| Burst Believers Centerstream
SKU: HL.117070 Guitar. Guitar Reference. Hardcover. 136 pages. Published ...(+)
SKU: HL.117070
Guitar. Guitar Reference.
Hardcover. 136 pages.
Published by Centerstream
Publications (HL.117070).
ISBN 9781574242898.
UPC: 884088885441.
8.5x11.0x0.556
inches. The term
“burst†has
been used to describe a
specific Gibson Les Paul
guitar manufactured from
1958 to 1960. The impact
of this guitar has and
continues to shake the
music world. For dozens
of guitar idols who've
played it – and
those fortunate enough to
have owned one or more
– the Gibson Les
Paul Sunburst possesses a
mystique and magic not
found in any other
electric guitar. With its
unique sound, spectacular
beauty and playability,
the burst has shaped the
landscape of the
blues/rock genre as we
know it today. The Burst
Believers in this book
– Joe Bonamassa,
Jimmy Page, Billy
Gibbons, Kirk Hammett,
Rick Nielsen, Waddy
Wachtel, Slash, Steve
Lukather, the Burst
Brothers and many more
– have been kind
enough to share their
experiences and stories
that you will enjoy
reading. These
recollections, plus
hundreds of fantastic
color photographs and a
serial number index, make
this book a
“must†for
players and collectors
everywhere. “These
guitars are the holy
grail.†–
Joe Bonamassa “The
burst has helped to
create and establish the
rock sound loved by
generations.â€
– Jimmy Page
“A modern-day
Stradivarius.â€
– Kirk Hammett
“I cannot imagine a
guitar more perfectly
suited to my eyes, ears,
hands and musical
inclinations.â€
– Billy
Squier. $59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Believers IV Centerstream
SKU: HL.287873 Book. Guitar Reference. Hardcover. 268 pages. Published by...(+)
SKU: HL.287873
Book. Guitar Reference.
Hardcover. 268 pages.
Published by Centerstream
Publications (HL.287873).
ISBN 9781574243772.
UPC: 888680909031.
8.75x11.25x0.821 inches.
Vic DaPra & David
Plues. The holy
grail of electric guitars
is back for the fourth
and final time! The slang
term burst has been used
to decribe a specific
Gibson Les Paul,
manufactured from 1958 to
1960. The impact of this
guitar has and continues
to shake the music world.
From the dozens of guitar
idols, who played it and
those fortunate enough to
have owned one or more,
the Gibson Les Paul
Sunburst possesses a
mystique and magic, not
found in any other
electric guitar. With its
unique sound, spectacular
beauty and playability,
the burst has shaped the
landscape of the
blues/rock genre, as we
know it today. In this
edition, Billy Gibbons,
Jimmy Page, Jeff Beck,
Slash, Eric Clapton, Joe
Walsh, Carlos Santana,
Joe Perry, Sonny
Landreth, Gary Grainger,
Ace Frehley, Duff
McKagan, Joe Bonamassa,
Albert Molinaro, Drew
Berlin, Jim McCarty,
Deacon Frey, Paul
Stanley, Rick Vito, Rick
Nielsen, Sid Bishop, John
Sykes, Marcus Demi, Dzal
Martin, Jack Moore, Billy
Squier, Eelco Gelling,
Ted Turner, Bernie
Marsden, Ed King, Gary
Moore, Gary Rossington,
Gordon Kennedy, Mike
Bloomfield, Rick Hirsch
and many more. This is
the final book in the
Burst Believers series -
this edition has some of
the finest photographs
and interesting articles
we have ever seen. We
hope it will keep you,
the readers, immersed in
the fascinating study of
the burst guitar and be a
lasting testament to its
greatness. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Believers II Centerstream
SKU: HL.139084 Reference. Guitar Reference. Hardcover. 200 pages. Publish...(+)
SKU: HL.139084
Reference. Guitar
Reference. Hardcover. 200
pages. Published by
Centerstream Publications
(HL.139084). ISBN
9781574243109. UPC:
888680035020.
8.5x11.0x0.697
inches. The slang
burst has been used to
describe a specific
Gibson Les Paul,
manufactured from 1958 to
1960. The impact of this
guitar has and continues
to shake the music world.
From the dozens of guitar
idols, who played it and
those fortunate enough to
have owned one or more,
the Gibson Les Paul
Sunburst possesses a
mystique and magic, not
found in any other
electric guitar. With its
unique sound, spectacular
beauty and playability,
the burst has shaped the
landscape of the
blues/rock genre, as we
know it today. The Burst
Believers II in this
book, John Sebastian,
Mick Taylor, Paul
Rodgers, Drew Berlin,
Dickey Betts, Randy
Bachman, Matthias Jabs,
Howard Leese, Paul
Warren, Charlie Daniels,
Billy Squier, Paul
Stanley, Warren Haynes,
Gary Rossington, George
Gruhn, Bernie Marsden,
Robby Krieger, Phil
Keaggy, Rick Vito, Tak
Matsumoto, and many more,
have been kind enough to
share their experiences
and stories that you will
enjoy reading. From the
hundreds of color
photographs, to the
serial number index make
this book a must for
players and collectors
alike. $69.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Believers III Centerstream
SKU: HL.218000 Book. Guitar Reference. Hardcover. 248 pages. Published by...(+)
SKU: HL.218000
Book. Guitar Reference.
Hardcover. 248 pages.
Published by Centerstream
Publications (HL.218000).
ISBN 9781574243420.
UPC: 888680667993.
8.75x11.25x0.868
inches. The
“holy grailâ€
of electric guitars...is
back for a third time!
The slang term
“burst†has
been used to decribe a
specific Gibson Les Paul,
manufactured from 1958 to
1960. The impact of this
guitar has and continues
to shake the music world.
From the dozens of guitar
idols, who played it and
those fortunate enough to
have owned one or more,
the Gibson Les Paul
Sunburst possesses a
mystique and magic, not
found in any other
electric guitar. With its
unique sound, spectacular
beauty and playability,
the burst has shaped the
landscape of the
blues/rock genre, as we
know it today. In this
third book, Kirk Hammett,
Brad Whitford, Peter
Frampton, Geddy Lee, Paul
Polycarpou, Perry
Margouleff, David Plues,
James Hetfield, Drew
Berlin, Mick Grabham,
Gary Grainger, Dan
Vickrey, Jeff Prine, Paul
Gabriel, Pat Rush, Tony
Hicks, Craig Ross, Ted
Nugent, Vince Gill, Jim
Mills, Dave Amato, Jeff
Pevar, Bernie Marsden,
Frankie Sullivan, Stan
Webb and many more, have
been kind enough to share
their experiences and
stories that you will
enjoy reading. From the
hundreds of color
photographs, to the
serial number index make
this book a
“must†for
players and collectors
alike. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Beauty of the 'Burst Livre - Pas de partitions [Partition] Hal Leonard
By Yasuhiko Iwanade. Book (not sheet music). Softcover. 224 pages. Published by ...(+)
By Yasuhiko Iwanade. Book
(not sheet music).
Softcover. 224 pages.
Published by Hal Leonard.
$41.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Believers VI “The Final Encore” Centerstream
Hard Cover SKU: HL.1121154 Book. Guitar Reference. Hardcover. Centerstrea...(+)
Hard Cover SKU:
HL.1121154 Book.
Guitar Reference.
Hardcover. Centerstream
Publications #B0BM3JCTLV.
Published by Centerstream
Publications
(HL.1121154). ISBN
9781574244137. UPC:
196288108528.
8.5x11.0x0.858
inches. The Gibson
Les Paul Standard
1958-1960 is one of the
greatest designs to
emerge from Gibson.
Revered by the great
players of our
generation, the tone and
quality of these
instruments have never
been surpassed. The older
generation of players
such as Clapton, Page,
Beck, and Bloomfield
created the sound palette
which would be further
developed by Slash and
Joe Walsh. Today, players
such as Kenny Wayne
Shepherd, Tom Bukovac,
and Keith Urban are
picking up the challenge
and embracing the Burst.
This edition contains
many new Bursts to the
series plus new photos of
some of the great guitars
featured in earlier
editions. With vibrant
hi-res photographs we
have worked with the
publisher and printer to
create a stunning final
edition. The Les Paul
Standard continues to
excite players worldwide
and Gibson continues to
produce new models based
on the near-perfect
original design. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Forth, My Tears Chorale SATB SATB A Cappella Boosey and Hawkes
((No. 2 from Three Madrigals after Dowland) Yale Glee Club New Classic Choral Se...(+)
((No. 2 from Three
Madrigals after Dowland)
Yale Glee Club New
Classic Choral Series).
For Choral (SATB and Solo
A Cappella). Yale Glee
Club New Classics. 12
pages. Boosey and Hawkes
#M051481293. Published by
Boosey and Hawkes
$1.90 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Gibson 'Burst Guitare [Partition] Centerstream
1958-1960. By Vic Dapra, Jay Scott. Guitar. Softcover. 128 pages. Published by C...(+)
1958-1960. By Vic Dapra,
Jay Scott. Guitar.
Softcover. 128 pages.
Published by Centerstream
Publications.
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Burst Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
By Sean O'Loughlin. Concert Band. For Concert Band. Carl Fischer Symphonic Perfo...(+)
By Sean O'Loughlin.
Concert Band. For Concert
Band. Carl Fischer
Symphonic Performance
Series. Grade 5. Score
and Set of Parts.
Duration 3:10
$95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Everyone Sang Chorale SATB SATB, Piano Carl Fischer
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
Choral SATB Choir and
Piano SKU:
CF.CM9740 Composed by
Mark Burrows. 16 pages.
Duration 4 minutes, 22
seconds. Carl Fischer
Music #CM9740. Published
by Carl Fischer Music
(CF.CM9740). ISBN
9781491161203. UPC:
680160919789. Key: Bb
major. English. Siegfried
Sasson. Everyone
suddenly burst out
singing; And I was filled
with such delight As
prisoned birds must find
in freedom... These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the Great
War finally coming to an
end. And yet Sassoon
himself felt none of that
when he wrote this poem.
In his own words, he was
feeling dull-minded and
depressed. Perhaps his
time in the trenches was
still too recent. One of
the reasons the creative
arts are so powerful is
that a poet like Sassoon
(or a painter like Van
Gogh or a composer like
Mahler) can take their
own feelings of deep
sadness or pain and
transform them into
something beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The
poem itself has so much
rhythm and musicality.
The appearance of
suddenly in the first
line of each verse gives
those verses a rush of
energy. Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush. There are
expressive opportunities
with so many of the
poet's bold choices of
action words - burst,
winging, and shaken. Then
there's alliteration - a
poetic device that can be
overdone, but Sassoon
strikes a wonderful
balance. Suddenly/singing
(measures 6-7 and 10-11)
Find/freedom (measure
21-22) Winging/wildly
(measure 23) Setting/sun
(measures 47-49)
Was/wordless (measures
65-75) Give these
alliterations just a hint
of emphasis (without
overdoing) to bring out
the natural rhythm of the
text. And just as
O is set apart in the
poem by punctuation, I
wanted the musical
setting - in measure 57 -
to honor that feeling of
wonder - ...O, but
Everyone Was a bird; and
the song was wordless;
the singing will Never be
done. Friends, there is
so much good ahead, so
much to be excited about.
May the singing never be
done. Everyone
suddenly burst out
singingAnd I was filled
with such delightAs
prisoned birds must find
in freedom…These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the
“Great Warâ€
finally coming to an end.
And yet Sassoon himself
felt none of that when he
wrote this poem. In his
own words, he “was
feeling dull-minded and
depressed.†Perhaps
his time in the trenches
was still too recent.One
of the reasons the
creative arts are so
powerful is that a poet
like Sassoon (or a
painter like Van Gogh or
a composer like Mahler)
can take their own
feelings of deep sadness
or pain and transform
them into something
beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The poem
itself has so much rhythm
and musicality.The
appearance of
“suddenly†in
the first line of each
verse gives those verses
a rush of energy.
Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush.There are
expressive opportunities
with so many of the
poet’s bold
choices of action words
– burst, winging,
and shaken.Then
there’s
alliteration - a poetic
device that can be
overdone, but Sassoon
strikes a wonderful
balance.Suddenly/singing
(measures 6-7 and
10-11)Find/freedom
(measure
21-22)Winging/wildly
(measure 23)Setting/sun
(measures
47-49)Was/wordless
(measures 65-75)Give
these alliterations just
a hint of emphasis
(without overdoing) to
bring out the natural
rhythm of the
text. And just as
“O†is set
apart in the poem by
punctuation, I wanted the
musical setting –
in measure 57 - to honor
that feeling of wonder
–…O, but
EveryoneWas a bird; and
the song was wordless;
the singing willNever be
done. Friends, there
is so much good ahead, so
much to be excited
about.May the singing
never be done. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Afterburn Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Grand Mesa Music
| | |
| Acadia 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 | | |
| Afterburn Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Randall Standridge. Edited by J. Cameron Law. For string orchestra. ...(+)
Composed by Randall
Standridge. Edited by J.
Cameron Law. For string
orchestra. Grade 2 .
Score and parts. Duration
3 minutes, 19 seconds.
Published by Grand Mesa
Music
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aperture Theodore Presser Co.
Chamber Music Cello SKU: PR.144407430 Composed by Zachary Fick-Cambria. S...(+)
Chamber Music Cello
SKU: PR.144407430
Composed by Zachary
Fick-Cambria. Sws.
Performance Score. 8
pages. Duration 8
minutes. Theodore Presser
Company #144-40743.
Published by Theodore
Presser Company
(PR.144407430). ISBN
9781491134108. UPC:
680160684205. 9 x 12
inches. APERTURE is
an exhilarating tour de
force for solo cello,
depicting the mechanism
by which light passes
through a photographic
lens. The work’s
colorful extended
techniques and textures
combine with vibrantly
powerful syncopations to
create an experience that
is both enjoyable and
rewarding for the
advanced cellist. Mixed
meters in rapid
succession portray
mechanical glitches,
while the expansive
timbral possibilities of
the instrument are
explored. An inspiring
performance of APERTURE
is available through the
composer’s YouTube
channel. APERTURE
depicts the mechanism by
which light passes
through a small hole in a
photographic lens. The
piece begins with a burst
of light immediately
followed by a relentless
mechanical rhythm, which
is continually
interrupted by irregular
metric glitches and brief
moments of passing light.
While musical elements
develop, they become
overexposed —
glimmers of light are
abstracted, perpetually
shifting in and out of
focus. Eventually, the
glitching mechanical
texture prevails, as
rhythms compress and
drive toward a final
burst of light. $11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains 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 | | |
| Everglades (River of Grass) 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 | | |
| Symphony No. 6 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 | | |
| Cloudburst Chorale 3 parties SSA Hal Leonard
Arranged by Kirby Shaw. (SSA). Jazz Chorals. 16 pages. Published by Hal Leonard...(+)
Arranged by Kirby Shaw.
(SSA). Jazz Chorals. 16
pages. Published by Hal
Leonard.
$1.80 $1.71 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cloudburst Orchestre d'harmonie [Conducteur] Hal Leonard
Composed by Eric Whitacre (1970-). Eric Whitacre Concert Band. Published by ...(+)
Composed by Eric Whitacre
(1970-). Eric Whitacre
Concert
Band. Published by Hal
Leonard
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cheer Bursts Fanfare - Facile Arrangers' Publishing Company
Arranged by Tom Wallace. For Marching Band (Score & Parts). Arrangers' Publ Marc...(+)
Arranged by Tom Wallace.
For Marching Band (Score
& Parts). Arrangers' Publ
Marching Band. Grade 2.5.
Arrangers' Publishing
Company #M415. Published
by Arrangers' Publishing
Company .
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| Learn to Burn: How to Play Fast Using Speed Bursts (for Stringed Instruments) [Livre] - Avancé Mel Bay
Composed by Collin Bay. For Bass Guitar, Mandolin, Tenor Banjo, Classical Guitar...(+)
Composed by Collin Bay.
For Bass Guitar,
Mandolin, Tenor Banjo,
Classical Guitar.
Saddle-stitched. Learn to
Burn. Technique/Theory.
Advanced. Book. 12 pages.
Published by Mel Bay
Publications, Inc
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gibson 1959 Les Paul Standard Cherry Sunburst Mini Replica Clear Packaging Edition Axe Heaven
SKU: HL.355827 Axe Heaven Guitars. Gift Item. Axe Heaven #GG-120CP. Publi...(+)
SKU: HL.355827 Axe
Heaven Guitars. Gift
Item. Axe Heaven
#GG-120CP. Published by
Axe Heaven (HL.355827).
UPC: 840126943627.
4.5x11.75x1.367
inches. This
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keys. Each guitar model
is approximately
10″ in length and
comes complete with a
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adjustable A-fram stand
and a gold foil stamped
Gibson by Axe Heaven®
guitar case box. Axe
Heaven® Miniature
Replicas look great, but
are not playable. $49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cloudburst Chorale 3 parties SAB Hal Leonard
Arranged by Kirby Shaw. (SAB). Jazz Chorals. 16 pages. Published by Hal Leonard...(+)
Arranged by Kirby Shaw.
(SAB). Jazz Chorals. 16
pages. Published by Hal
Leonard.
$1.80 $1.71 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| In Tune with Ragtime Piano seul [Partition] FJH
Arranged by Carol Matz. For Piano. In Tune Withandseries. Contents include: The ...(+)
Arranged by Carol Matz.
For Piano. In Tune
Withandseries. Contents
include: The Easy
Winners; Cleanin' Up in
Georgia; Original Rags;
Maple Leaf Rag; The
Entertainer; Bohemia;
Echoes from the Snowball
Club; Evergreen Rag; Doc
Brown's Cake Walk; Elite
Syncopations; Funny
Folks; Sunburst Rag; One
o' Them Tings!; Meteor
Rag; syncopation
exercises, historical
information and more.
Ragtime. Level: Early
Intermediate/Intermediate
. Book. Published by The
FJH Music Company, Inc.
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gibson 1959 Les Paul Standard Cherry Sunburst – 6″ Holiday Ornament Axe Heaven
SKU: HL.910685 Axe Heaven Guitars. Gift Item. Duration 240 seconds. Axe H...(+)
SKU: HL.910685 Axe
Heaven Guitars. Gift
Item. Duration 240
seconds. Axe Heaven
#GO-850. Published by Axe
Heaven (HL.910685).
UPC: 661239452604.
4.0x6.5x1.0
inches. This
miniature replica model
honors the Holy Grail of
electric guitars. The
cherry sunburst stain on
this handcrafted
collectible is an amazing
reproduction of the
classic original solid
body instrument. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eric Whitacre: Cloudburst Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
By Eric Whitacre. Eric Whitacre Concert Band. Size 11.5x17 inches. Published by ...(+)
By Eric Whitacre. Eric
Whitacre Concert Band.
Size 11.5x17 inches.
Published by Hal Leonard.
(1)$195.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cloudburst (Showtrax CD). CD Chorale [CD] Hal Leonard
Arranged by Kirby Shaw. (Showtrax CD). Jazz Chorals. CD only. Published by Hal L...(+)
Arranged by Kirby Shaw.
(Showtrax CD). Jazz
Chorals. CD only.
Published by Hal Leonard.
$24.95 $23.7025 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cloudburst Chorale SATB SATB Hal Leonard
Arranged by Kirby Shaw. (SATB). Jazz Chorals. 16 pages. Published by Hal Leonard...(+)
Arranged by Kirby Shaw.
(SATB). Jazz Chorals. 16
pages. Published by Hal
Leonard.
$2.95 $2.8025 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
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