Violin Solo - Level 3 - Digital Download

SKU: A0.1022489

Composed by Jacob Litoff. World. 2 pages. Jacob Litoff #2013711. Published by Jacob Litoff (A0.1022489).

I wrote this piece as I was trying to figure out all the harmonics on the violin on a hot day in June 1999. The first section represents all the cars that I heard in the morning rush hour on their way to work on that hot summer day driving up route 1, route 1A, and route 95. Section A represents all those people busy at work in the morning trying to turn the world upside down. First the melody is right side up, then it is upside down. They're in air conditioned buildings of course! Then the opening section gets played once again, this time representing everyone going out in the hot weather for lunch and to do a few errands as fast as possible. Next comes section B. If one wants to leave out the bottom harmonic at the beginning of the measures 1, 2, & 3, in lines 1, 3 and 4, that makes it a little easier, but it is nice when both notes can be played. This section is work after lunch. It is supposed to go a little slower, for everyone is getting bogged down with to many assignments and they're starting to get exhausted. Then comes the opening section one last time. This time it is rush hour on the way home, and all the errands that must be done, like taking kids to soccer practice, ballet , tap dancing and violin lessons(or whatever) and trying to fix dinner or grab a pizza somewhere in there. Just before getting to the end of the section this time at the sign jump to the coda, and here it can slow down just a little for this is one collapsing at the end of the day when everything is over.

Piano Solo - Digital Download

SKU: A0.1012709

Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709).

Music and song composed by me

THE LAST MY FLOWER (the wolf and the witch)

 

I look at my last flower

It loses its scentand I do not know what to do

I protect you with warmthof this other story I have to tell

 

creatures alone and desperate

many scars heal

a witch and a wolf

do not know yet

that their destinies are to merge

 

and starts this magical storysweet

as ancient fable

in a forest with no place and no age

out of touch

 

and the time is stopped and does not move a breath

and the heart, explodes and skip a beat

and look you recognize

like not having never lost

 

and the wolf that is injured

a white rose in red has turned

He is bleeding along with drops of pain

his red eyes burning with love

 

and the witch instead hides

because she isn't beautiful and it is not important

nobody in the world has never belonged

and a caress he never touched

 

she care and caresses the soul

he looks at her and his anger dominates

and one year only lasts a moment

lost in eternity

 

and the wolf tells tales

and the witch makes magic potions

and exchange promises useless

that the night  guard

 

and she will dance

will dance naked

and the wolf with his heart on his

sleevelying by the fire that lights up,

so free

unobstructed

and are reflected in the magic lake

and do not feel that cold shiver...

not last, do not you feel it too?cold around  us

 

Abracadabra !! from caterpillar to butterfly

Alakazam !! and I too am beautiful

do not you wonder how and why

I started to talk to me

snow fallsbut we are in August

and there is nothing

that you find a place

this my music speaks for it self

this is the strangest tale that is

 

I stop here

It will end well

I can not tell

the end of a love

that is not written yet

 

I stop here

It will end well

in a vacuum and the absence

these days my

silence and inconstancy in your feeling

sthe flower dies already

 

go wolf go

stop thinking about her

from your pack you will need to return

and then runs away

 

witch will

if you want to transform

changes role

an actress who artand

you will have new flowers

 

day step into the dark caverns of regret

Mix them with potions and transform everything into tears

like a cat in the night

I try the food

in the trashno sun,

no light

no god here that help me

 

body and spirit dentedas

a glass stuckinside

my poor heart

the memory of a love

He never really lived

so alive in the mind

is my animal instinct

that makes me ache

while another dream diesthe

witch in the lake you slidethe

water lapping against the planin

his eyes the wolf that is now already far

 

a fairy tale real or invented

in between  my  hidden  truth

all my stories strange and weird

over this skin are now tattooed

 

I watc.

Tenor Voice,Vocal Solo - Level 4 - Digital Download

SKU: A0.533605

Composed by Carson Cooman. Concert,Contemporary,Opera,Standards. 17 pages. Musik Fabrik Music Publishing #3030523. Published by Musik Fabrik Music Publishing (A0.533605).

Rossini in the Kitchen (2005) is a comic staged monodrama for tenor and piano. It was
composed for and is dedicated to Frank Napolitano.
The work imagines the Italian composer Gioacchino Rossini (1792-1868) in his later years in
Paris. After his rather young retirement at age 37, Rossini wrote no more opera and instead
led a life of leisure and luxury, pursuing his great love of gourmet cooking.
Although Rossini was from the northernmost regions of Italy, known for their elegant Frenchinfluenced
cuisine, the recipes in this work are familiar Tuscan style Italian fare. It is
assumed that Rossini would perhaps have enjoyed these dishes as well and made them as a
nod to his native country, whose national musical style he had so impacted with his
compositional work.
The musical language of this work is ecletic, drawing upon the common practice language of
Rossini's time, distorted and amplified through more contemporary sounds and textures.
Some of the contemporary sounds and textures are derived from popular music traditions of
the second half of the 20th century. Since, like more modern popular music, Rossini's own
work was some of the most popular and widely known music of its time. His tunes were
whistled by people in the streets, in the same way that today's pop songs are.
Thus, the musical language of the work sometimes switches abruptly or transforms from one
style into another. There are numerous allusions to Rossini's own music as well as that of
other later opera composers who were indebted to him.

Percussion Ensemble - Level 5 - Digital Download

SKU: A0.1025413

Composed by Jehad Choate. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Jehad Choate #4781401. Published by Jehad Choate (A0.1025413).

The Man Who Laughs is a musical portrait of Batman’s greatest adversary, the Joker (Detective Comics). This piece draws inspiration from both comic book sources and live-action performances on film and television. It features five continuous sections:

One Bad Day: (Page 1) A prelude showcasing a lush melodic theme that ascribes the derangement of a normal man to the dramatic events of one bad day.

How I Got These Scars: (Page 10) Introduces additional thematic material at a frantically energized pace to contrive an identity from a mind fragmented by hitting rock bottom.

Why So Serious: (Page 17) Punctuates the Joker’s aggressive resolutions with a reoccurring two note motif.

A Dance with the Devil: (Page 33) A fleshed-out unity of previous materials in a romantic waltz-like style.

Giggling in a Corner and Bleeding: (Page 47) A dynamic and provocative bout of hysteria that challenges the speed and dexterity of a player in the same way the Joker challenges the ideological resolve of Batman. By the end of this section, the audience might feel like they have been attacked by the Joker, influenced by him, or may have actually been the Joker all along.

String Orchestra - Level 5 - Digital Download

SKU: A0.533700

Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 38 pages. Musik Fabrik Music Publishing #3038895. Published by Musik Fabrik Music Publishing (A0.533700).

Concerto for Portatif Organ and Strings (2006) was commissioned by the Harvard
Baroque Chamber Orchestra and its director, Robert Mealy. The work is dedicated
to organist Nancy Granert, for whom the solo part was written. The work was
commissioned in celebration of the von Clemm Chamber Organ at The Memorial
Church, Harvard University, built in 2006 by Klop Organ Builders.
As with many of my works, relationships between old and new musical concepts are
explored. In this piece, musical aspects of the Baroque organ concerto tradition
(and Baroque style string playing) co-exist with more contemporary musical
elements. In particular, the directness of expression found in many Baroque
concertante works is present throughout. Musical material is shared between the
movements in a motivic fashion.
The title of the first movement, Bricolage, is defined as “something made or put
together using whatever materials happen to be available.� Thus, the musical
material for the movement is of varying characters; these elements are assembled
together in ways that allow them to comment on and inform each other. Some of
these musical elements include: a traditional “overture� texture, a Basse de
Trompette texture (with an organ reed stop in the left hand) common in French
Baroque organ music, and the French keyboard toccata style.
The second movement, Elegia, is dark and searching in tone. It begins with a
rageful roar before quieting down to introduce its basic musical material – a simple
“lament� theme in a folk-inflected style. This material is used for further explorations,
building to passionate climaxes. Finally, the opening music returns, but this time
with a whisper. The movement winds down to a sad conclusion.
After the soul-searching of the second movement, the third movement, Rondeau, is
sprightly and energetic. The basic material is a set of Baroque and Classical-style
figurations (with a few American gospel inflections thrown in), firmly grounded in G
major. After minor diversions, the original material continues to return and ends the
work with unfettered joy.

This item is the score only.  The score and complete parts are available for sale as another item.

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533578

Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578).

The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),
was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and the
Harvard University Choir.
The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (the
likely-metaphorical “Theophilus�), yet they are unusual for being composed in such contrasting genres. Luke’s
gospel, using Mark as a primary source throughout, features a comparable literary style to that of the other
evangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic stories
about—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victories
and struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.
Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from the
first third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narrated
and—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’s
gospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:
here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling the
story of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian message
to all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection from
the threats of persecution that the apostles will now face.
Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,
only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah
“Heaven is my throne…�, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final words
mirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, into
your hands I commend my spirit� (Luke 23:46); secondly, Saul is specifically mentioned as one who approved of
Stephen’s stoning, indicative of the redemptive possibilities of the Christian message.
The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—while
not quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,
and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’s
Conversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely a
quotation from an earlier source. It is often regarded as the earliest extant Christian hymn.
The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism many
remained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension between
the uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel to
gentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to the
gentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughout
history.
Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,
“Spirit of mercy, truth, and love� is an eighteenth century poem that e.

String Trio Cello,Viola,Violin - Level 3 - Digital Download

SKU: A0.520963

By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson. Arranged by Sherry Lewis Publishing. Pop,Rock. 21 pages. Sherry Lewis Publishing #3360811. Published by Sherry Lewis Publishing (A0.520963).

CHASING CARS String Trio for 2 violins and cello or violin, viola and cello

Intermediate Level

Score: 11 pages

Parts: 8 pages 

Time: 4'08

MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts 

however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.

Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.

If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.

VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.

PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. 

AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.

LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. 

ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.

EXCELLENT for corporate events, weddings, social gatherings and recitals.

APPROPRIATE for students and schools.

CHURCH REPERTOIRE I’m always adding more titles.

Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

Violin Solo - Level 3 - Digital Download

SKU: A0.520965

By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson. Arranged by Sherry Lewis. Pop,Rock. 6 pages. Sherry Lewis Publishing #3363213. Published by Sherry Lewis Publishing (A0.520965).

CHASING CARS Solo Violin

Intermediate Level

Score: 0 pages

Parts: 3 pages 

Time: 4'08

MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts 

however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.

Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.

If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.

VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.

PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. 

AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.

LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. 

ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.

EXCELLENT for corporate events, weddings, social gatherings and recitals.

APPROPRIATE for students and schools.

CHURCH REPERTOIRE I’m always adding more titles.

Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

Piano Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download

SKU: A0.521745

By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson. Arranged by Sherry Lewis. Pop,Rock. 24 pages. Sherry Lewis Publishing #6417635. Published by Sherry Lewis Publishing (A0.521745).

CHASING CARS String Orchestra for 2 violins, viola, cello and string bass chords such as C, Em, etc.

Intermediate Level

Score: 12 pages

Parts: 9 pages 

Time: 4'08

MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts 

however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.

Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.

If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.

VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.

PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. 

AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.

LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. 

ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.

EXCELLENT for corporate events, weddings, social gatherings and recitals.

APPROPRIATE for students and schools.

CHURCH REPERTOIRE I’m always adding more titles.

Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533592

Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592).

Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble
was commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,
Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.
The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,
particularly its greatest depths.
The work is in two movements, played without break. The two movements explore the same
musical material (a specific collection of twelve pitches) in two very different ways. In the
first movement, the material is presented often in row forms -- and harmonies derived from it.
In the second movement, a more free approach is used to the material and it becomes more
motivic and gestural.
The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.
Musical objects interact with each other and ideas transform each other. Many of these deepsea
creatures live in very isolated and solitary environments at the ocean's lowest points.
They each exist and pursue their own purposes without any awareness of what else is
happening around them. However, despite this, they are all existing within a common
environmental system and are thus achieving goals together on a larger level.
The second movement, Different Porpoises, is inspired by porpoises and other sea-creatures
who surface, thus providing a link to human land-bound life. The marimba establishes a
rhythmic ostinato which (although passed around) remains steady throughout most of the
movement.

Instrumentation
Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F
Piano
2 Solo Percussion:
I: marimba, crotales, suspended cymbal, 2 spokes/bells
II: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),
medium-size water gong (i.e., gong with bucket of water),
3 roto-toms, conga, bass drum
(each percussionist needs two bows)
Violin I
Violin II
Viola
Cello
(All players except for the two solo percussion also play
oracle rods in addition to their instruments.)

The full score without the solo parts is also available for sale.. The parts are on rental from the publisher

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533591

Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591).

Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble
was commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,
Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.
The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,
particularly its greatest depths.
The work is in two movements, played without break. The two movements explore the same
musical material (a specific collection of twelve pitches) in two very different ways. In the
first movement, the material is presented often in row forms -- and harmonies derived from it.
In the second movement, a more free approach is used to the material and it becomes more
motivic and gestural.
The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.
Musical objects interact with each other and ideas transform each other. Many of these deepsea
creatures live in very isolated and solitary environments at the ocean's lowest points.
They each exist and pursue their own purposes without any awareness of what else is
happening around them. However, despite this, they are all existing within a common
environmental system and are thus achieving goals together on a larger level.
The second movement, Different Porpoises, is inspired by porpoises and other sea-creatures
who surface, thus providing a link to human land-bound life. The marimba establishes a
rhythmic ostinato which (although passed around) remains steady throughout most of the
movement.

Instrumentation
Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F
Piano
2 Solo Percussion:
I: marimba, crotales, suspended cymbal, 2 spokes/bells
II: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),
medium-size water gong (i.e., gong with bucket of water),
3 roto-toms, conga, bass drum
(each percussionist needs two bows)
Violin I
Violin II
Viola
Cello
(All players except for the two solo percussion also play
oracle rods in addition to their instruments.)

The solo parts plus the full score are available for sale.  The parts are on rental from the publisher

String Orchestra - Level 5 - Digital Download

SKU: A0.533701

Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 77 pages. Musik Fabrik Music Publishing #3038897. Published by Musik Fabrik Music Publishing (A0.533701).

Concerto for Portatif Organ and Strings (2006) was commissioned by the Harvard Baroque Chamber Orchestra and its director, Robert Mealy. The work is dedicated to organist Nancy Granert, for whom the solo part was written. The work was commissioned in celebration of the von Clemm Chamber Organ at The Memorial Church, Harvard University, built in 2006 by Klop Organ Builders.

As with many of my works, relationships between old and new musical concepts are explored. In this piece, musical aspects of the Baroque organ concerto tradition (and Baroque style string playing) co-exist with more contemporary musical elements. In particular, the directness of expression found in many Baroque concertante works is present throughout. Musical material is shared between the movements in a motivic fashion.

The title of the first movement, Bricolage, is defined as “something made or put together using whatever materials happen to be available.â€�   Thus, the musical material for the movement is of varying characters; these elements are assembled together in ways that allow them to comment on and inform each other. Some of these musical elements include: a traditional “overtureâ€� texture, a Basse de Trompette texture (with an organ reed stop in the left hand) common in French Baroque organ music, and the French keyboard toccata style.

The second movement, Elegia, is dark and searching in tone. It begins with a rageful roar before quieting down to introduce its basic musical material – a simple “lament� theme in a folk-inflected style. This material is used for further explorations, building to passionate climaxes. Finally, the opening music returns, but this time with a whisper. The movement winds down to a sad conclusion.

After the soul-searching of the second movement, the third movement, Rondeau, is sprightly and energetic. The basic material is a set of Baroque and Classical-style figurations (with a few American gospel inflections thrown in), firmly grounded in G major. After minor diversions, the original material continues to return and ends the work with unfettered joy.


Large Ensemble Clarinet,Drum Set,Drums,Trombone,Trumpet,Tuba,Voice - Level 3 - Digital Download

SKU: A0.734796

Composed by Traditional. Arranged by Joseph Hasper. Folk,Jazz,Traditional. Score and parts. 14 pages. Joseph Hasper #3213083. Published by Joseph Hasper (A0.734796).

Traditional sailor's song arranged for German Band with two clarinets, trumpet, trombone, tuba, and optional drums. Includes a full score and all parts. Includes optional lyrics that let you sing a verse!

Key of F. 81 measures, 20pages.

Barnacle Bill the Sailor is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard. Versions are also known in England and Scotland from the early twentieth century.

One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.

Barnacle Bill the Sailor (Roud 4704) is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown.[1]

There are several versions of the bawdy song in the Gordon Inferno Collection at the Library of Congress folklife archive. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard.[2] Versions are also known in England and Scotland from the early twentieth century.

The earliest known recording is an expurgated adaptation by Carson Robison and Frank Luther in 1928. This version was also recorded on May 21, 1930 by Bix Beiderbecke and Hoagy Carmichael with Carson Robison on vocals and released as a Victor 78, V-38139-A and 25371. In 1996 it was released on CD on the album Bix Beiderbecke 1927–1930.[3] According to Philip R. Evans, Bix Beiderbecke's biographer, in the second chorus of this recording, violinist Joe Venuti can be heard singing Barnacle Bill the Shit-head, either to express his attitude toward the record producer, or typical of his wacky sense of humor. Esten Spurrier, a friend of Beiderbecke's, is quoted by Evans as saying that Beiderbecke told him he could not believe the record would be pressed and had felt that it had been done just for laughs. Beiderbecke cut loose on the tune with what is believed to be one of his finest cornet solos. John Valby (aka Dr. Dirty) also recorded the song.

The tune has inspired a Fleischer Studios Betty Boop cartoon and two films, as well as the name of a rock on Mars. Louis Jordan and the Tympany Five (then known as The Elks Rendezvous Band) recorded a clean version in 1938.[4] In the first Fleischer Popeye cartoon, Popeye the Sailor (1933), Barnacle Bill was used as the recurring theme for the Bluto character. A later Fleischer Popeye cartoon, Beware of Barnacle Bill (1935), is a mock operetta based around a toned-down version of the song.

Example of lyrics[edit]

One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.

Bass Guitar - Level 2 - Digital Download

SKU: A0.1271006

By Box Tops. By Wayne Carson Thompson. Arranged by Igor Sardi Bass. Blues,Funk,Hip-Hop,Jazz,Pop,R & B. Score. 5 pages. Igor Sardi Bass #863395. Published by Igor Sardi Bass (A0.1271006).

Joe Cocker's version with John Deacon on bass and Brian May on guitar
For version without tab, please contact me - igorsardi@gmail.com
I transcribed about 1,000 songs, especially the bass and double bass lines. I will gradually publish them all on this site. My transcriptions are professional, done using only my skills and my ear. There is nothing copied. On my site (www.igorsardi.com) you can also find various collections (Queen, Jaco Pastorius, Flea, etc) and many teaching methods at unbelievable prices!

Email:  igorsardi@gmail.com
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My didactic books:
John Deacon: complete study - https://www.igorsardi.com/johndeacon-completestudy              
Jaco Pastorius: complete study (volume 1 & 2) - https://www.igorsardi.com/jaco-pastorius
Harmony course - https://www.igorsardi.com/corso-armonia-applicata-per-bassisti   -
Walking Bass: Progressive course - https://www.igorsardi.com/walking-bass-course 
500 exercises for bass - https://www.igorsardi.com/500-exercises-for-bass 
Electric bass theory and practice - https://www.igorsardi.com/theory-and-practice-of-bass 
Setup: complete guide -  https://www.igorsardi.com/theelectricbassworkshop 
The Fretless Bass - https://www.igorsardi.com/fretless-bass-book
Profession Bass Player - https://www.igorsardi.com/profession-bassplayer 
Studying classical music on bass - https://www.igorsardi.com/studyingclassicalmusiconbass.