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Solo Guitar - Level 4 - Digital Download SKU: A0.938074 Composed by Robert Grant - Music: William Gardner. Arranged by Bruce J. Patterson. Christian,Gospel,Jewish,Sacred. Individual part. 3 pages. In His Name Music/SESAC #59083. Published by In His Name Music/SESAC (A0.938074). O Worship the King is arranged for classical guitar and is included in my book, Classic Hymns for Classical Guitar. O Worship the King is a favorite hymn arranged for solo classical guitar. This hymn is arranged to accommodate guitarists with a skill level of advanced intermediate to early advanced level. Bruce J. Patterson serves as Adjunct Professor of Guitar at Welch College and Allegro School of Music in Nashville, Tennessee. My arrangement preserves the unique style of the original composer and is adapted and modified for guitar to produce an expression of worship to the King of creation.
O Worship the King
Guitare

$3.99 3.41 € Guitare PDF SheetMusicPlus

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.
The Edmund Fitzgerald - Concerto for Piano and Strings
Orchestre à Cordes

$9.99 8.53 € Orchestre à Cordes PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.1171993 By Celine Dion & Peabo Bryson. By Alan Menken and Howard Ashman. Arranged by Kevin Riley. 20th Century,Broadway,Film/TV,Musical/Show. Score and Parts. 42 pages. Kevin Riley #772279. Published by Kevin Riley (A0.1171993). The film's animation screenplay was written by Linda Woolverton with story written by Roger Allers, Brenda Chapman, Chris Sanders, Burny Mattinson, Kevin Harkey, Brian Pimental, Bruce Woodside, Joe Ranft, Tom Ellery, Kelly Ashbury, and Robert Lence, directed by Gary Trousdale and Kirk Wise, and produced by Don Hahn. The music of the film was composed by Alan Menken and the lyrics for the film were written by Howard Ashman (who also served as the film's executive producer), both of whom had written the music and songs for The Little Mermaid, a previous Disney film.
Beauty And The Beast
Orchestre
Celine Dion & Peabo Bryson
$70.00 59.74 € Orchestre PDF SheetMusicPlus

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1401574 Composed by Bruce Gowers, Carol Rosenstein, Michael Lloyd, and Traditional. Arranged by S Smith-Masters & Peet du Toit. Christian,Christmas. 11 pages. Peet du Toit #984753. Published by Peet du Toit (A0.1401574). Kum ba yah (Come by here) is an African American spiritual song of disputed origin, but known to be sung in the Gullah culture of the islands off South Carolina and Georgia, with ties to enslaved Central Africans. The song is thought to have spread from the islands to other Southern states and the North, as well as other places in the world. The first known recording, of someone known only as H. Wylie, who sang in the Gullah dialect, was recorded by folklorist Robert Winslow Gordon in 1926. It later became a standard campfire song in Scouting and summer camps and enjoyed broader popularity during the folk revival of the 1950s and 1960s.The song was originally an appeal to God to come and help those in need. In American politics, the song would later become part of a phrase (sing Kumbaya) denoting unrealistic, excessively optimistic compromises.Here is a brilliant arrangement by S Smith-Masters orchestrated for a brass quintet and functional percussion.
Kumbaya
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$14.00 11.95 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus






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