| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Pop/Rock Fake Book - In C
Instruments en Do [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(26)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Wedding and Love Fake Book - 6th Edition Instruments en Do Hal Leonard
Over 500 Songs For All C Instruments. By Various. Fake Book. Love, Wedding. S...(+)
Over 500 Songs For All C
Instruments. By Various.
Fake Book. Love, Wedding.
Softcover. 456 pages.
Published by Hal Leonard
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Folk Songs of the World [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
4 Part Variable Wind Ensemble with Percussion - intermediate SKU: BT.DHP-1216...(+)
4 Part Variable Wind
Ensemble with Percussion
- intermediate SKU:
BT.DHP-1216326-070
Arranged by Wil van der
Beek. Music Box. Folk
Music. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216326-070. Published by
De Haske Publications
(BT.DHP-1216326-070).
ISBN 9789043162067.
English-German-French-Dut
ch. 1. Emerald
Isle, in this part, the
musical spotlight focuses
in on the green island of
Ireland and its great
wealth of traditional
folk music. The piece
opens with the air
‘My Lodging Is on
the Cold Ground’,
also known under the
title ‘Believe Me,
If All Those Endearing
Young Charms’
(bars 5-24). Next, we
hear another well-known
air ‘The Minstrel
Boy’ (bars 29-44).
Finally, the air
‘The Groves of
Blarney’, possibly
better known as
‘The Last Rose of
Summer’ (bars
53-68) is heard. Each air
is heralded by a short
introduction and brought
to an end by a short
conclusion. 2. Old
Kentucky Memories,
following an introduction
of 14 bars all attention
is claimed by the song
‘My Old Kentucky
Home’. As the
piece goes on, snippets
of memories emerge,
fleetingly, surfacing
fast, but quickly
disappearing again: this
is musically featured by
way of small motifs and
themes from other songs.
These can be heard
briefly, and then they
disappear, musing on Old
Kentucky until the
introduction returns to
end the piece. 3.
Uppland, is a province in
Sweden that had a rich
folk music culture, like
the whole of Sweden, that
boasts many songs and
dances. A notable amount
of these songs and dances
have been composed in
minor keys, three of
which feature in this
part. First, we hear
‘Svensk
folkvisa’(bars
1-38), followed by the
famous
‘VärmlandsvisanÃ
¢â‚¬â„¢ (bars 39-67) and
then brought to an end by
‘Vexelsang’
(bars 68-end). 4.
Ratatouille, in this
part, no folk songs of
just one country or one
province are featured.
This piece is a mishmash
(or ratatouille), a
hotchpotch of three folk
songs with no significant
relation at all. In
succession, we hear a
song from Russia (bars
1-30), one from Japan
(bars 31-58) and one from
Australia (bars 59-end).
The composer of the
Russian song titled
‘The
Nightingale’ is
Alexander Alyabyev (1787
1851), but the composers
of the Japanese song
titled
‘Sakura’ and
the Australian
‘Waltzing
Matilda’ are
unknown.
1.
Emerald Isle, in dit deel
zijn de muzikale
schijnwerpers gericht op
het groene eiland
Ierland, op de grote
rijkdom aan traditionele
volksmuziek. Het werkje
opent met de air
‘My Lodging Is on
the Cold Ground’,
ook bekend onder de titel
‘Believe Me, If All
Those Endearing Young
Charms’ (maat
5-24). Daarna volgt de
bekende air ‘The
Minstrel Boy’
(maat 29-44). En ten
slotte horen we nog de
air ‘The Groves of
Blarney’,
misschien beter bekend
als ‘The Last Rose
of Summer’ (maat
53-68). Elke air wordt
voorafgegaan door een
korte inleiding en
beëindigd met een
korte afsluiting. 2. Old
Kentucky Memories, na een
inleiding van 14 maten
(deels ook als afsluiting
van dit deel gebruikt)
wordt alle aandacht
opgeëist door de song
‘My Old Kentucky
Home’. Al gauw
doemen er echter flarden
van herinneringen op,
vluchtig, snel opkomend,
maar ook weer snel
verdwijnend: dit krijgt
muzikaal gestalte door
middel van motiefjes en
thema’s uit andere
songs. Deze zijn even
hoorbaar en dan weer vlug
verdwenen... Mijmeren
over Old Kentucky dus...
3. Uppland, is een
provincie in Zweden met
een rijke muziekcultuur,
zoals heel Zweden
trouwens ruim bedeeld is
met volksliederen en
volksdansen. Opvallend
veel van deze liederen en
dansen zijn gecomponeerd
in mineurtoonsoorten. Dit
is ook het geval met de
drie voor dit deel
uitgekozen songs: als
eerste ‘Svensk
folkvisa’(maat
1-38), gevolgd door het
bekende
‘VärmlandsvisanÃ
¢â‚¬â„¢ (maat 39-67) en
tot besluit
‘Vexelsang’
(maat 68-slot). 4.
Ratatouille, in dit deel
worden geen volksliedjes
van één land of
één provincie
belicht. Dit werkje is
een
‘ratjetoe’
(ratatouille), een
allegaartje van drie
folksongs die onderling
geen enkel verband met
elkaar hebben: de enige
overeenkomst is dat ze
alle drie als volksmuziek
bestempeld kunnen worden.
Achtereenvolgens klinkt
er een lied uit Rusland
(maat 1-30), uit Japan
(maat 31-58) en uit
Australië (maat
59-slot). Van het
Russische lied met de
titel ‘De
nachtegaal’ is de
componist bekend: dat is
Aleksandr Aljabjev (1787
1851). Van het Japanse
lied
‘Sakura’ en
de Australische song
‘Waltzing
Matilda’ kennen we
niet de componist
niet.
1. Emerald
Isle, in diesem Abschnitt
richtet sich die
musikalische
Aufmerksamkeit auf die
grüne Insel Irland mit
ihrem großen Reichtum
an traditioneller
Volksmusik. Das Stück
beginnt mit der Melodie
My Lodging Is on the Cold
Ground“, auch
bekannt unter dem Titel
Believe Me, If All Those
Endearing Young
Charms“ (Takt
5-24). Anschließend
erklingt die bekannte
Melodie The Minstrel
Boy“ (Takt 29-44).
Schließlich ist The
Groves of Blarney“,
vielleicht bekannter
unter dem Titel The Last
Rose of Summer“
(Takt 53-68), zu
hören. Jede Melodie
wird durch eine kurze
Einleitung angekündigt
und mit einem kurzen
Nachspiel beendet. 2. Old
Kentucky Memories, nach
einer 14 Takte dauerndern
Einleitung tritt das Lied
My Old Kentucky
Home“ in den
Mittelpunkt. Im weiteren
Verlauf des Stücks
erscheinen
bruchstückhafte
Erinnerungen, die fast so
schnell wieder
verschwinden, wie sie
auftauchen. Dies wird
musikalisch durch kleine
Motive und Themen aus
anderen Liedern
dargestellt. Diese sind
kurz zu hören und
verschwinden dann,
während man über
Old Kentucky nachdenkt,
bis die Einleitung wieder
erklingt, die zum Schluss
des Stückes führt.
3. Uppland, ist eine
schwedische Provinz, die
wie ganz Schweden eine
reiche Volksmusikkultur
mit vielen Liedern und
Tänzen hat. Eine
große Anzahl der
Lieder und Tänze, von
denen drei in diesem
Abschnitt enthalten sind,
stehen in Moll-Tonarten.
Zuerst hören wir
Svensk folkvisa“
(Takt 1-38), darauf
erklingt das berühmte
Värmlandsvisan“
(Takt 39-67) und am Ende
Vexelsang“ (Takt
68-end). 4. Ratatouille,
in diesem Abschnitt
werden nicht die
Volkslieder eines
einzigen Landes oder
einer einzigen Provinz
vorgestellt, sondern das
Stück ist ein Mischung
(oder Ratatouille“)
aus drei Volksliedern,
die keinerlei Beziehung
zueinander haben.
Zunächst erklingt ein
Lied aus Russland (Takt
1-30), dann eines aus
Japan (Takt 31-58) und
zum Schluss eines aus
Australien (Takt
59-Ende). Der Komponist
des russischen Liedes mit
dem Titel The
Nightingale“ ist
Alexander Alyabyev (1787
1851). Die Komponisten
des japanischen Liedes
Sakura“ und der
australischen Melodie
Waltzing Matilda“
sind unbekannt.
1.
Emerald Isle (ÃŽle
d’émeraude),
cette première partie
met en vedette la
verdoyante île
d’Irlande et son
riche patrimoine de
musique folklorique
traditionnelle. Elle
s’ouvre avec «
My Lodging Is on the Cold
Ground », un air
également connu sous
le titre « Believe Me,
If All Those Endearing
Young Charms »
(mesures 5-24). Vient
ensuite un autre air
célèbre, « The
Minstrel Boy »
(mesures 29-44),
lui-même suivi de «
The Groves of Blarney
», peut être mieux
connu sous le titre «
The Last Rose of Summer
» (mesures 53-68).
Chaque air est annoncé
par une courte
introduction et
s’achève avec
une courte conclusion. 2.
Old Kentucky Memories
(Souvenirs du vieux
Kentucky), après une
introduction de 14
mesures, toute
l’attention se
porte sur la chanson «
My Old Kentucky Home
». A fil de la
pièce, des fragments
de souvenirs fugaces
émergent,
disparaissant aussi vite
qu’ils se
présentent : cette
impression est
créée par le biais
de courts motifs et
thèmes empruntés
d’autres chansons.
On les entend
brièvement puis ils
s’estompent, comme
de lointains souvenirs du
vieux Kentucky,
jusqu’ une reprise
de l’introduction
pour conclure la
pièce. 3. Uppland, est
une province suédoise
aux riches traditions
musicales, tout comme
l’ensemble de la
Suède, qui compte de
nombreuses danses et
chansons. Beaucoup sont
en tonalité mineure,
et cette partie en
comprend trois. La
première est «
Svensk folkvisa »
(mesures 1-38), qui est
suivie de «
‘Värmlandsvisan
» (mesures 39-67), et
la pièce
s’achève avec
« Vexelsang »
(mesure 68 jusqu’
la fin). 4. Ratatouille,
cette dernière partie
ne comprend pas
d’air provenant
d’un seul pays.
C’est un
méli-mélo, une «
ratatouille » de trois
chansons folkloriques
sans aucun lien. Il y a
d’abord une
chanson russe, « Le
Rossignol » (mesures
1-30), puis « Sakura
», originaire du Japon
(mesures 31-58) et,
enfin, « Waltzing
Matilda », venue
d’Australie
(mesure 59 jusqu’
la fin). La chanson russe
est d’Alexander
Alyabyev (1787-1851),
mais nous ignorons les
auteurs des deux autres
chansons. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Folk Songs North America Sings (Kodaly Collection) Piano, Voix [Partition] E.C. Kerby
Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8....(+)
Voice and Piano. By
Richard Johnston.
(resource book). Vocal
Collection. Size 8.5x11
inches. 400 pages.
Published by E.c. Kerby.
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
(9)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Die Kurrende, Bd. 2 Chorale [Partition] Carus Verlag
By Various. Edited by Trubel, Gerhard. Hymn settings, Mass Sections, Psalms, Ger...(+)
By Various. Edited by
Trubel, Gerhard. Hymn
settings, Mass Sections,
Psalms, German; Choral
Collections, Mixed Choir,
Music for Casuals;
Occasions: Eucharist,
Communion, Peace and
Justice, Prayer, Wedding,
Confirmation, Praise and
thanks, Morning, Midday,
Evening, Psalms, Baptism,
Mourning, Death, Our
Father; Use during church
year: Advent
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:30. Published
by Manhattan Beach Music.
(1)$135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:30.
Published by Manhattan
Beach Music.
$22.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Billy Joel: Billy Joel Complete
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by Billy Joel. For voice, piano and guitar chords. Volume 2 Revised. F...(+)
Performed by Billy Joel.
For voice, piano and
guitar chords. Volume 2
Revised. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams and contents by
album. Soft rock and pop
rock. 360 pages. 9x12
inches. Published by Hal
Leonard.
(4)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Little Black Book of Beatles Songs for Ukulele Ukulele Hal Leonard
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele
SKU: HL.232108 By
The Beatles. Ukulele.
Pop. Softcover. Composed
2014. 384 pages. Hal
Leonard #NO91894.
Published by Hal Leonard
(HL.232108). ISBN
9781783052738. UPC:
888680677329.
4.5x7.5x0.899
inches. Complete
lyrics and chords to 195
Beatles songs, including:
Across the Universe
• All My Loving
• All You Need Is
Love • And I Love
Her • Back in the
U.S.S.R. • The
Ballad of John and Yoko
• Birthday •
Blackbird • A Day
in the Life • Day
Tripper • Dear
Prudence • Drive My
Car • Eight Days a
Week • Eleanor
Rigby • Good Day
Sunshine • Got to
Get You into My Life
• A Hard Day's
Night • Help!
• Helter Skelter
• Here Comes the
Sun • Hey Jude
• I Saw Her
Standing There • I
Want to Hold Your Hand
• In My Life
• Let It Be •
The Long and Winding Road
• Lucy in the Sky
with Diamonds •
Penny Lane •
Revolution •
Something • Ticket
to Ride • Twist and
Shout • When I'm
Sixty-Four • While
My Guitar Gently Weeps
• Yellow Submarine
• Yesterday •
and more. 4-1/2 inches x
7-1/2 inches. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Beatles Complete - Volume 2 Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by The Beatles. Piano/Vocal/Chords (Arrangements for piano and voice w...(+)
Performed by The Beatles.
Piano/Vocal/Chords
(Arrangements for piano
and voice with guitar
chords). Size 9x12
inches. 448 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Blues Fake Book
Fake Book [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names and leadsheet
notation. Series: Hal
Leonard Fake Books. 407
pages. Published by Hal
Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| That's How it Goes! Chorale 2 parties 2 parties, Piano [Octavo] Heritage Music Press
By Cynthia Gray. For 2-part choir, descant and piano. Sing Out Series. Novelty, ...(+)
By Cynthia Gray. For
2-part choir, descant and
piano. Sing Out Series.
Novelty, Concert. Octavo.
Published by Heritage
Music Press. (15/2066H)
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
$195.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
$30.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| VH1's 100 Greatest Love Songs Piano, Guitare (grilles d'accords) [Partition] - Facile Hal Leonard
By Various Artists. Easy Piano Songbook (Easy arrangements for piano and voice)...(+)
By Various Artists. Easy
Piano Songbook (Easy
arrangements for piano
and voice). Softcover.
480 pages. Published by
Hal Leonard.
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Unit 7 Big band [Conducteur et Parties séparées] Jazz Lines Publications
Edited by Jeffrey Sultanof. Arranged by Duke Pearson. For big band (2 Alto Saxop...(+)
Edited by Jeffrey
Sultanof. Arranged by
Duke Pearson. For big
band (2 Alto Saxophones,
2 Tenor Saxophones,
Baritone Saxophone, 4
Trumpets, 4 Trombones,
Guitar (Optional), Piano,
Bass, Drums).
Swing/Latin. Difficult.
Full score and set of
parts. Published by Jazz
Lines Publications
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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