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2 sheet music found The Old Rugged Cross - In the New Orleans Brass Band Style for Trad. Jazz Combo - Intermediate
The Old Rugged Cross - In the New Orleans Brass Band Style for Trad. Jazz Combo - Intermediate # Jazz combo # INTERMEDIATE # Funeral Hymn # Dennis Ruello # The Old Rugged Cross - In the # Chicory Music # SheetMusicPlus
Jazz Combo - Level 3 - Digital Download SKU: A0.1235126 By Funeral Hymn. By George Bennard. Arranged by Dennis Ruello. 20th Century,Historic,Jazz,Spiritu...(+)
Jazz Combo - Level 3 - Digital Download SKU: A0.1235126 By Funeral Hymn. By George Bennard. Arranged by Dennis Ruello. 20th Century,Historic,Jazz,Spiritual,Traditional. 13 pages. Chicory Music #830643. Published by Chicory Music (A0.1235126). “The Old Rugged Cross†was composed by the Methodist evangelist George Bennard in 1912. As with many other gospel songs, this song has found its home in both country repertoire and the New Orleans traditional repertoire. New Orleans brass bands frequently perform this song as a slow, mournful dirge at jazz funerals as the body is being taken from the church or funeral parlor to the grave site. This arrangement for traditional jazz combo arranged in the New Orleans Brass Band Style, at the Intermediate level, will definitely be a hit at you next concert or gig. The arrangement includes the following parts: Full Score, Clarinet, Trumpet, Tenor Sax, Trombone, Banjo (Optional), Tuba, Acoustic Bass (Tuba Sub.), and Drum Set.  Full Performance Time: Approx. 4 minutes 45 seconds* MP3 sample takes 2nd ending. Race Riot
Race Riot # Jazz combo # ADVANCED # Jazz # Geoffrey Peterson # Race Riot # Geoffrey Peterson # SheetMusicPlus
Jazz Combo - Level 5 - Digital Download SKU: A0.942959 Composed by Geoffrey Peterson. Jazz. Score and parts. 37 pages. Geoffrey Peterson #5792333. Publis...(+)
Jazz Combo - Level 5 - Digital Download SKU: A0.942959 Composed by Geoffrey Peterson. Jazz. Score and parts. 37 pages. Geoffrey Peterson #5792333. Published by Geoffrey Peterson (A0.942959). The May 17, 1963, issue of Life Magazine featured a photo essay of appalling images taken by the American photographer Charles Moore. The opening paragraph bluntly stated that The pictures on these 11 pages are frightening. They are frightening because of the brutal methods being used by white policemen in Birmingham, Alabama, against Negro demonstrators . . . And they are especially frightening because the gulf between black and white is here visibly deepened. Known as the Birmingham campaign, Moore’s photographs of this senseless brutality sent shockwaves throughout the country and the world of the deeply embedded social and institutional racism and segregation of the South. On May 2, 1963, under direct orders from Birmingham’s then Commissioner of Public Safety, Eugene Bull Connor, all African Americans participating in a nonviolent demonstration organized by the Southern Christian Leadership Conference were to be subdued with high-pressure water blasts from fire hoses and violently attacked and taunted by police dogs. After seeing Moore’s photos in Life, Andy Warhol created a series of Race Riot paintings using a terrifying image of Moore’s of a man being attacked by a German shepherd in his trademark acrylic and silkscreen process. Interestingly, the title Race Riot is a contradiction because it was in fact a peaceful protest interrupted by the violence of the police. There is a menacing quality to the music that I hope conveys both Moore’s original photo and Warhol’s appropriation.