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J. W. Pepper & Son, Inc. is a privately owned, American sheet music retailer based in Exton, Pennsylvania. The company is credited with being the largest sheet music retailer in the world, with over 750,000 titles in its catalog.
In 1980, producer David Merrick and director Gower Champion adapted the 1933 film 42nd Street into a Broadway musical that won The Tony Award for Best Musical in 1981. The book for the show was written by Michael Stewart and Mark Bramble and featured a score that incorporated Warren and Dubin songs from various movie musicals including 42nd Street, Dames, Go Into Your Dance, Gold Diggers of ...
George Clifton James (May 29, 1920 – April 15, 2017) was an American actor known for roles as a prison floorwalker in Cool Hand Luke (1967), Sheriff J.W. Pepper alongside Roger Moore in the James Bond films Live and Let Die (1973) and The Man with the Golden Gun (1974), the sheriff in Silver Streak (1976), a Texas tycoon in The Bad News Bears in Breaking Training (1977), and the owner of the ...
Lists vocal works Johann Rosenmüller: Snyder, Kerala J. (1970). Johann Rosenmüller's music for solo voice. New Haven, Conn.: Yale University Press. Lists vocal music only. Non-thematic catalogue. Antonio Rosetti: Kaul, Oskar (1968). Thematisches Verzeichnis der Instrumentalwerke von Anton Rosetti.
Successful non-classical baritones display a wide range of vocal qualities and effects that lend a unique character to their voices, many of which are considered undesirable in the operatic or classical baritone singer, such as "breathy" , [3] "distinguished…crooner" , [4] "growling" (Neil Diamond), [5] and even "ragged" (Bruce Springsteen).
J. W. Pepper might refer to: J.W. Pepper & Son, Inc., American company; Sheriff J.W. Pepper, fictional character in two James Bond films This page was last edited on ...
The sousaphone (/ ˈ s uː z ə f oʊ n / SOO-zə-fohn) is a brass musical instrument in the tuba family. Created around 1893 by J. W. Pepper at the direction of American bandleader John Philip Sousa (after whom the instrument was then named), it was designed to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads ...
The composition, in the words of jazz writer, Donald Clarke, is "an object lesson in how to swing at a slow tempo." [3]Gary Giddins expands on the importance of tempo in the performance of "Li'l Darlin '", saying that "in the enduring 'Li'l Darlin ' ', [Hefti] tested the band's temporal mastery with a slow and simple theme that dies if it isn't played at exactly the right tempo.
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