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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Too High
Non classifié
307
Piano & claviers
Piano seul
67
Piano, Voix
43
Piano Facile
30
Piano, Voix et Guitare
26
2 Pianos, 4 mains
22
Instruments en Do
13
1 Piano, 4 mains
6
Piano (partie séparée)
6
Orgue
5
Orgue et Orchestre
3
Accompagnement Piano
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Clavecin
1
Piano Trio: piano, violon, violoncelle
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
22
Guitare
19
Guitare (partie séparée)
10
Ligne De Mélodie, (Paroles) et Accords
7
Banjo
1
Ensemble de guitares
1
Ukulele
1
Piano, Guitare (duo)
1
Guitare, Quatuor à cordes
1
2 Guitares (duo)
1
Paroles et Accords
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
92
Chorale 3 parties
35
Voix haute
21
Chorale SSAA
17
Chorale 2 parties
16
Chorale TTBB
15
Chorale Unison
9
Voix Soprano, Piano
4
Voix Tenor, Piano
2
Voix basse, Piano
1
Voix Alto, Piano
1
Voix duo, Piano
1
Voix seule
1
Voix moyenne, Piano
1
+ 9 instrumentations
Retracter
Vents
Saxophone (partie séparée)
31
Clarinette
27
Quintette de Saxophone: 5 saxophones
24
Ensemble De Flûte à bec
24
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
23
Flûte traversière
16
Quatuor de Saxophones: 4 saxophones
16
Saxophone Tenor
15
Flûte, Hautbois, Clarinette, Basson
14
Saxophone Alto
14
Ensemble de Clarinettes
13
Flûte traversière et Piano
13
3 Saxophones (trio)
13
Hautbois, Piano (duo)
12
Ensemble de saxophones
11
Clarinette et Piano
10
2 Clarinettes (duo)
10
Ensemble de Flûtes
9
2 Flûtes traversières (duo)
9
Saxophone Alto et Piano
8
Saxophone Tenor et Piano
7
Saxophone Baryton, Piano
7
Hautbois (partie séparée)
6
Saxophone Soprano et Piano
6
Quatuor de Flûtes : 4 flûtes
6
Hautbois
6
2 Saxophones (duo)
5
Quatuor de Clarinettes: 4 clarinettes
5
Saxophone Soprano
5
Saxophone Baryton
5
Quintette de Flûte : 5 flûtes
4
Flûte, Hautbois, Clarinette (trio)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte, Clarinette (duo)
4
Flute (partie séparée)
3
Trio de Flûtes: 3 flûtes
3
Flûte à bec Alto
3
Flûte, Clarinette et Basson
3
Flûte à bec Soprano
3
Piccolo
2
Flûte à Bec
2
Hautbois, Basson (duo)
2
2 Flûte à bec (duo)
2
2 Hautbois (duo)
2
3 Clarinettes (trio)
2
Hautbois, Clarinette (duo)
1
2 Saxophones, Piano
1
Clarinette, Basson (duo)
1
Flûte, Hautbois, Basson
1
Clarinette, Violoncelle (duo)
1
Cor anglais, Piano
1
Flûte, Violon, Piano
1
2 Clarinettes, Piano
1
Saxophone
1
Cor Anglais
1
Flûte irlandaise
1
+ 51 instrumentations
Retracter
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Trombone (partie séparée)
29
Trompette (partie séparée)
28
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
2 Trombones (duo)
24
Quatuor de Cuivres: 2 trompettes, Cor, trombone
23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
20
Trompette
16
Trompette, Piano
13
Cor
13
Trombone
12
Ensemble de Trombones
10
2 Euphoniums (duo)
9
Cor et Piano
9
Trombone et Piano
9
Tuba et Piano
8
Tuba
7
Cor (partie séparée)
4
Quatuor de cuivres: 4 trombones
4
Trompette, Trombone (duo)
4
Ensemble de Trompettes
3
Tuba (partie séparée)
3
2 Trompettes (duo)
2
Quatuor de cuivres: 4 cors
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3 Trombones (trio)
2
2 Cors (duo)
1
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1
3 Tubas (trio)
1
2 Trompettes, Clavier (piano ou orgue)
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Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Cor anglais, Piano
1
3 Trompettes (trio)
1
2 Euphoniums et 2 Tubas
1
Trombone, Cor (duo)
1
Trombone basse et Piano
1
2 Tubas (duo)
1
Cor Anglais
1
Quatuor de Cuivres
1
Euphonium, Tuba (duo)
1
Trombone basse
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
32
Harpe
20
Violoncelle
15
Violoncelle, Piano
15
Trio à Cordes: violon, alto, violoncelle
14
Alto seul
14
Violon et Piano
13
Violon
10
Violon, Violoncelle (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Contrebasse, Piano (duo)
8
Alto, Piano
8
Contrebasse (partie séparée)
8
2 Violoncelles (duo)
8
Violon, Alto (duo)
6
Contre Basse
5
2 Violons (duo)
5
Trio à Cordes: 2 violons, violoncelle
5
2 Altos (duo)
3
Trio à cordes
3
Alto, Violoncelle (duo)
3
Ensemble d'Altos
3
Ensemble de Violons
3
Harpe, Flûte (duo)
2
2 Harpes (duo)
2
Violoncelle, Contrebasse (duo)
2
Alto (partie séparée)
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
2 Contrebasses (duo)
1
Violon (partie séparée)
1
4 Harpes
1
Trio à cordes: 3 violins
1
Harpe, Voix
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
60
Ensemble Jazz
40
Orchestre à Cordes
23
Orchestre
15
Ensemble de cuivres
9
Fanfare
7
Cloches
7
Orchestre de chambre
7
Batterie (partie séparée)
6
Ensemble de Percussions
4
Batterie
4
Jazz combo
3
Marimba
2
Piano et Orchestre
1
+ 9 instrumentations
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<
1
All Time High
#
Orchestre
#
INTERMÉDIAIRE/AVANCÉ
#
Rita Coolidge
#
All Time High
#
www.studio-orchestrations.com
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporar...
(+)
Full Orchestra - Level 4 - SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporary,Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977260. Published by www.studio-orchestrations.com (A0.1393788). IMPORTANT: Please see note below about the key of this versionThis classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days.  Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra. This score and parts are a semitone/half-step higher (starting in F major) which might suit some female performers slightly better for range.  The original Rita Coolidge performancxe key (starting in E major) is dusky and mellow (ie. quite low) but is also available on this website.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe
$120.00
All Time High
#
Orchestre
#
INTERMÉDIAIRE/AVANCÉ
#
Rita Coolidge
#
All Time High
#
www.studio-orchestrations.com
#
SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1393785 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley (for Studio Orchestrations). Film/TV,P...
(+)
Full Orchestra - Level 4 - SKU: A0.1393785 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley (for Studio Orchestrations). Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977256. Published by www.studio-orchestrations.com (A0.1393785). This classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days. Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra. In this version we have the original Rita Coolidge performancxe key (starting in E major) which is dusky and mellow but is also available on this website a semitone/half-step higher (strarting in F major) which might suit some female performers ranges better.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe
$120.00
Concerto for Double Bass & Orchestra
#
Orchestre
#
AVANCÉ
#
Contemporain
#
Malcolm D Robertson
#
July 2020 &
#
Concerto for Double Bass &
#
Mr Malcolm D Robertson
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.927995 Composed by Malcolm D Robertson. Contemporary. 53 pages. Mr Malcolm D Robertson #6037979. Published by Mr Malc...
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Full Orchestra - Level 5 - SKU: A0.927995 Composed by Malcolm D Robertson. Contemporary. 53 pages. Mr Malcolm D Robertson #6037979. Published by Mr Malcolm D Robertson (A0.927995). Composed in June & July 2020 & completed on the 19th July 2020. As a former Double Bass player, I thought it was about time a composed a concerto for my former instrument. The Concerto uses a relatively small orchestra (Flute, Oboe, Cor Anglais, 2 Clarinets, Bassoon, 2 Horns, Timpani, Harp & Strings), the string section should not be too large, 8,8,6,6,3, would be a preferable size. The solo Double Bass doesn't have a large amount of carrying power & so the dynamics for the soloist are marked up, as the MIDI playback isn't great for a solo Bass, the soloist's dynamics have been notched up still further in places for MIDI playback purposes, but can be adjusted down in concert performance. The bass clef has largely been used for the solo purely because the tenor clef option sounds an octave too high on the Musescore program. The Concerto is in 3 movements and about 17 minutes in duration.Parts are available upon request.
$12.99
O Radiant One
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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John Mackill
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John Mackill
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O Radiant One
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Mackill Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.490478 Composed by John Mackill. Arranged by John Mackill. Contemporary,Contest,Festival. Score and parts. 48 pages. ...
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Full Orchestra - Level 4 - SKU: A0.490478 Composed by John Mackill. Arranged by John Mackill. Contemporary,Contest,Festival. Score and parts. 48 pages. Mackill Music #106372. Published by Mackill Music (A0.490478). This is a composition in 5/4 written for my mother. It captures her joyous spirit and unconditional love (as best I could). It has solos for trombone, trumpet, piano, and cello. The trombone solo reaches to A above the staff . (Change the note if it's too high). A good piano player is essential. You can get by without a tuba but then you might want to amplify the string bass part particularly if there is only one of them.
$45.00
Olga-Polka, Op. 196 (arr. for string orchestra): Full Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aa...
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Chamber Orchestra - Level 4 - SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aaron Meier #5792353. Published by Aaron Meier (A0.922635). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: Full Score ONLY True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) ---Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020. Resources: • Visit sites.google.com/view/aaronmeier for more information regarding this arrangement and other works. • Find a full midi recording of this arrangement on YouTub.
$10.99
Rosary Sonatas: The Crucifixion
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Orchestre
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AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Crucifixio
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1081697 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score a...
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Full Orchestra - Level 5 - SKU: A0.1081697 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 95 pages. JMJ Arrangements #685818. Published by JMJ Arrangements (A0.1081697). [S]tanding by the cross of Jesus were his mother, and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother, and the disciple whom he loved standing near, he said to his mother, 'Woman, behold, your son!' Then he said to the disciple, 'Behold, your mother!' And from that hour the disciple took her to his own home. After this Jesus, knowing that all was now finished, said (to fulfil the scripture), 'I thirst.' A bowl full of vinegar stood there; so they put a sponge full of the vinegar on hyssop and held it to his mouth. When Jesus had received the vinegar, he said, 'It is finished'; and he bowed his head and gave up his spirit. Since it was the day of Preparation, in order to prevent the bodies from remaining on the cross on the sabbath (for that sabbath was a high day), the Jews asked Pilate that their legs might be broken, and that they might be taken away. So the soldiers came and broke the legs of the first, and of the other who had been crucified with him; but when they came to Jesus and saw that he was already dead, they did not break his legs. But one of the soldiers pierced his side with a spear, and at once there came out blood and water. He who saw it has borne witness—his testimony is true, and he knows that he tells the truth—that you also may believe. For these things took place that the scripture might be fulfilled, 'Not a bone of him shall be broken.' And again another scripture says, 'They shall look on him whom they have pierced.' --John 19:25-37.
$34.99
Homage to O'Keeffe for Orchestra
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Orchestre
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AVANCÉ
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Sy Brandon
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Homage to O'Keeffe for Orchest
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Publi...
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Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99
Telemann Concerto Grosso - Vivace TWV 44:41
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Georg Philipp Telemann
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K
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Telemann Concerto Grosso - Viv
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Vlazville Music-Digital
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.737343 Composed by Georg Philipp Telemann. Arranged by K. Wreede. Baroque,Christmas,Easter,Standards. Score and pa...
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Chamber Orchestra - Level 4 - SKU: A0.737343 Composed by Georg Philipp Telemann. Arranged by K. Wreede. Baroque,Christmas,Easter,Standards. Score and parts. 24 pages. Vlazville Music-Digital #6115809. Published by Vlazville Music-Digital (A0.737343). Here's a joyfully spectacular fanfare of a Vivace movement from a Telemann Concerto Grosso, arranged for strings (either individual players or string orchestra) and piano. There are 3 separate violin parts, viola, two cello parts, one of which could be doubled on bass, and piano for extra support and a little independent melodic parts, too. First used for a moderately advanced high school chamber ensemble to great effect. Students enjoyed playing it very much. .
$15.99
The Parting Glass
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Orchestre
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INTERMÉDIAIRE
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Scottish Traditional
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Josiah V
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The Parting Glass
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Josiah V. Smiddy
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1032233 Composed by Scottish Traditional. Arranged by Josiah V. Smiddy. Folk,World. Score and parts. 31 pages. Josiah...
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Full Orchestra - Level 3 - SKU: A0.1032233 Composed by Scottish Traditional. Arranged by Josiah V. Smiddy. Folk,World. Score and parts. 31 pages. Josiah V. Smiddy #4615131. Published by Josiah V. Smiddy (A0.1032233). This arrangement of The Parting Glass is written for full orchestra with tacet percussion and modeled after the style of the of the Irish supergroup, Celtic Woman. The Parting Glass is in the same vein as Auld Lang Syne but is still sung traditionally by the Irish though not so much by the Scottish. The original lyrics from this song describe a person bidding farewell to a good friend who is leaving and my not return. This arrangement opens with a cadenza solo from the principal cello that is intended to set the tone of the piece in that sorrowful dismissal of a good friend. It is intentionally written with basic instrumentation. It does not stretch the ranges too far, but still provides some technical and musical challenges to your ensemble. This would be a great performance piece for a high school or community orchestra.
$30.00
Awaken(Orchestra)
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Orchestre
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INTERMÉDIAIRE
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Joseph Pugh
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Awaken(Orchestra)
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Joseph Pugh
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1344993 Composed by Joseph Pugh. 21st Century,Classical,Pop. 36 pages. Joseph Pugh #929940. Published by Joseph Pugh ...
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Full Orchestra - Level 3 - SKU: A0.1344993 Composed by Joseph Pugh. 21st Century,Classical,Pop. 36 pages. Joseph Pugh #929940. Published by Joseph Pugh (A0.1344993). Awaken is a Neo-Classical work by, Joseph Pugh arranged for the Symphony Orchestra.A perfect fit for Youth Symphonys or Community Bands and High School groups. Download yours today at a reduced price and get the mp3 too so you can play along.
$30.00
Horseshoe Curve
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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Horseshoe Curve
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.755129 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 157 pages. Sy Brandon #3397035. Published ...
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Full Orchestra - Level 4 - SKU: A0.755129 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 157 pages. Sy Brandon #3397035. Published by Sy Brandon (A0.755129). Horseshoe Curve was composed for the Altoona Area High School Orchestra, Kelly Detwiller, director. This composition is in three movements. The first movement, Man Versus Nature, is moderate and intense, paying tribute to the designers and laborers for the Horseshoe Curve project. It uses parts of three railroad songs, Drill, Ye Tarriers by Thomas Casey, I’ve Been Working on the Railroad, and Dinah. The introduction uses phrases from I’ve Been Working on the Railroad that are disguised by ending on a different note than the traditional song. The main body of the movement uses phrases of Drill, Ye Tarriers that are interrupted by phrases of the other two songs as well as original material by the composer. It developes in intensity as the movement progresses, but ends softly, suggesting the ongoing labor of the project. The second movement, Doorway to the West is a celebration of the completion of the project. It uses She’ll Be Coming ’Round the Mountain in fragments, in canon, and as a basis for a hoe down and a waltz variation. The celebration becomes wild at the end as all ideas come together at once. The third movement, Growth and Opportunity is slow and expansive in the beginning with a quicker section at the end. It depicts the growth of Altoona as a result of Horseshoe Curve. The initial idea that appears in the celli is expanded and developed, therefore evolving into a constant stream of new, but related, ideas.The score prints on legal size paper and the parts on letter.
$39.99
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
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Orchestre
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AVANCÉ
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbi
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes...
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Full Orchestra - Level 5 - SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes #1006730. Published by Grahame Gordon Innes (A0.1425941). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 1 – The Kytonian Expanse TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.1. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00
Symphony No 22 "Galaxymbion" Opus 33-36 - 4th Movement (4 of 7) - Score Only
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Orchestre
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AVANCÉ
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbi
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes...
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Full Orchestra - Level 5 - SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes #1006742. Published by Grahame Gordon Innes (A0.1425953). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENTS 4 – The Sirantiga Disaster TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.4. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00
Bramshill Concert Rondo
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Stephen Lines
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Bramshill Concert Rondo
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Stephen Lines
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Published by Stephen...
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Full Orchestra - Level 3 - SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Published by Stephen Lines (A0.957733). Bramshill was written to commemorate the 50th anniversary of the police staff college and was premiered by the British Police Symphony Orchestra in 2008. In 2011 it undertook some quite serious revision. Bramshill House was until recently the home of the Police Staff College. In 1953 the Home Office purchased Bramshill from Lord Brocket. There is evidence that the site has been inhabited since the time of Domesday and the Norman Conquest. The present building was constructed principally by Edward Zouche, 11th Baron Zouche of Harringworth, between c. 1605-1625. The music is written in large ternary form as a concert rondo. There are features within which depict and draw together various facets of the early history of Bramshill House as a Jacobean structure with that of its current role as the police staff college. After a declamatory eighteen bar opening in the key of C minor the piece leads towards the principal theme - it is introduced by the horn, quietly accompanied by chords from the clarinets dipping in and out of the chalumeau register - a haunting, ethereal theme that depicts the mystery of the ancient building and its numerous reported wraiths. The theme develops and is pronounced giacoso in the strings with light accompaniment in the higher woodwinds. A restatement of the main theme is followed by a section, fugato; this depicts a police officer on the beat in the early hours of a cold, wet, winter’s night. This theme transmutes into a quasi-stately dance such as may have been performed in Bramshill’s great withdrawing room or the long gallery in the 1600’s. A series of 6/3 chords then develop into what sounds akin to a police siren; the section culminates in a wash of sound with police theme, stately dance and siren sounding simultaneously. In the final section, the principal theme is reiterated in various guises and sub-themes are further explored.
$22.50
EP!C!!!
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Austin Wintory
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EP!C!!!
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Austin Wintory
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Au...
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Full Orchestra - Level 4 - SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00
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