| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume IV Instruments en Sib [Fake Book] Hal Leonard
(B-flat Edition). By Various. By Various. For Bb Instruments. Fake Book. Softcov...(+)
(B-flat Edition). By
Various. By Various. For
Bb Instruments. Fake
Book. Softcover. 512
pages. Published by Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume IV Instruments en Do [Fake Book] Hal Leonard
(C Edition). By Various. By Various. Fake Book. Softcover. 464 pages. Published ...(+)
(C Edition). By Various.
By Various. Fake Book.
Softcover. 464 pages.
Published by Hal Leonard
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| The Real Book - Volume IV Bass Clef Instruments Hal Leonard
(Bass Clef Edition). By Various. By Various. For Bass Clef Instruments. Fake Boo...(+)
(Bass Clef Edition). By
Various. By Various. For
Bass Clef Instruments.
Fake Book. Softcover. 464
pages. Published by Hal
Leonard
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| The Real Book - Volume IV Instruments en Mib [Fake Book] Hal Leonard
(E-flat Edition). By Various. By Various. For Eb Instruments. Fake Book. Softcov...(+)
(E-flat Edition). By
Various. By Various. For
Eb Instruments. Fake
Book. Softcover. 464
pages. Published by Hal
Leonard
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| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Without Music Theodore Presser Co.
Chamber Music Piano, Voice SKU: PR.111402850 Five Songs for Mezzo-sopr...(+)
Chamber Music Piano,
Voice SKU:
PR.111402850 Five
Songs for Mezzo-soprano
and Piano. Composed
by Ricky Ian Gordon.
Collection - Performance.
28 pages. Duration 25
minutes. Theodore Presser
Company #111-40285.
Published by Theodore
Presser Company
(PR.111402850). ISBN
9781491132005. UPC:
680160680627. What the
Living Do by Maria
Howe. The poetry of
Marie Howe has a special
place in Ricky Ian
Gordon’s heart and
mind, both haunting and
soothing. WITHOUT MUSIC
is a five-movement work
in which Howe’s
words and Gordon’s
music together give voice
to longterm grieving for
a loved one lost to AIDS.
The work was commissioned
by Music Academy of the
West for their 2019
Marilyn Horne Song
Competition
Winners’ Recital
Tour. For a long time,
I have been in dialogue
with the poems of Marie
Howe. Some poets speak so
directly to you that they
become a second voice
inside you. I have so
many of her poems
memorized, and I speak
them so often because at
certain moments I know
she will say it better
than me.Many I have set
or tried to set and felt
dissatisfied and put them
away. Marie’s
poems are so plain
spoken, you want them to
feel, if you are taking
the trouble to set them
to music, that the songs
are plain spoken as
well... because it would
be criminal to set
Marie’s poems in a
way that obscures the
words and makes them feel
distant or remote.I first
heard Kelsey Lauritano in
a Master Class that
Stephanie Blythe was
giving at Juilliard. I
was bowled over by her
poise, the beauty of her
voice, her engagement
with her body and her
connection to text. She
is a real artist through
and through. I wanted to
create a cycle for her
where it felt like she
was talking to the
audience in the most
intimate way possible. I
wanted to be able to see
her heart.These five
poems are from
Marie’s book,
“What the Living
Do,†the book which
was published eight years
after her brother Johnny
died at 28 from AIDS. The
book is impossibly
beautiful, as clear as a
spring in a remote
forest... the poems
simply tell the story of
Johnny’s illness
and Marie’s
relationship with it, and
him... as Marie would put
it, they are “how
some of it
happened.â€I lost my
partner Jeffrey Grossi to
AIDS in 1996, so needless
to say, this book, and
Marie’s poems were
balm for me... one of the
myriad ways I got through
an excruciating time, as
Jeffrey’s death
followed practically, the
death of my entire
community. I feel bad,
and even awkward, that
this is still so much a
part of my story, but it
is. Is it PTSD, or just,
not wanting to forget? I
don’t know. But
these songs are steeped
in that time. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Minecraft - Music from the Video Game Series Cor [Partition + Accès audio] Hal Leonard
Horn Play-Along. Composed by Various. Instrumental Play- Along. Video Games. So...(+)
Horn Play-Along. Composed
by
Various. Instrumental
Play-
Along. Video Games.
Softcover
Audio Online. 16 pages.
Duration 210 seconds.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Six (6) Pieces Score And Parts Horn, Violin And Piano - Intermédiaire Wilhelm Hansen
Violin, Horn and Piano (Score & Parts) - Grade 4 SKU: HL.14042920 Compose...(+)
Violin, Horn and Piano
(Score & Parts) - Grade 4
SKU: HL.14042920
Composed by Hans
Abrahamsen. Music Sales
America. Softcover.
Composed 2012. Edition
Wilhelm Hansen #WH30687.
Published by Edition
Wilhelm Hansen
(HL.14042920). ISBN
9788759814185.
9.5x14.25x0.107 inches.
International (more than
one
language). Programm
e Note My &rsquo,6 Pieces
for horn, violin and
piano&rsquo, was written
in 1984 as a commission
from the Danish Radio for
a concert where
Ligeti&rsquo,s Horn Trio
should receive its Danish
premiere played by Danish
musicians. My trio is
based on my work
&rsquo,Studies for
Piano&rsquo,. While I
wrote these studies I
tried to &rsquo,conjure
up&rsquo, instrumental
parts inside the piano
movement. When I received
the commission for a horn
trio I turned to six of
the studies and deepened
them by &rsquo,screening
them&rsquo, so that their
parts and moods appeared
in a clearer way.
Furthermore I changed the
order of the movements so
a new unity appeared,
beginning with asteadyly
hesitating
&rsquo,Serenade&rsquo, in
slow-motion followed by
the
&rsquo,Arabesque&rsquo,
which hardly gets started
before it stops. Then
&rsquo,Blues&rsquo,, a
melancholy melody and
&rsquo,Marcia
Funebre&rsquo,, like a
fossilized picture with a
dramatic threatening
outburst ending with a
quiet but majestic melody
in violin and horn, a
melody that disappears in
the chords of the piano.
Before the last movement
&rsquo,For the
Children&rsquo, is a
large &rsquo,Scherzo
misterioso&rsquo,. Hans
Abrahamsen Six
Pieces for Horn,
Violin and Piano by
Hans
Abrahamsen.
Programme
Note
My ’6 Pieces
for horn, violin and
piano’ was written
in 1984 as a commission
from the Danish Radio for
a concert where
Ligeti’s Horn Trio
should receive its Danish
premiere played by Danish
musicians. My trio is
based on my work
’Studies for
Piano’. While I
wrote these studies I
tried to ’conjure
up’ instrumental
parts inside the piano
movement. When I received
the commission for a horn
trio I turned to six of
the studies and deepened
them by ’screening
them’ so that their
partsand moods appeared
in a clearer way.
Furthermore I changed the
order of the movements so
a new unity appeared,
beginning with a steadyly
hesitating
’Serenade’ in
slow-motion followed by
the
’Arabesque’
which hardly gets started
before it stops. Then
’Blues’, a
melancholy melody and
’Marcia
Funebre’, like a
fossilized picture with a
dramatic threatening
outburst ending with a
quiet but majestic melody
in violin and horn, a
melody that disappears in
the chords of the piano.
Before the last movement
’For the
Children’ is a
large ’Scherzo
misterioso’.
Hans
Abrahamsen $68.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| PR31BW Hal Leonard
SKU: HL.364994 Large Diameter Short Body Microphone for Cymbals & Toms...(+)
SKU: HL.364994
Large Diameter Short
Body Microphone for
Cymbals & Toms. Heil
Sound. Microphone. Hal
Leonard #PR31BW.
Published by Hal Leonard
(HL.364994). UPC:
810100410230.
5.5x7.75x3.0
inches. The Heil 31
BW microphone is the
answer to those who use
the PR30 for cymbals
& toms, but need it
to fit in tight spots.
Through a collaboration
with FOH engineer for the
Charlie Daniels Band, Bob
Workman (hence the
“BWâ€
designation), the 4-inch
tall PR31BW was
developed. The PR31BW
realizes all the benefits
of the PR30 in a smaller
footprint suitable for
mounting to toms and for
capturing cymbals from
underneath, as well as
from overhead. As with
the PR30, there's no
worrying about picking up
nearby sounds from other
drums, or other sources.
And also like the PR30,
there's no worrying about
overload. The PR31BW is
great for vocals, guitar
cabinets, brass horns,
saxophone, and piano and
it will even fit inside
Leslie speaker cabinets,
and more. There are a
variety of mounting
options from Heil for
drums, guitar and
vocals/broadcasting. $269.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do-It-Yourself Guitar Guitare [Partition + Accès audio] Hal Leonard
Book with Online Audio & Video Guitar SKU: HL.346730 The Best Step-by-...(+)
Book with Online Audio &
Video Guitar SKU:
HL.346730 The Best
Step-by-Step Guide to
Start Playing. Do It
Yourself. Method.
Softcover Media Online.
136 pages. Published by
Hal Leonard (HL.346730).
ISBN 9781540094797.
UPC: 840126925111.
9.0x12.0x0.329
inches. Do-It-Yours
elf Guitar is a fun way
to get started playing on
your own. Using over 90
well-known pop and rock
tunes, you will be given
step-by-step instructions
on what you need to know
to get started and
sounding like a pro in no
time. Includes over 150
audio tracks for
demonstration and
play-along, plus video
instruction that covers
all concepts within!
Covers: Guitar
fundamentals; reading
guitar tablature;
fret-hand and pick-hand
techniques; chords &
chord progressions;
scales; techniques for
acoustic and electric
guitar; lead guitar;
fingerstyle guitar;
playing styles of famous
guitarists; demonstraton
and play-along audio
tracks; video instruction
and demonstration; and
more! The price of this
book includes access to
audio and video online,
for download or
streaming, using the
unique code found inside.
Includes PLAYBACK+, a
multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or
right–available
exclusively from Hal
Leonard. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections of Assisi [Conducteur et Parties séparées] - Intermédiaire Forton Music
Woodwind quintet (Fl. Ob. Cl. Hn. Bsn.) - Intermediate SKU: FT.FM629 F...(+)
Woodwind quintet (Fl. Ob.
Cl. Hn. Bsn.) -
Intermediate SKU:
FT.FM629 Five
movements for Wind
Quintet. Composed by
Nicole Buetti. Five
movements for Wind
Quintet. Score and parts.
Forton Music #FM629.
Published by Forton Music
(FT.FM629). ISBN
9790570485284. This
piece was composed for
the Assisi Performing
Arts Festival woodwind
quintet. It's made up of
five movements, each
reflecting a different
aspect of the beautiful
and mystical town of
Assisi, Italy. Movement
one, 'Sunrise', begins as
the sun's light extends
over walls and the many
churches that adorn the
mountainside. Movement 2
is entitled 'Tourists'
and reflects the hustle
and bustle of incoming
visitors to the shops and
chapels with imitations
of car horns and the
pandemonium of the
crowds. The third
movement is
'Monasteries'. As the
orders of monks and nuns
are called to Vespers,
you can hear their voices
from monasteries, chapels
and churches throughout
Assisi. A beautiful
cacophony of sacred music
rises above the town! The
4th movement is titled
'Rocca Maggiore' after
the lookout post atop a
great hill that looks out
over the top of the city
and across the valley.
The hike up to this post
is steep, but at the top
you are rewarded with not
only a spectacular view,
but the songs of birds
soaring over the town.
The 5th and final
movement is 'Sunset and
Dinner with Family and
Friends'. This movement
symbolizes the end of the
day as all the tourists
are gone and the families
and friends in Assisi sit
down together for their
delicious evening meals.
Wine, incredible food and
conversation close out
the day as the sun sets
behind the mountain. This
piece was written as a
tribute to one of the
most spiritual and
beautiful places in the
world...Assisi,
Italy. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 100 Authentic Blues Harmonica Licks Harmonica [Partition + Accès audio] Hal Leonard
Harmonica. Instruction, Blues Instruction. Softcover Audio Online. 80 pages. Pub...(+)
Harmonica. Instruction,
Blues Instruction.
Softcover Audio Online.
80 pages. Published by
Hal Leonard
$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Arranging for Large Jazz Ensemble Ensemble Jazz [Partition + Accès audio] Berklee
erklee Methods. Instruction, Jazz, Jazz Reference, Songwriting. Softcover Audio ...(+)
erklee Methods.
Instruction, Jazz, Jazz
Reference, Songwriting.
Softcover Audio Online.
216 pages. Published by
Berklee Press
(3)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Kottarainen Chorale SATB SATB A Cappella Alliance Music Publications
Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. ...(+)
Composed by Riika
Pietilainenen-Caffrey.
Edited
by Lawrence Kaptein.
Octavo.
Alliance Music
Publications
#AMP 1072. Published by
Alliance Music
Publications
$2.10 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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