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Vous avez sélectionné:
John Davy
SheetMusicPlus
Partitions à imprimer
8 partitions trouvées
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J. Davy-The Bay of Biscay,in A Major
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1389667 Composed by John Dav…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1389667 Composed by John Davy. Arranged by OSM Press. Classical. Score. 2 pages. Open Cloud #973262. Published by Open Cloud (A0.1389667).
$1.99
1.82 €
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Piano, Voix
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John Davy
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OSM Press
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J. Davy-The Bay of Biscay,in A Major
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Open Cloud
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SheetMusicPlus
O My Love's Like the Red Rose. A Favorite Scotch Air
Piano, Voix
Arranged by John Davy. Courtship, Love. Lester S. Levy Collection. 2 pages. Published by J…
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Arranged by John Davy. Courtship, Love. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.1438). - - - Johns Hopkins University Sheridan Libraries
$5.99
5.48 €
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Piano, Voix
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John Davy
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O My Love's Like the Red Rose. A Favorite Scotch Air
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Oh My Love's Like the Red Rose. A Favorite Scotch Air
Piano, Voix
Arranged by John Davy. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins Univ…
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Arranged by John Davy. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11197). - - - Johns Hopkins University Sheridan Libraries
$5.99
5.48 €
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Piano, Voix
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John Davy
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Oh My Love's Like the Red Rose. A Favorite Scotch Air
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
What a Blunder! English Theatre Overtures 1760-1800
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1485607 Composed by Charles Dibdin,…
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Piano Solo - Level 3 - Digital Download SKU: A0.1485607 Composed by Charles Dibdin, John Davy, Samuel Arnold, Stephen Storace, Thomas Augustine Arne, Thomas Linley, and William Shield. Arranged by Robert Hoskins. Classical. Score. 130 pages. Artaria Editions #1062672. Published by Artaria Editions (A0.1485607). The period 1760-1800 was the golden age of English comic opera. Each of the London playhouses – Covent Garden, Drury Lane and the Little Theatre in the Haymarket – employed a resident composer who wrote for plays, pantomimes, three-act mainpiece operas, and one or two-act afterpieces. Successful premieres were followed up with the publication of piano reductions to satisfy the insatiable home entertainment market. This volume includes overtures by all of the major figures of the period, including Dibdin, Arne, Arnold, Shield, Storace and Davy, whose opera What a blunder! provides the title for this fascinating anthology.
$63.00
57.6 €
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Piano seul
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Charles Dibdin, John Davy, Samuel Arnold, Stephen Storace, Thomas Augustine Arne, Thomas Linley, and William Shield
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Robert Hoskins
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What a Blunder! English Theatre Overtures 1760-1800
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Artaria Editions
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SheetMusicPlus
My Dream of the USA
Composed by Leonard Chick, Charles Roth, & Ted Snyder. Portraits, Events, George Washingto…
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Composed by Leonard Chick, Charles Roth, & Ted Snyder. Portraits, Events, George Washington, Boats, Winter warfare, National Emblems, Andrew Jackson, Davy Crockett, Zachary Taylor, Patriotism, History--American. Lester S. Levy Collection. 5 pages. Publish - - - Johns Hopkins University Sheridan Libraries
$5.99
5.48 €
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Leonard Chick, Charles Roth, & Ted Snyder
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My Dream of the USA
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SheetMusicPlus
Into the Labyrinth An Anatomy of Position Playing for Jazz Guitar
Guitare
Solos. Jazz. Ebook and online audio. 117 pages. Mel Bay Publications - Digital Sheet …
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Solos. Jazz. Ebook and online audio. 117 pages. Mel Bay Publications - Digital Sheet Music #31070MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513469270. 8.75x11.75 inches.<br> <br> If youve ever wondered about the depth of thought vs. pattern playing that goes into jazz guitar improvisation, youll find the answer in this book. University of North Texas jazz guitar instructor and stellar musician, Davy Mooney is as fluid in writing about the physical and cerebral processes of jazz guitar improvisation as he is in playing over tunes, chord changes and modulations. Mooney describes the guitar fretboard as a labyrinth ruled by shapes and patterns. He recounts his own journey toward fretboard fluency beginning with the CAGED major scale positions and connecting them with ascending arpeggio shapes. The purpose of his book is to show you a way into the labyrinth, how to navigate it, and find your way out, should you so desire. Five is the magic number in this book. With five jazz chord progressions, fretboard scale and arpeggio diagrams in five positions, and transcribed eighth-note improvisations, Mooney illustrates how five giants of jazzMiles Davis, Wayne Shorter, Antonio Carlos Jobim, Thelonious Monk, and John Coltranemight have approached improvisation had they been jazz guitarists. Written in standard notation and fretboard diagrams for the intermediate to advanced guitarist already well-acquainted with jazz scale and chord theory. Includes access to online audio for all 60 etudes, play-along and improv examples.ISBN 9781513469270. 8.75x11.75 inches.<br> <br> If youve ever wondered about the depth of thought vs. pattern playing that goes into jazz guitar improvisation, youll find the answer in this book. University of North Texas jazz guitar instructor and stellar musician, Davy Mooney is as fluid in writing about the physical and cerebral processes of jazz guitar improvisation as he is in playing over tunes, chord changes and modulations. Mooney describes the guitar fretboard as a labyrinth ruled by shapes and patterns. He recounts his own journey toward fretboard fluency beginning with the CAGED major scale positions and connecting them with ascending arpeggio shapes. The purpose of his book is to show you a way into the labyrinth, how to navigate it, and find your way out, should you so desire. Five is the magic number in this book. With five jazz chord progressions, fretboard scale and arpeggio diagrams in five positions, and transcribed eighth-note improvisations, Mooney illustrates how five giants of jazzMiles Davis, Wayne Shorter, Antonio Carlos Jobim, Thelonious Monk, and John Coltranemight have approached improvisation had they been jazz guitarists. Written in standard notation and fretboard diagrams for the intermediate to advanced guitarist already well-acquainted with jazz scale and chord theory. Includes access to online audio for all 60 etudes, play-along and improv examples.
$19.99
18.28 €
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Guitare
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Into the Labyrinth An Anatomy of Position Playing for Jazz Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Old French Song
Harpe
Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Perio…
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Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Period, Repertoire, Recital. Individual Part, Solo Part. 6 pages. Published by Luis Anjos Teixeira
The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“.<br> <br> In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.<br> <br> Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".<br> <br> On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.<br> <br> By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.<br> <br> On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.<br> <br> <br> <br> P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. <br> <br> The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.<br> <br> A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. <br> <br> I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. <br> <br> May be the staccatos suites you best, and you should try it.<br> <br> The score was written on Finale.<br> <br> The sound file was produced with samplers from Garritan, <br> <br> intended as an audio support for the presentation of the score.<br> <br> A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.<br> <br> Thank you very much for taking your time to read this text and to listen to the file.<br> <br> I hope you enjoy the music.<br> <br> The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him“.<br> <br> In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.<br> <br> Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstück“. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".<br> <br> On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.<br> <br> By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.<br> <br> On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.<br> <br> <br> <br> P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition. <br> <br> The first version is in the original key of g minor, the second is transposed to „a minor“, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.<br> <br> A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts. <br> <br> I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself. <br> <br> May be the staccatos suites you best, and you should try it.<br> <br> The score was written on Finale.<br> <br> The sound file was produced with samplers from Garritan, <br> <br> intended as an audio support for the presentation of the score.<br> <br> A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.<br> <br> Thank you very much for taking your time to read this text and to listen to the file.<br> <br> I hope you enjoy the music.<br> <br>
$4.99
4.56 €
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Harpe
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Pyotr Ilich Tchaikovsky
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Luis Anjos Teixeira
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Old French Song
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Luis Anjos Teixeira
#
SheetMusicPlus
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