Piano Sheets > Jimmie Dodd Sheet Music > Mickey Mouse March (ver. 1) Piano Sheet

Mickey Mouse March (ver. 1) by Jimmie Dodd - Piano Sheets and Free Sheet Music

  
About the Song
Mickey Mouse March (sometimes called The Mickey Mouse Club March), is the opening theme for the television show The Mickey Mouse Club, which was broadcast every weekday afternoon in the United States, from 1955 to 1959, on the ABC television network. The song is reprised, with the slower "it's time to say goodbye" verse, at the end of each episode. The song remains popular today as a children's music standard. The song is Mickey Mouse's official theme song is used on many special occasions. The song is written by the host of the Mickey Mouse Club, Jimmie Dodd. It was originally published by Hal Leonard Corporation, and the original copyright date was July 1, 1955.[1] Dodd also wrote many other songs used in individual segments over the course of the series. Jimmie Dodd was a talented guitarist and musician who was originally hired by Walt Disney as a songwriter. In addition to The Mickey Mouse.    Download this sheet!
About the Artist
James Wesley Dodd (March 28, 1910 - November 10, 1964) was best known as the MC of the popular 1950s Disney TV show, The Mickey Mouse Club, as well as the writer of its well-known theme song, The Mickey Mouse Club March. A slowed-down version of this march, with different lyrics, became the very beautiful "Alma Mater" that closed the show. He had some early film roles in The Three Mesquiteers series of westerns. Dodd broke in the William Holden Film Those Were the Days in a minor role. He also played the taxi driver in the MGM film Easter Parade, starring Fred Astaire and Judy Garland. Dodd had a small role in an early episode of Adventures of Superman, titled Double Trouble. He also appeared in many theatrical films in the 1940s and 1950s, often uncredited. Dodd was the heart and soul of the Mickey Mouse Club TV series, which aired each weekday. He always wore his toothy smile and Mouseke-ears, played his famous Mouse-guitar and sang self-composed songs. His simple yet timeless tunes contained positive messages for kids. In addition, among his other musical contributions is a song that a generation of kids has used for almost fifty years to spell.
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Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)