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TRI ET FILTRES
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Vous avez sélectionné:
Gordon w King
Partitions à imprimer
7 partitions trouvées
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Ave Verum Corpus
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1189783 By Gordon w King. …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1189783 By Gordon w King. By Gordon w King. Arranged by Gordon w King. 20th Century,Sacred. Octavo. 2 pages. Gordon King #789388. Published by Gordon King (A0.1189783). An original SATB a cappella setting of Ave Verum Corpus. Moderate difficulty,duration around 2 minutes. Contemporary harmony.
$3.00
2.72 €
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Chorale SATB
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Gordon w King
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Gordon w King
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Ave Verum Corpus
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Gordon King
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SheetMusicPlus
Were You There for Organ
Orgue
Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1189766 By Gordon…
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Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1189766 By Gordon w King. By Gordon w King. Arranged by Gordon w King. Religious. Individual part. 3 pages. Gordon King #789371. Published by Gordon King (A0.1189766). An arrangement of the spiritual Were You There for Organ manuals with Pedalad lib. Harmonies border on a blues style.
$4.00
3.62 €
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Orgue
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Gordon w King
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Gordon w King
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Were You There for Organ
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Gordon King
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SheetMusicPlus
Christ Our Passover
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1189774 By Gordon King. By…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1189774 By Gordon King. By Gordon w King. Arranged by Gordon w King. Religious,Sacred. Octavo. 8 pages. Gordon King #789382. Published by Gordon King (A0.1189774).
$3.00
2.72 €
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Chorale SATB
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Gordon King
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Gordon w King
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Christ Our Passover
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Gordon King
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SheetMusicPlus
The Edmund Fitzgerald - Concerto for Piano and Strings
Orchestre à Cordes
String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey P…
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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.
$9.99
9.05 €
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Orchestre à Cordes
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Geoffrey Peterson
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The Edmund Fitzgerald - Concerto for Piano and Strings
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Geoffrey Peterson
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SheetMusicPlus
Concerto for Trombone and Piano accompaniment (piano reduction)
Trombone et Piano
Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Class…
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Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00
31.72 €
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Trombone et Piano
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Cherry Classics Music
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John, W
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Concerto for Trombone and Piano accompaniment
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Gordon Cherry
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SheetMusicPlus
Chattanooga Choo Choo
Instruments en Do
C Instrument - Digital Download SKU: A0.1467566 By Floyd Cramer. By Harry Warren an…
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C Instrument - Digital Download SKU: A0.1467566 By Floyd Cramer. By Harry Warren and Mack Gordon. Arranged by Mark W. Huxhold. Broadway,Jazz,Musical/Show,Standards. Lead Sheet / Fake Book. 5 pages. Mark Wayne Music, LLC #1045846. Published by Mark Wayne Music, LLC (A0.1467566). 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 arrangementCommon performance keys are included with each title, each key having its own page.
$3.99
3.62 €
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Instruments en Do
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Floyd Cramer
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Mark W
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Chattanooga Choo Choo
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Mark Wayne Music, LLC
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SheetMusicPlus
That's Life
Instruments en Do
C Instrument - Digital Download SKU: A0.808279 By Frank Sinatra. By Dean Kay and Ke…
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C Instrument - Digital Download SKU: A0.808279 By Frank Sinatra. By Dean Kay and Kelly Gordon. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 3 pages. Mark Wayne Music, LLC #3626841. Published by Mark Wayne Music, LLC (A0.808279). 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. Visit us at markwaynemusic.com
$4.99
4.52 €
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Instruments en Do
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Frank Sinatra
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Mark W
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That's Life
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Mark Wayne Music, LLC
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SheetMusicPlus
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