| Overture to a Small Town - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94 Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. . $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Overture for a Small Town [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94F Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F). ISBN
9781491161838. UPC:
680160920518. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Playbook - Learn to Play Keyboard Clavier - Débutant Music Sales
For Piano/Keyboard. Music Sales America. Softcover. 80 pages. Music Sales #AM100...(+)
For Piano/Keyboard. Music
Sales America. Softcover.
80 pages. Music Sales
#AM1009162. Published by
Music Sales
$3.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| AirLine AWXm Micro UHF Wind Instrument Wireless System Hal Leonard
SKU: HL.301319 HM60 SYS D-Band. Samson Wireless. Wireless System. ...(+)
SKU: HL.301319
HM60 SYS D-Band.
Samson Wireless. Wireless
System. Hal Leonard
#SW9A9SHM60-D. Published
by Hal Leonard
(HL.301319). UPC:
809164222248. 9.5x9.0x3.5
inches. For the
working horn player who
is looking for the
freedom to go wireless,
the AirLine AWXm Wind
Instrument system offers
the latest in wireless
technology by pairing the
innovative ATX clip-on
transmitter with the
portable AR99m micro
receiver. Small enough to
fit into any gig bag,
this system provides high
definition sounds for
wind instruemtns without
the need of a beltpack or
cable. Features: ATX-End
Your Reach The ATX
wireless transmitter
enables easy,
inconspicuous mounting
while providing a secure
connection to the bell of
the instrument. The
innovative clip design
allows the performer to
easily switch between
instruemnts without the
hassle of a wire or
beltpack. Small enough to
fit in the palm of your
hand, the lightweight ATX
transmitter features a
rechargeable batery that
provides up to 8 hours of
continuous use, perfect
for any extended
performance. Clear as a
Bell Designed
specifically for live
peroformance, the HM60
condenser microphone
delivers the dynamic,
natural sound of the
instrument with a wide 20
Hz to 18 kHz frequency
response. Able to handle
high sound pressure
levels (SPL) of up to 125
dB, the HM60 is well
suited for close miking
brass and woodwind
instruments. The
supercardioid polar
pattern provides
excellent isolation of
the instrument while
reducing pickup of
unwanted ambient sounds.
The unique 3-point halo
isolation mount minimizes
mechanical vibrations and
keyclick noises. Micro
and Multifunctional With
True RF Diversity, the
AR99m micro receiver
ensures for maximum
wireless clarity with an
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300'. With three output
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1/8-inch, and XLR), the
AR99m offers more
compatibility while being
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other receivers. With a
simple touch of a button,
the AR99m analyzes the
100 available channels
and selects the clearest
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Turn the AR99m into a
dual channel system by
connecting a Samson XPD
Series USB Digital
Wireless System (sold
separately).
Applications: •
Club-date musicians
• Wedding DJs and
performers • House
of worship •
Education/corporate
AV. $399.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Guitar Chord Pickin'Tionary Guitare Hal Leonard
| | |
| ASCAP Centennial Songbook Guitare Hal Leonard
Piano/Vocal/Guitar SKU: HL.120772 By Various. Piano/Vocal/Guitar Songbook...(+)
Piano/Vocal/Guitar
SKU: HL.120772 By
Various.
Piano/Vocal/Guitar
Songbook. Music Business,
Pop, Pop Reference.
Softcover. 288 pages.
Published by Hal Leonard
(HL.120772). ISBN
9781480350519. UPC:
884088917463.
9.0x12.0x0.687
inches. 55 song
highlights from the
history of ASCAP,
celebrating their
representation of some of
the best songwriters of
all time. Songs include:
Ah! Sweet Mystery of Life
* Ain't No Mountain High
Enough * As Time Goes By
* At Last * Before He
Cheats * Bleeding Love *
Blue Skies * Defying
Gravity * Gonna Make You
Sweat (Everybody Dance
Now) * I Will Survive *
Just the Way You Are *
Livin' on a Prayer * Moon
River * My Funny
Valentine * Over the
Rainbow * Raindrops Keep
Fallin' on My Head *
Single Ladies (Put a Ring
on It) * Someone to Watch
over Me * Tenderly * The
Way We Were * We've Only
Just Begun * You Are the
Sunshine of My Life * and
more. Includes an
introduction by ASCAP, a
foreword by Paul
Williams, song notes by
decade, plus photos! $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dear Evan Hansen Hal Leonard
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.286388 E-Z Play Tod...(+)
Electronic Keyboard;
Organ; Piano/Keyboard
SKU: HL.286388
E-Z Play Today
#102. Composed by
Pasek and Paul. E-Z Play
Today. Broadway,
Musicals. Softcover. 80
pages. Published by Hal
Leonard (HL.286388).
ISBN 9781540039781.
UPC: 888680894948.
9.0x12.0x0.21
inches. 9
selections from this Tony
Award winning Broadway
musical, arranged in our
easy to read and play E-Z
Play Today notation.
Includes: For Forever
• Good for You
• If I Could Tell
Her • Only Us
• Sincerely, Me
• So Big/So Small
• Waving Through a
Window • Words Fail
• You Will Be
Found.
About Hal
Leonard E-Z Play
Today For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar. $12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Smallfoot Orchestre [Conducteur] - Intermédiaire Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.47445S Featuring: This Is My Life / Wond...(+)
Orchestra - Grade 3.5
SKU: AP.47445S
Featuring: This Is My
Life / Wonderful Life /
Perfection. Composed
by Various. Arranged by
Andrew H. Dabczynski.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Light Concert; Movie;
Pop. Score. 40 pages.
Duration 6:45. Alfred
Music #00-47445S.
Published by Alfred Music
(AP.47445S). UPC:
038081548302.
English. Here's a
medley of hits from the
animated film Smallfoot
featuring This Is My
World composed by Heitor
Pereiera along with
Wonderful Life, and
Perfection, both with
words and music by Wayne
Kirkpatrick and Karey
Kirkpatrick---that is
sure to challenge your
string orchestra. The
catchy melodies and
intricate rhythms are
shared by all sections,
and, as wonderfully
arranged by Andrew H.
Dabczynski, can be
enhanced by optional
percussion and piano.
While optional, these
parts will contribute
tremendously to the rock
texture, rhythmic drive,
and overall effect of the
piece. The optional
percussion parts are
constructed simply enough
so that doubling players
conceivably can be drawn
from the string sections.
Your audiences will find
themselves tapping their
own smallfeet along with
the orchestra! This title
is available in MakeMusic
Cloud. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Smallfoot Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: This Is My Life / Wonderful Life / Perfection. Composed by Various....(+)
Featuring: This Is My
Life /
Wonderful Life /
Perfection.
Composed by Various.
Arranged
by Andrew H. Dabczynski.
Performance Music
Ensemble;
Single Titles; String
Orchestra. Pop Concert
String
Orchestra. Movie; Pop.
Score
and Parts. 156 pages.
Alfred
Music #00-47445.
Published by
Alfred Music
$64.00 $60.8 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 5-String Bass Scale Chart Basse electrique [Partition] - Débutant Mel Bay
Composed by Corey Dozier. For Bass Guitar. Methods, Technique/Scales. Multip...(+)
Composed by Corey Dozier.
For Bass Guitar. Methods,
Technique/Scales.
Multiple
Levels. Chart. 4 pages.
Published by Mel Bay
Publications, Inc
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Great American Songbook - The Singers Hal Leonard
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.281046 E-Z Play Tod...(+)
Electronic Keyboard;
Organ; Piano/Keyboard
SKU: HL.281046
E-Z Play Today Volume
284. Composed by
Various. E-Z Play Today.
Standards. Softcover. 250
pages. Published by Hal
Leonard (HL.281046).
ISBN 9781540033253.
UPC: 888680785352.
9.0x12.0x0.603
inches. This
songbook provides a
treasury of 100 classics
by our most beloved
vocalists in our
trademark E-Z Play(r)
Today notation. Includes:
All the Way (Etta James)
* Count Your Blessings
Instead of Sheep
(Rosemary Clooney) *
Everybody Loves Somebody
(Dean Martin) * Fever
(Peggy Lee) * Heart and
Soul (Mel Torme) * How
High the Moon (Ella
Fitzgerald) * I Left My
Heart in San Francisco
(Tony Bennett) * People
(Barbra Streisand) *
Route 66 (Nat King Cole)
* Sentimental Journey
(Doris Day) * Swinging on
a Star (Bing Crosby) *
That's Entertainment
(Judy Garland) * What a
Wonderful World (Louis
Armstrong) * Young at
Heart (Frank Sinatra) *
and many more.
About Hal
Leonard E-Z Play
Today For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Small Preludes Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-6774 Piano Lessons by Johann Sebastian Bach. Comp...(+)
Piano SKU:
BR.EB-6774 Piano
Lessons by Johann
Sebastian Bach.
Composed by Johann
Sebastian Bach. Edited by
Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Baroque period. Score. 16
pages. Breitkopf and
Haertel #EB 6774.
Published by Breitkopf
and Haertel (BR.EB-6774).
ISBN 9790004169735. 9
x 12 inches. The
pieces contained in this
volume prepare the
student for the playing
in three and four parts
that is required for the
perfomance of the
three-part inventions and
the French suites. They
are most appropriately
incorporated into the
teaching material after
the two-part inventions
have been studied. New
technical problems, such
as the passing under and
over of fingers without
using the thumb and the
rapid substitution of
fingers on one key, must
here be solved. In order
to make the fonn clear,
the notation has been
simplified as much as
possible; the indications
of fingering remain quite
complicated enough, even
though they cannot by far
show all the
possibilities. lt is
necessary to adapt the
fingerings to the
mobility and span of the
particular player's
hands, whilst retaining
the chosen phrasings to
the best of his ability.
Isolated notes which
require a span exceeding
the octave have been
placed in brackets; the
performance of the
ornaments is shown in
footnotes. As in the
first volume, the missing
dynamic and tempo
indications must be
supplied by the performer
himself in accordance
with the character of
each piece. Especial
attention must be paid in
polyphonic music to the
problem of phrasing and
articulation. The
editor's suggestions can
be replaced by other
solutions that make
musical sense; these
should then be written
into the parts. An
intensive preoccupation
with polyphone structures
can even at an early age
increase the
understanding and love of
the musical work of art.
Heinz Walter, Salzburg,
Summer 1977. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Let the People Sing Hope Publishing Company
Sacred. Print Music Collection (Small Spiral (5! x 7 3/4)). Published by Hope Pu...(+)
Sacred. Print Music
Collection (Small Spiral
(5! x 7 3/4)). Published
by Hope Publishing
Company.
$6.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Practical Recording 4: Rhythm Programming Livre - Pas de partitions [Livre + CD] Music Sales
| | |
| Your Grace Is Enough Orchestre - Intermédiaire Lillenas Publishing Co.
Orchestra - Intermediate SKU: LO.765762192706 Composed by Tom Payne. Alle...(+)
Orchestra - Intermediate
SKU:
LO.765762192706
Composed by Tom Payne.
Allegis. Orchestration,
enhanced CD. Lillenas
Publishing Company
#765762192706. Published
by Lillenas Publishing
Company
(LO.765762192706).
UPC:
765762192706. The
fresh and creative
Allegis Orchestral Series
is designed to give small
to mid-sized churches an
instrumental resource
that can be played with a
mix of players, but
includes everything the
large church orchestra
needs, as well. These
moderately difficult hymn
arrangements have been
created in popular styles
that your
instrumentalists and
congregation alike with
love. With three
accompaniment options
(piano, live rhythm
section, or recorded
rhythm tracks) this
series fits the needs of
any size group, from
eight players to a full
orchestra. Everything you
need for practice and
performance is included
on the Enhanced CD:
printable instrumental
parts, optional
instrumental parts, capo
guitar parts, and
rhythm/piano
accompaniment, plus the
rhythm accompaniment
track and demonstration
track. Minimum
Instrumentation: Part 1
– Fl; Part 2
– Ob (Cl, S Sax);
Part 3 – Cl (A
Sax); Part 4 –
Tpt; Part 5 – Tpt
(A Sax); Part 6 –
Hn (A Sax, Cl); Part 7
– Tbn (Bari TC, T
Sax). $69.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Miniature Concerto for Piano 2 Pianos, 4 mains - Intermédiaire Alfred Publishing
Composed by B. J. Rosco. This edition: 2 copies included. Duet or Duo; Piano Duo...(+)
Composed by B. J. Rosco.
This edition: 2 copies
included. Duet or Duo;
Piano Duo (2 Pianos, 4
Hands); Solo Small
Ensembles. Piece for the
Piano Concerto event with
the National Federation
of Music Clubs (NFMC)
Festivals Bulletin
2008-2009-2010. Sheet. 48
pages. Alfred Music
#00-PAM0302. Published by
Alfred Music
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hal Leonard Pocket Guitar Chord Dictionary Guitare [Key & Note References|Dictionaries|Collection / Songbook] Hal Leonard
| | |
| Playbook - Learn to Play Harmonica Harmonica - Débutant Music Sales
A Handy Beginner's Guide!. Music Sales America. Instruction, Method. Softcove...(+)
A Handy Beginner's
Guide!.
Music Sales America.
Instruction, Method.
Softcover. 80 pages.
Music
Sales #AM1008425.
Published
by Music Sales
$3.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 802VLZ4 8-Channel Ultra-Compact Analog Mixer Hal Leonard
SKU: HL.1110821 Mackie. Live Sound. Hal Leonard #802VLZ4. Published by Ha...(+)
SKU: HL.1110821
Mackie. Live Sound. Hal
Leonard #802VLZ4.
Published by Hal Leonard
(HL.1110821). UPC:
663961039832.
12.25x15.75x4.5
inches. Meet the
desk-friendly 802VLZ4.
Equipped with the perfect
combination of pro
features, channel count
while keeping the size
small enough for any
desk. The 802VLZ4 is
perfect for home
recording, broadcast,
content creation, and
more. • 3
Boutique-quality Onyx mic
preamps with ultra-wide
60dB gain range •
Phantom power for
condenser mics •
Selectable instrument
inputs • 3-band EQ
(80Hz, 2.5kHz,12kHz)
• 18 dB/oct 100Hz
low-cut filter on mic
input channels •
Aux send, level, pan and
PFL solo on each channel
• Control room /
phones source matrix
• High-resolution
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•
“Built-Like-A-Tank
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visual feedback. $219.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Roadrunner Rally Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS10 Composed by Doris ...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS10
Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise Up, Shepherd! Carl Fischer
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Com...(+)
Choral Bass 1, Bass 2,
baritone voice tenor 1,
tenor 2 SKU:
CF.CM9634 Composed by
Traditional Christmas
Spiritual. Arranged by
Ken Berg. Sws.
Performance Score. 16
pages. Duration 3
minutes, 40 seconds. Carl
Fischer Music #CM9634.
Published by Carl Fischer
Music (CF.CM9634).
ISBN 9781491157060.
UPC: 680160915620. 6.875
x 10.5 inches. Key: G
major. English, English.
Traditional Christmas
Spiritual. Berg's
fantastic setting of this
beloved American
Christmas spiritual for
advanced tenor-bass
choirs tells a story of
hope and meaning. The
various textures
throughout the a cappella
arrangement with solos
add much variety and
musical interest. A
holiday programming
must!. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!) The entrance at m.
8 from the upper three
voices (we'll call them
the trio part henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song. The trio
part, basically tenors 1
& 2 and baritones,
take on the role of the
keyboard providing
chordal structure and
syncopation. Their job is
to fill the listener's
ear with sound and
rhythm. The soloist tells
the story using the known
melody and text with
appropriate improv
opportunities to keep the
listeners focused on the
message of the song.
There is enough
repetition to make for
easy learning, but this
also means that the
chords need to snap into
position cleanly every
time. The Verses are
easily identified (there
are three) and presented
with some small
variations in Verse 3
(see mm. 56-58...this
only happens once). The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the Jazz Trio role
and actually become a
Men's Choral Ensemble.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2
& 3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the listeners!
Measures 72-75 is known
in the business as a
vamp. It can be repeated
once and then move on, OR
it can be repeated
multiple times, depending
on the comfort level of
the soloist and the
response of the audience.
It is important that
there be a clear signal
from the conductor as to
how to end the vamp and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon! Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!)The entrance at m.
8 from the upper three
voices (we’ll call
them the “trio
part†henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song.The
“trio partâ€,
basically tenors 1 & 2
and baritones, take on
the role of the keyboard
providing chordal
structure and
syncopation. Their job is
to fill the
listener’s ear
with sound and rhythm.The
soloist tells the story
using the known melody
and text with appropriate
improv opportunities to
keep the listeners
focused on the message of
the song.There is enough
repetition to make for
easy learning, but this
also means that the
chords need to
“snap into
position†cleanly
every time. The Verses
are easily identified
(there are three) and
presented with some small
variations in Verse 3
(see mm. 56-58…this
only happens once).The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the “Jazz
Trio†role and
actually become a
“Men’s
Choral Ensembleâ€.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2 &
3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the
listeners!Measures 72-75
is known in the business
as a “vampâ€.
It can be repeated once
and then move on, OR it
can be repeated multiple
times, depending on the
comfort level of the
soloist and the response
of the audience.It is
important that there be a
clear signal from the
conductor as to how to
end the
“vamp†and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon!Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mass in E flat major Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] - Intermédiaire Carus Verlag
Orchestra Soli SATTB, Coro SSATTBB, Ob, 2 Clt, Fg, Cor, Tr, Trb, Timp, 2 Vl, Va,...(+)
Orchestra Soli SATTB,
Coro SSATTBB, Ob, 2 Clt,
Fg, Cor, Tr, Trb, Timp, 2
Vl, Va, Vc, Cb - Grade 4
SKU: CA.4066050
Arrangement for
chamber orchestra (arr.
J. Linckelmann).
Composed by Franz
Schubert. Arranged by
Joachim Linckelmann.
Carus digital: Extra
digital products. Full
Score. D 950. 216 pages.
Duration 50 minutes.
Carus Verlag #4066050.
Published by Carus Verlag
(CA.4066050). ISBN
9790007294533. Key: E
flat major.
Latin. Schubertâ??
s Mass in E-flat major is
the last of his six
settings of the
Ordinarium Missae (Mass
ordinary) and also his
most important work in
this genre. The mass is
full of color and drama,
infused with the spirit
of confession. For many
choirs, it is on the wish
list of those works they
would like to sing
someday. But what happens
if you donâ??t have
enough singers, money is
tight, and your venue is
on the small side?
Here the experienced
arranger and orchestral
musician Joachim
Linckelmann has a great
solution. His version for
soloists, choir and
chamber orchestra
requires only 7 winds
rather than the original
13. The string parts,
while identical to the
original, can now also be
scaled back. The vocal
parts (soloists and
chorus) are completely
untouched by the
arrangement, so that the
vocal scores and choral
scores of the Carus
Urtext edition can also
be used for
performanceâ?¢,A
large-scale work now
arranged for smaller
choirs â?¢,13 winds
of the original version
reduced to 7
instrumentsâ?¢,Voca
l scores and choral
scores of the original
version can still be
usedâ?¢,carus plus:
The work (original
version) is available in
the app carus music, the
Choir Coach, as well as
in our Carus Choir Coach
series (audio only)..
Score available
separately - see item
CA.4066000. $105.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stylistic Etudes for Trombone Carl Fischer
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231). ISBN
9781491153314. UPC:
680160910816. Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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