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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
John May
Non classifié
297
Piano & claviers
Piano, Voix et Guitare
129
Piano seul
68
Piano, Voix
38
Accompagnement Piano
5
Orgue
5
Instruments en Do
4
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Accordéon
1
Piano Trio: piano, violon, violoncelle
1
Piano Facile
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
92
Guitare
29
Basse electrique
28
Paroles et Accords
27
Ligne De Mélodie, (Paroles) et Accords
8
Ukulele
7
4 Guitares (Quatuor)
4
+ 2 instrumentations
Retracter
Voix
Chorale SATB
69
Chorale TTBB
17
Chorale 3 parties
13
Chorale 2 parties
6
Chorale SSAA
5
Voix duo, Piano
3
Voix Alto, Piano
3
Voix Tenor, Piano
2
Voix Soprano, Piano
2
Chorale Unison
1
+ 5 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
48
Quintette de Saxophone: 5 saxophones
44
2 Saxophones (duo)
18
2 Clarinettes (duo)
16
Clarinette, Violon (duo)
14
Clarinette et Piano
13
Flûte, Clarinette (duo)
13
Hautbois, Piano (duo)
11
Saxophone Tenor
10
Saxophone Alto
10
Saxophone Alto et Piano
10
Clarinette
9
Saxophone, Clarinette (duo)
8
Flûte, Violon
8
Saxophone Tenor et Piano
8
Flûte traversière
8
2 Flûtes traversières (duo)
7
Flûte traversière et Piano
7
Quatuor de Saxophones: 4 saxophones
6
Clarinette, Trompette (duo)
6
Ensemble de Clarinettes
6
Saxophone Soprano et Piano
5
Saxophone (partie séparée)
5
2 Flûte à bec (duo)
5
Hautbois (partie séparée)
4
Saxophone
3
Quintette de Flûte : 5 flûtes
3
Flûte, Saxophone (duo)
3
Flûte, Trompette (duo)
3
Clarinette et Alto
3
Hautbois, Basson (duo)
3
Quatuor de Clarinettes: 4 clarinettes
3
Hautbois, Flûte
3
Hautbois, Clarinette (duo)
3
2 Hautbois (duo)
3
Ensemble de Flûtes
2
3 Clarinettes (trio)
2
Trio de Flûtes: 3 flûtes
2
Hautbois
2
Flûte, Violon, Piano
2
Quatuor de Flûtes : 4 flûtes
2
Flûte, Basson et Piano
2
Flûte, Violon et Violoncelle
2
Cor anglais, Piano
2
Clarinette, trompette et piano
1
3 Saxophones (trio)
1
Flûte, Violoncelle, Guitare
1
Quintette de Clarinettes: 5 clarinettes
1
2 Flûtes traversières, Piano
1
Flûte, Violoncelle, Piano (trio)
1
Ensemble de saxophones
1
Harmonica
1
Flûte, Clarinette, Piano (trio)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, trombone et piano
1
Flûte, Hautbois, Clarinette, Basson
1
+ 52 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
24
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trombone
9
Trompette
9
Trombone et Piano
8
Trompette, Piano
7
Cor
6
Ensemble de Trombones
6
Trompette, Saxophone (duo)
6
Ensemble de Trompettes
3
2 Trompettes (duo)
3
Tuba
3
2 Trombones (duo)
3
Trompette, Trombone (duo)
3
Cor et Piano
3
Quatuor de cuivres: 4 trompettes
2
Trio de Cuivres
2
Quatuor de cuivres: 4 cors
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Cor anglais, Piano
2
4 Tubas
1
2 Tubas (duo)
1
Ensemble de Cors
1
Ensemble de Tubas
1
Euphonium, Piano (duo)
1
Tuba et Piano
1
3 Trombones (trio)
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
40
Violon
24
Violon, Violoncelle (duo)
13
Trio à Cordes: violon, alto, violoncelle
11
Violoncelle
10
2 Violons (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Alto seul
7
Alto, Piano
7
Violon et Piano
7
Violon, Alto (duo)
5
Violoncelle, Piano
5
Ensemble d'Altos
4
2 Violoncelles (duo)
4
Ensemble de Violons
4
2 Altos (duo)
3
Harpe
3
Alto (partie séparée)
2
Harpe, Violon, Violoncelle
2
4 Violoncelles
2
Trio à cordes: 3 violins
2
Trio à Cordes: 2 violons, violoncelle
1
Quatuor à cordes: 4 violons
1
2 Harpes (duo)
1
Alto, Violoncelle (duo)
1
Contre Basse
1
+ 21 instrumentations
Retracter
Orchestre & Percussions
Batterie
42
Orchestre d'harmonie
29
Cloches
29
Orchestre
17
Orchestre à Cordes
16
Ensemble de cuivres
11
Ensemble Jazz
9
Orchestre de chambre
5
Fanfare
4
Jazz combo
4
Marimba
3
Vibraphone
2
Ensemble de Percussions
1
Percussion
1
Xylophone
1
+ 10 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
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COUNTRY
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Crtitères actifs :
John May
intermédiaire
Violoncelle, Piano
Partitions à imprimer
5 partitions trouvées
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Sheep May Safely Graze (Cello and Piano)
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Violoncelle, Piano
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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John A
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Sheep May Safely Graze
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SheetMusicPlus
Composed by Johann Sebastian Bach (1685-1750). Arranged by John A. Dempsey. Baroque Period, Christmas, Easter, Wedding, Recital. Score, Set of Parts. ...
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Composed by Johann Sebastian Bach (1685-1750). Arranged by John A. Dempsey. Baroque Period, Christmas, Easter, Wedding, Recital. Score, Set of Parts. 16 pages. Published by John A. Dempsey
$6.99
Prelude in E minor-Cello Solo
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Violoncelle, Piano
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INTERMÉDIAIRE
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Classique
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Chopin's request, this piece w
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Frederic Chopin
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John May
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Prelude in E minor-Cello Solo
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Lost Key Music
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1174030 Composed by Frederic Chopin. Arranged by John May. Chamber,Classical,Contest,Festival,Romantic Period. Score and...
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Cello,Piano - Level 3 - SKU: A0.1174030 Composed by Frederic Chopin. Arranged by John May. Chamber,Classical,Contest,Festival,Romantic Period. Score and part. 4 pages. Lost Key Music #774193. Published by Lost Key Music (A0.1174030). Prelude in E minor, Op. 28, No. 4, by Frederic Chopin is one of his 24 Preludes. By Chopin's request, this piece was played at his own funeral, along with Mozart's Requiem. It is arranged here for cello solo with piano accompaniment. Includes separate cello part.
$9.00
Cello - "And Can It Be?" Theme and Variations
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Violoncelle, Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Cello - "And Can It Be?&q
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Dan Cutchen Music
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan C...
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Cello,Piano - Level 3 - SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
Sullivan: The Lost Chord for Cello & Piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for C
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.549440 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacre...
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Cello,Piano - Level 3 - SKU: A0.549440 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494673. Published by jmsgu3 (A0.549440). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
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John May
