| A La Puerta Del Cielo Chorale 2 parties 2 parties, Piano [Octavo] Alliance Music Publications
Arranged by Roth. For 2-part treble choir, piano. Choral octavo. Published by Al...(+)
Arranged by Roth. For
2-part treble choir,
piano. Choral octavo.
Published by Alliance
Music Publications. (AMP
0624)
$2.10 $1.995 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Better Together (From Descendants: Wicked World) Chorale 2 parties Hal Leonard
Discovery Level 1. Composed by Hanna Jones, Jack Kugell, and Matt Wong. Arrang...(+)
Discovery Level 1.
Composed
by Hanna Jones, Jack
Kugell,
and Matt Wong. Arranged
by
Audrey Snyder. Discovery
Choral. Octavo. 12 pages.
Published by Hal Leonard
$2.15 $2.0425 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| La Caleta: String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Intermédiaire Schott
Set String Quartet (Score & Parts) - intermediate to advanced SKU: HL.4901820...(+)
Set String Quartet (Score
& Parts) - intermediate
to advanced SKU:
HL.49018208 Score
and Parts. Composed
by Barbara Heller. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Classical. Score and
parts. Composed 2008. 24
pages. Duration 13'.
Schott Music #ED20774.
Published by Schott Music
(HL.49018208). ISBN
9790001170673. UPC:
884088576493.
9.0x12.0x0.077
inches. 'A coming
and going...' - this is
how Barbara Heller
describes the essence of
her second string quartet
La Caleta ('small bay').
Barbara Heller got the
inspiration to write this
work from the calm,
gentle and constant
movements of the waves at
the beach of a small bay
on the isle of La Gomera.
The quiet, hot day is
reflected in the music:
The slow, calm, almost
quiet music with its open
form should be played and
heard inwardly. The music
comes from nowhere and
disappears into
nothingness like a big
wave. The tonal material,
consisting of wholetone
and semitone steps in
short descending and
ascending movements
produces cluster-like,
floating sounds. An
intense musical
experience, requiring
concentration and peace
of mind. $49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Set It Off Chorale 2 parties Hal Leonard
From the Disney Channel Original Movie Descendants. Composed by Charity D...(+)
From the Disney
Channel Original Movie
Descendants. Composed
by Charity Daw, Craig
Lashley, Grant Michaels,
Josh Edmondson, Samuel
Hollander. Arranged by
Mark A. Brymer. Pop
Choral Series. Dance,
Movies, Show Choir.
Octavo. 16 pages.
Published by Hal Leonard
(HL.158545).
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Descendants 2 Piano, Voix et Guitare Hal Leonard
Music from the Disney Channel Original TV Movie Soundtrack. By Various. Piano...(+)
Music from the Disney
Channel
Original TV Movie
Soundtrack.
By Various.
Piano/Vocal/Guitar
Songbook.
Softcover. 72 pages.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Impressions from the Chinese Zodiac Theodore Presser Co.
Chamber Music Saxophone(s) SKU: PR.114423500 Composed by Chen Yi. Perform...(+)
Chamber Music
Saxophone(s) SKU:
PR.114423500 Composed
by Chen Yi. Performance
Score. Duration 3
minutes. Theodore Presser
Company #114-42350.
Published by Theodore
Presser Company
(PR.114423500). ISBN
9781491137758. UPC:
680160691531. Commi
ssioned by The Juilliard
School’s Music
Advancement Program,
IMPRESSIONS FROM THE
CHINESE ZODIAC is a suite
of three characteristic
pieces within reach of
advanced pre-college
saxophonists, and
introducing advanced
techniques. The work is
equally satisfying and
impressive for top-level
performers. The movements
are titled:1. Rooster
Singing Out in the
Morning2. Monkey Jumping
Around in the Forest3.
Tiger Walking Down from
the
Mountain. Commissioned
by The Juilliard School
for Juilliard’s Music
Advancement Program,
Impressions from the
Chinese Zodiac was
composed for any size
saxophone in 2022. It
consists of three
independent movements
featuring different
musical characteristics
with various performing
techniques. The
inspiration for the music
came from impressions of
three animal signs
(rooster, monkey, and
tiger), from the twelve
in the Chinese Zodiac.The
first piece begins with a
repeated phrase imitating
a rooster’s loud
singing in the morning;
the pitch with
fluttertongue sounds like
the noise from the
rooster’s throat),
followed by phrases of a
pentatonic melody drawn
from The Sun Is Rising
With Our Joy, a Chinese
folk song from Sichuan
province. There are
descending passages,
simulating the
dropping-down sound of
the singing. Each passage
is different from others,
each of which should be
played accurately and
smoothly. The melody is
moved up a step with
variation, followed by an
echo of the rooster
singing at the end of the
piece. Now the sky is
bright, so the rooster
call returns up four
scale steps!The second
piece includes two
Chinese folk songs:
Thinking of My Darling
(from Shanxi province)
and Guessing (from Yunnan
province). Both songs
have large interval skips
spanning different
registers, as well as
microtonal intervals in
their original singing,
which show the
characteristics of the
regional musical
languages respectively.
The tone colors should be
matched when registers
are changed. The
microtonal pitches
(quarter-tone flat or
three-quarter-tone flat)
may be done by bending
the tone with one’s
lips. The image is the
monkey jumping around
lively, and the music is
played humorously. The
high and long pitch with
a yelling-down effect at
the end of the piece
brings the music to an
exciting peak.The third
piece features the strong
and brave tiger, with
accented tones in the
lowest register. The
first 3-pitch motive is
developed throughout the
piece, while peristaltic
chromatic material is
formed in various shapes
and directions, to show
the gestures of a mighty
and fierce image.Getting
accustomed to special
fingerings for the
chromatic passages and
trills, along with
precisely notated
articulations, and the
techniques of tongue slap
and key clicks, are the
basic goals to achieve in
this piece. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bluesette Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Carl Fischer
By Thielmans. Arranged by Rob Roy Mcgregor. For Brass Quintet. Published by Carl...(+)
By Thielmans. Arranged by
Rob Roy Mcgregor. For
Brass Quintet. Published
by Carl
Fischer/Balquhidder
Music.
(1)$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quartet Sant Petersburg Quatuor à cordes: 2 violons, alto, violoncelle Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet SKU:
BO.B.3664 Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3664).
Cuarteto San
Petersburgo (The Saint
Petersburg Quartet) was
written between January
and March 2011. It owes
its name to the fact that
Saint Petersburg has been
a very significant city
for me. I was invited
there in 1988 to take
part in a big
contemporary music
festival, but my
uninterrupted bond with
the city started on 2002,
thanks to the
negotiations of my friend
and pupil Albert Barbeta.
Since then, I have
constantly travelled
there in order to record
a considerable part of my
repertoire: seventeen
pieces. In addition to
the concerts we went to,
I took the opportunity
during my trips to visit
the well-known
conservatoire where so
many great personalities
from the world of music
composition once taught,
and the place that
launched the most
important violin school
in the whole of Russia:
the school of Leopoldo
Auer. Spending a long
time in Auer's classroom
writing my concert for
violin and orchestra was
an unforgettable
experience for me. His
large portrait motivated
me even
further.
Cuartet
o San Petersburgo evokes
many of the most
cherished and moving
moments that I have had
in this city. It is
structured in four
movements. The first one,
Allegretto-Allegro, opens
with an introduction that
sets forth the two main
themes, amid a soft and
elastic atmosphere. The
Allegro starts vigorously
and in it we find changes
in the tempo and moments
of mystery, as well as
certain seclusion,
returning then to the
emphatic theme where the
counterpoint finds its
place. The movement ends
placidly.
The
Scherzo-marcato that
follows is marked by a
persistent rhythm of
triplets that carries on
from beginning to end.
The tempo does not
change, but brief and
decided themes are
introduced, as well as
passages of counterpoint.
Brief and dissonant
chords are heard
throughout the movement,
which ends
vigorously.
The
third movement, Ut, is a
very special one. For a
while already I had been
playing with the idea of
writing a movement that
was to have the tonality
C as a leitmotiv. This
one is made up by two
slow and static parts. In
the first one, the first
violin plays
pizzicatti-glissandi. In
the second, the first
violin and particularly
the violoncello settle on
C while the other two
instruments produce
descending chromatic
harmonies.
Final
ly, the
Introduccion-Presto (the
Introduction-Presto). It
starts with some bucolic
passages which remind us
of the introduction to
the first movement. A
fast and energetic Presto
suddenly erupts. A kind
of moto perpetuo which
alternates with two
expressive passages and,
towards the end, a viola
and violoncello tremolo,
all of great mystery and
expectation, make way for
a resounding finale
marcato. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Something Told the Wild Geese Chorale 2 parties Alfred Publishing
Choir Secular (2-Part choir) SKU: AP.48825 Composed by Darin Lewis. Perfo...(+)
Choir Secular (2-Part
choir) SKU:
AP.48825 Composed by
Darin Lewis. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Fall; Secular;
Winter. Choral Octavo. 8
pages. Alfred Music
#00-48825. Published by
Alfred Music (AP.48825).
UPC: 038081561493.
English. Words by Rachel
Field. The last
autumn leaves freely
descend during the short
piano introduction,
symbolic of the change
from fall to winter.
Two-part groups will
luxuriate in the words of
Rachel Field as presented
in this sumptuous
setting. As simple as a
partner song, with two
independent melodies that
assemble into a delicate
choral duet; as
sophisticated as an art
song, with haunting
motives and passing
dissonances. Crystalline
chords, embedded into the
mostly arpeggiated
accompaniment, dazzle the
ear and offer subtle
support to treble voices
of any age. Designed with
the clarity and elegance
that will make any
ensemble sound
impressive.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| From the Cross to the Crown Cloches [Partition] Lorenz Publishing Company
By Lloyd Larson. For handbells (2-3 octaves) / handchimes (2-3 octaves). Ascensi...(+)
By Lloyd Larson. For
handbells (2-3 octaves) /
handchimes (2-3 octaves).
Ascension, Eastertide,
Holy Week, Lent,
Pentecost. Level: Level 2
. Handbell collection.
Published by Lorenz
Publishing Company.
(20/1472L)
$69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermezzo per quartetto d'archi Quatuor à cordes: 2 violons, alto, violoncelle EMB (Editio Musica Budapest)
String Quartet SKU: BT.EMBZ14386 Composed by Balázs Horváth. EMB Co...(+)
String Quartet SKU:
BT.EMBZ14386 Composed
by Balázs Horváth.
EMB Contemporary Music.
Contemporary Music. Book
Only. Composed 2014. 40
pages. Editio Musica
Budapest #EMBZ14386.
Published by Editio
Musica Budapest
(BT.EMBZ14386).
''The four
parts of the piece
originate from the piano
cycles of Johannes
Brahms. The identical
nature of the themes is
implied in their
descending direction,
while their differences
lie in their distinct
meters, key signatures
and tempo. I further
developed the differences
through the use of
different musical
alterations (of melody,
rhythm and timbre) while
the melodic contours are
always constant.
Depending on the
listener's attention, the
melody lines written
above one another will be
audible separately or
appear to be in unison.''
(Balázs
Horváth)
''Der
Stoff der vier Stimmen
des Stückes stammt aus
den Klavierzyklen von
Johannes Brahms. Die
Ãœbereinstimmung liegt
in ihrer abwärts
tendierenden Richtung,
ihr Unterschied hingegen
in abweichender Metrik,
Tonart und Tempi. Die
Unterschiede habe ich mit
Hilfe unterschiedlicher
musikalischer
(melodischer,
rhythmischer und tonaler)
Veränderungen
weitergewoben, während
die Struktur der Melodien
immer konstant bleibt.
Die übereinander
gelegten Melodienbögen
erklingen abhängig von
der Aufmerksamkeit des
Hörers teils jede
für sich, teils eine
Einheit bildend.''
(Balázs
Horváth). $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hymns and Sacred Melodies for Recorder 2 Flûte à bec (duo) [Partition] - Intermédiaire Mel Bay
by William Bay. For all recorder. Sacred, duets. Level: Intermediate. Book. Solo...(+)
by William Bay. For all
recorder. Sacred, duets.
Level: Intermediate.
Book. Solos. Size
8.75x11.75. 40 pages.
Published by Mel Bay
Pub., Inc.
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cangoma Chorale 3 parties TTB/TBB [Octavo] BriLee Music
Arranged by Lon Beery / Elisa Dekaney. Octavo. 8 pages. Duration 2 minutes. BriL...(+)
Arranged by Lon Beery /
Elisa Dekaney. Octavo. 8
pages. Duration 2
minutes. BriLee Music
#BL00918. Published by
BriLee Music (CF.BL918).
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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