A beginner's guide to learning how to play popular Middle Eastern rhythms. Theory and Reference, Folded. World Music. Chart and online audio. 4 pages. Mel Bay Publications, Inc #21461M. Published by Mel Bay Publications, Inc

Piano

SKU: BR.EB-9385

Composed by Nicolaus A. Huber. Solo instruments; stapled. Edition Breitkopf. Music post-1945; New music (post-2000). Score. Composed 1976. 12 pages. Duration 15'. Breitkopf and Haertel #EB 9385. Published by Breitkopf and Haertel (BR.EB-9385).

ISBN 9790004188552. 12 x 9 inches.

Darabukka ist eine arabische Vasentrommel - heute vorzugsweise vom fahrenden Volk gebraucht - die zwei Klange erzeugt: einen hohen und einen tiefen (+ hohen). Durch Abdecken der unteren Offnung verschwindet der tiefere Klang, und der hohere bleibt allein ubrig. Diese Eigenschaften sind auf das Klavier ubertragen: 1. Die Taste wird wie eine Trommel behandelt, und alle moglichen Finger- und Handkombinationen werden zur Rhythmus-Instrumentation herangezogen. 2. Durch subharmonische Teilschwingungen wird der Tastenton zusatzlich klanglich aufgebrochen. Ihre Klangfarben unterliegen den Rhythmusmodellen. 3. Ich habe dieses Stuck von verschiedenen Volks-Musiken gelernt, und am Ende erklingt eine Solidaritats-Klangaktion fur das Volk von Chile: ,,El pueblo unido jamas sera vencido! - ,,Das Volk wird niemals besiegt werden, wenn es einig ist. In Darabukka wird mit drei verschiedenen Struktur- und Klang-Charakteren gearbeitet. Unter den vielen Techniken der Rhythmuskomposition ist vielleicht die der rhythmischen Modulation am interessantesten: Durch Umdeutung einer Dauer kann von einem Modell x zu einem Modell y ubergeleitet werden. (Nicolaus A. Huber, 1976) CDs: Kristine Scholz CD Alice musicproduction ALCD 011 Catherine Vickers CD Koch Aulos 3-1817-2 Bibliografie: Dudda , Friedrich: Nicolaus A. Hubers ,,Darabukka, in: Feedback Papers 15, Koln 1978, S. 19-21. Schick , Tobias Eduard: Weltbezuge in der Musik Mathias Spahlingers (Beihefte zum Archiv fur Musikwissenschaft, Band 80), Stuttgart; Franz Steiner 2018, dort S. 97-99

World premiere: Paris, March 14, 1977.

Saxophone - Level 3

SKU: LM.27907

Composed by A. Lecapelain and N. Prost. Claude Delangle. Method, studies. Score. Editions Henry Lemoine #27907. Published by Editions Henry Lemoine (LM.27907).

ISBN 9790230979078.

P'ti t lutin - Marionnette - Tcha-Tcha - Ressort - Pirouette - Hard'Folie - Balade - Staccato-Chinois - En fanfare - Noctambule - Rock - Pied de nez - Paso Doble - Priere - Adagio en forme de choral - Slow - Melopee - Clair de lune - Chant du soleil - Soldats de plomb - Drapeaux - Batignolles - Rouli-Roula - Valse triste - Tourbillon - En revant - Octobre - Secret - Delire clownesque - Cauchemar - Cadence - Berceuse.

Pevets, Elegiia, Sosna, Gornye vershiny, Al'bomnoe stikhotvorenie, Moia otchizna, Veter gor moikh, Oplachu tosku, Sviatoi ostrov, Spoi dlia menia, Na ozere, Kachaites' kachaites' kashtany, Usni, I v etu noch', Po lesu leshii krichit na sovu, Cheremukha dushistaia, Za rekoi goriat ogni, Ei dozhdik, Voz'mu dereviashku, Zdravstvuite derevo, Strelochnik, More, Moi staryi drug

Percussion Ensemble

SKU: BT.SLB-00203900

Composed by Franc-Bernard Mache. Contemporary Music. Score Only. Composed 2002. Editions Salabert #SLB 00203900. Published by Editions Salabert (BT.SLB-00203900).

Orchestra

SKU: FG.55011-315-2

Composed by Kalevi Aho. Study score. Fennica Gehrman #55011-315-2. Published by Fennica Gehrman (FG.55011-315-2).

ISBN 9790550113152.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normal ly, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

Percussion with 2 players

SKU: HL.49000658

Composed by Wilfried Hiller. This edition: Saddle stitching. Sheet music. A battere. Classical. Playing score. Composed 1973. 20 pages. Duration 12'. Schott Music #BAT 18. Published by Schott Music (HL.49000658).

ISBN 9790001004787.

Schl agzeug I: Vibr. * Xyl. * Litophon oder Flasche * 4 Trgl. * 2 Cymb. * 2 Bong. * Darabukka * kl. Tr. * Glass Chimes * Metall-Wind-Chimes * Schuttelrohr - Schlagzeug II: Xyl. * Marimba * 4 Trgl. * 4 Beck. * Cymb. * Tamt. * 2 Bong. * Darabukka * kl. Tr. * Glass Chimes * Metall-Wind-Chimes * Mar.

Orchestra: 1.1.1.1/1.0.0.0/Tamburin. Darbouka.Daf.Qanoun/Strin gs

SKU: UM.17432A4

Composed by Naji Hakim. Full score. United Music Publishing #17432A4. Published by United Music Publishing (UM.17432A4).

A4 inches.

2 Darabukkas (bongo drums, congas drums)

SKU: PR.ZM23200

Composed by Siegfried Fink. Solo fur Percussion. With Standard notation. Zimmermann #ZM23200. Published by Zimmermann (PR.ZM23200).

UPC: 680160650828.

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131).

ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.

Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.
ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.    I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.

Concert Band/Harmonie/Fanfare Band - Grade 3

SKU: BT.DHP-0900239-015

Composed by Jacob De Haan. Inspiration Series. Set (Score & Parts). Composed 1990. De Haske Publications #DHP 0900239-015. Published by De Haske Publications (BT.DHP-0900239-015).

Gewoonlijk wordt filmmuziek bij de in een draaiboek vastgelegde afhandeling geschreven. Dat het ook andersom kan, bewijst Jacob de Haan met La Storia. Zonder te weten welke geschiedenis erachter schuilgaat, levert de componistrond zeven minuten meeslepende muziek. Voor één keer mag u zonder gebonden te zijn aan het commentaar van een componist een eigen verhaal bij de muziek denken. Jacob de Haan heeft La Storia opgedragen aan een van de beroemdsteschrijvers van filmmuziek, de Italiaan Ennio Morricone.

Normale rweise wird Filmmusik anhand eines Drehbuchs geschrieben. Dass es auch andersherum funktioniert, beweist Jacob de Haan mit seinem Werk La Storia. Ohne eine bestimmt Geschichte zu erzählen, liefert er spannende Musik, zu der sich kreative Musiker und Zuhörer selbst etwas ausdenken können. Jacob de Haan widmete La Storia einem der berühmtesten Filmmusikkomponisten überhaupt - dem Italiener Ennio Morricone...

En général la musique de film est composée partir et en fonction des événements qui se produisent dans l’intrigue du scénario. L’inverse est plutôt rare mais Jacob de Haan parvient nous démontrer le contraire avec La Storia. Sans jamais nous livrer des éléments de l'intrigue, il nous propose environ sept minutes de musique intense. Par conséquent, l’œuvre fait appel l’imagination individuelle ; chacun d’entre nous étant libre de créer son propre scénario partir de ce qu’il entend. Avec La Storia Jacob de Haan rend hommage au maître italien de la musique de film : Ennio Morricone.

Accordion Orchestra - Grade 3.5

SKU: BT.DHP-0981308-060

Composed by Jacob De Haan. Arranged by Foppe Jacobi. Accordion. Original Light Music. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981308-060. Published by De Haske Publications (BT.DHP-0981308-060).

Film music is usually written to match the action of each scene. In Jacob de Haan’s piece La Storia however there are no scenes and no plot, yet the composer supplies us with music full of action and suspense. The performers and audience are left to create their own storyline to fit the music. Jacob de Haan has dedicated La Storia to one of the most famous composers of film music - the Italian, Ennio Morricone.

Gewoonlijk wordt filmmuziek bij de in een draaiboek vastgelegde afhandeling geschreven. Dat het ook andersom kan, bewijst Jacob de Haan met La Storia. Zonder te weten welke geschiedenis erachter schuilgaat, levert de componistrond zeven minuten meeslepende muziek. Voor één keer mag u zonder gebonden te zijn aan het commentaar van een componist een eigen verhaal bij de muziek denken. Jacob de Haan heeft La Storia opgedragen aan een van de beroemdsteschrijvers van filmmuziek, de Italiaan Ennio Morricone.

Filmmus ik wird im Normalfall zu einer bereits bestehenden Handlung geschrieben. Dass es anders herum auch geht, beweist Jacob de Haan mit seiner Komposition La Storia. Ohne eine bestimmte Geschichte zum Ausdruck bringen zu wollen, erarbeitete der Komponist spannungsvolle Musik in einer Länge von rund sieben Minuten. Hier darf sich jeder ohne Beeinflussung durch den Kommentar des Komponisten seine eigene Geschichte zur Musik denken. Jacob de Haan hat La Storia einem der erfolgreichsten Komponisten der Filmmusik, dem Italiener Ennio Morricone, gewidmet.

En général, la musique de film est composée partir, et en fonction, des événements qui se produisent dans l’intrigue du scénario. L’inverse est plutôt rare, mais Jacob de Haan parvient nous démontrer le contraire avec La Storia. Sans livrer d’éléments d’histoire, il propose environ sept minutes de musique intense. Chacun d’entre nous est donc libre de créer son propre scénario partir de ce qu’il entend. Avec La Storia, Jacob de Haan rend hommage au maître italien de la musique de film : Ennio Morricone.

SATB choir - Level 2

SKU: CA.305240

Dreifach Wesen. Composed by Anonymous. Sacred vocal music. Separate edition with choral collection. Sacred vocal music. Full score. Duration 1 minute. Carus Verlag #CV 03.052/40. Published by Carus Verlag (CA.305240).

ISBN 9790007148300. Key: F major. Language: Latin.

Brass Band - Grade 3

SKU: BT.AMP-371-130

Composed by Bruce Broughton. Arranged by Philip Sparke. Anglo Music Midway Series. TV-Film-Musical-Show. Score Only. Composed 2013. 28 pages. Anglo Music Press #AMP 371-130. Published by Anglo Music Press (BT.AMP-371-130).

9x12 inches. English-German-French-Dut ch.

Released in cinemas in 1993, Tombstone is an American western written by Kevin Jarre and directed by George Cosmatos. Starring Kurt Russell and Val Kilmer, it was narrated by Robert Mitchum and is based on events relating to the Gunfight at the OK Corral, and the subsequent Wyatt Earp Vendetta, both of which took place in Tombstone, Arizona.The theme is crime, political corruption and law enforcement in the American west during the 1880s. The score was by Bruce Broughton, and this selection features music from the opening and closing credits.

Tombst one ist ein amerikanischer Western aus dem Jahre 1983, der unter der Regie von Kevin Jarre nach einem Drehbuch von George Cosmatos entstand. Der Film mit Kurt Russell und Val Kilmer in den Hauptrollen sowie Robert Mitchum als Erzähler basiert auf den historischen Ereignissen rund um die Schießerei am OK Corral und dem daraus resultierenden Rachefeldzug von Wyatt Earp. Beides fand im Ort Tombstone im US-Bundesstaat Arizona statt. Themen des Films sind Verbrechen, politische Korruption und Strafverfolgung im Amerika der 1880er-Jahre.Diese Bearbeitung präsentiert eine Auswahl aus der Eröffnungs- und Abspannmusik der originalen Filmmusik von Bruce Broughton.

Formation musicale

SKU: RM.AZ1682

Composed by Gilles Dervieux. Formation musicale. Instrumental music. Editions Robert Martin #AZ1682. Published by Editions Robert Martin (RM.AZ1682).

ISBN 9790231076820.

Mandolin or 2 mandolins

SKU: LM.AG00114

Composed by G. Derveaux. Classical. Score. Editions Combre #AG00114. Published by Editions Combre (LM.AG00114).

Concert Band/Harmonie/Fanfare Band - Grade 3

SKU: BT.DHP-0900239-140

Composed by Jacob De Haan. Inspiration Series. Original Light Music. Score Only. Composed 1990. De Haske Publications #DHP 0900239-140. Published by De Haske Publications (BT.DHP-0900239-140).

Gewoonlijk wordt filmmuziek bij de in een draaiboek vastgelegde afhandeling geschreven. Dat het ook andersom kan, bewijst Jacob de Haan met La Storia. Zonder te weten welke geschiedenis erachter schuilgaat, levert de componistrond zeven minuten meeslepende muziek. Voor één keer mag u zonder gebonden te zijn aan het commentaar van een componist een eigen verhaal bij de muziek denken. Jacob de Haan heeft La Storia opgedragen aan een van de beroemdsteschrijvers van filmmuziek, de Italiaan Ennio Morricone.

Normale rweise wird Filmmusik anhand eines Drehbuchs geschrieben. Dass es auch andersherum funktioniert, beweist Jacob de Haan mit seinem Werk La Storia. Ohne eine bestimmt Geschichte zu erzählen, liefert er spannende Musik, zu der sich kreative Musiker und Zuhörer selbst etwas ausdenken können. Jacob de Haan widmete La Storia einem der berühmtesten Filmmusikkomponisten überhaupt - dem Italiener Ennio Morricone...

En général la musique de film est composée partir et en fonction des événements qui se produisent dans l’intrigue du scénario. L’inverse est plutôt rare mais Jacob de Haan parvient nous démontrer le contraire avec La Storia. Sans jamais nous livrer des éléments de l'intrigue, il nous propose environ sept minutes de musique intense. Par conséquent, l’œuvre fait appel l’imagination individuelle ; chacun d’entre nous étant libre de créer son propre scénario partir de ce qu’il entend. Avec La Storia Jacob de Haan rend hommage au maître italien de la musique de film : Ennio Morricone.

Chamber Ensemble (Score)

SKU: HL.49006428

Score. Composed by Wilhelm Killmayer. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score. Composed 1970. 12 pages. Duration 11'. Schott Music #ED 6545. Published by Schott Music (HL.49006428).

ISBN 9790001069793. UPC: 884088072629. 9.0x12.0x0.057 inches.

Flote (gr. Fl. * Altfl. in G * Sopranfl. * kl. Fl.) - Schlagzeug I: Darabukka (gross) * Conga * 2 Marac. * Bongo (mittelhoch) * gr. Tr. * tiefer Gong * kl. Tr. * Glsp. - Schlagzeug II: Xylomarimba * 5 Crotales * Clav. * Sandblock - Schlagzeug III:Vibraphon * Peitsche * Sandblock * Bongo (mittel) * Schuttelrohr * Holztr. * Marac. - Viola * Gitarre.

By Dropkick Murphys. By Ken Casey, Matthew Kelly, Woody Guthrie, and Alexander Barr. Arranged by Sean O'Loughlin. For Concert Band (Score and Parts). Young Concert Band. Grade 3. Published by Hal Leonard

Choir (SMez) with Speakers, Dancers and Instruments (2 Melodic Instruments, Carillons, Percussion, Piano ad libitum) (SCHLGW) - very easy

SKU: HL.49021005

Ein musikalisches Stegreifspiel. Composed by Eberhard Werdin. Sheet music. Bausteine fur Musikerziehung und Musikpflege. Individual part. 8 pages. Duration 30'. Schott Music #B 158-14. Published by Schott Music (HL.49021005).

ISBN 9790001119108. German.

Ein junger Schweinehirt tauscht seine einzigartigen tanzenden Schweine gegen Golddukaten ein, schenkt diese dann aber den zaubermachtigen Zwergenmannchen, die ihm dafur bei drei Aufgaben helfen, die der Teufel ihm aufgetragen hat. Zum Schluss gewinnt der Schweinejunge eine schone Prinzessin, zwei Pferde und ein ganzes Konigreich...Werdin setzt in seiner Marchencollage die Musik melodramatisch ein; erzahlte Handlung, musikalischer Ablauf und pantomimische Ausgestaltung sind sehr detailliert in einer dreispaltigen Spielanleitung, einer Art Drehbuch, dargelegt. Zur Einfuhrung in das szenische Spiel und fur den theater- und spielpadagogischen Bereich bildet Das Marchen von den tanzenden Schweinen eine verstandliche, wirkungsvolle und leicht umsetzbare Anleitung.

Composed by Hector Berlioz (1803-1869). Arranged by Charles Ainslie Barry. Choir and piano. For tenor voice solo, STB voices, ATB choir, piano. This edition: Paperback. Liturgical, Original Works, Transcriptions, Choral. Romantic Period; Sacred/Hymns, French. Large Vocal Score. Text Language: Latin. Composed 1855. 112 pages. Duration 55 minutes. Published by Serenissima

Marching band - Grade 3

SKU: ND.MRCH165-CSC

Composed by J. Pravecek. Marches. Conductor's score. Published by Edition Andel (ND.MRCH165-CSC).