C Instrument - Digital Download SKU: A0.808535 Composed by Joseph King Oliver. Arranged by Mark Huxhold. Jazz,Ragtime. Lead Sheet / Fake Book. 3 pages. Mark Wayne Music, LLC #6669131. Published by Mark Wayne Music, LLC (A0.808535). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC is ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only  4 measure phrase per line - melody written in simple rhythms (the player is left to swing it)  Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys are included with each title, each key having its own page.

C Instrument - Digital Download SKU: A0.808461 Composed by Joseph King Oliver. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 4 pages. Mark Wayne Music, LLC #4112155. Published by Mark Wayne Music, LLC (A0.808461). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC are ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only  4 measure phrase per line - melody written in simple rhythms (the player is left to swing it)  Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys included with each title, each key having its own page.

C Instrument - Digital Download SKU: A0.808460 Composed by Joseph King Oliver. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 4 pages. Mark Wayne Music, LLC #4112135. Published by Mark Wayne Music, LLC (A0.808460). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC are ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only  4 measure phrase per line - melody written in simple rhythms (the player is left to swing it)  Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A,   ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys included with each title, each key having its own page.

Banjo,Clarinet,Cornet,Drum Set,Piano,Trombone,Tuba - Level 2 - Digital Download SKU: A0.981649 Composed by Joseph King Oliver. Arranged by Jim Ivy. Contemporary. 26 pages. Jim Ivy #5196713. Published by Jim Ivy (A0.981649). Written by Joe King Oliver in 1926, this song has become a trad jazz standard. This arrangement is for a standard frontline consisting of cornet, clarinet, trombone plus a rhythm section. I can be opened for solos or vocal and the chord progression is provided in each part.

String Quartet - Advanced Intermediate - Digital Download Composed by Thomas Wiggins. Arranged by Jeremy Crosmer. Romantic Period, Classical Period. Score, Set of Parts. 8 pages. Published by Jeremy Crosmer

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

C Instrument - Level 4 - Digital Download SKU: A0.518265 Composed by Oliver George Wallace and Paul Englishby. Arranged by John Fries. 20th Century,Film/TV,Patriotic,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #128979. Published by John Fries (A0.518265). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER! Der Fuehrer's Face (originally titled A Nightmare in Nutziland or Donald Duck in Nutziland is a 1943 American animated anti-Nazi propaganda short film produced by Walt Disney Productions. The cartoon, which features Donald Duck in a nightmare setting working at a factory in Nazi Germany, was made in an effort to sell war bonds and is an example of American propaganda during World War II. Der Fuehrer's Face won the Oscar for Best Animated Short Film at the 15th Academy Awards. A German oom-pah band — composed of Axis powers leaders Joseph Goebbels on the trombone, Heinrich Himmler on the snare drum, Hideki Tojo on the sousaphone, Hermann Goering on the piccolo and Benito Mussolini on the bass drum — marches noisily at four o'clock in the morning through a small town where the trees, windmills, fence posts, and even the clouds are shaped like swastikas while singing the virtues of the Nazi doctrine.