that it reveals Ethel Merman in her best form since Anything Goes...She shouts the Berlin music with good effect. She often comes to the aid of a sagging book".[51] He stated, "Irving Berlin's score is not a notable one, but his tunes are singable and pleasant and his lyrics are particularly good. The book? It's on the flimsy side, definitely. And rather witless too".[51] Lewis Nichols of The New York Times said, "It has a pleasant score by Irving Berlin...and it has Ethel Merman to roll her eyes and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a book which doesn't get anywhere in particular".[51]

This Tony Award-nominated hilarious, roller skating, musical adventure about following your dreams despite the limitations others set for you, rolls along to the original hit score composed by pop-rock legends Jeff Lynne and John Farrar and has been adapted for the MTI Broadway Junior Collection. Based on the Universal Pictures' cult classic movie of the same title, which starred Olivia Newton-John and Gene Kelly, XANADU JR. is hilarity on wheels for adults, children and anyone who has ever wanted to feel inspired.

Agree whole-heartedly Scott. I consistently see 25-30% of the congregation participating. These are valid points. And maybe there should be a #10. Style, for some folks, P&W music is simply not a style that floats their boat and will never work for them. I like your points about vocal range, singable for one is not singable for another. I believe there is no such thing as singable. Making the melody too dominant is a major turnoff. Music is intricate and that is what makes it beautiful. Hearing a group of singers all sing unison comes across as very mediocre.

The Guthrie Theater, in co-production with American Conservatory Theater, presentsMr. Burns, a Post-Electric Playby ANNE WASHBURNscore by MICHAEL FRIEDMANlyrics by ANNE WASHBURNdirected by MARK RUCKER 2ff7e9595c