| Tell Me, Tell Me! Chorale 3 parties SSA, Piano [Octavo] Alfred Publishing
((A Christmas Spiritual)). Composed by Sally K. Albrecht and Jay Althouse. ...(+)
((A Christmas
Spiritual)).
Composed by Sally K.
Albrecht and Jay
Althouse.
Choir Sacred.
Women's Choir.
Choral Octavo. Choral
Designs. Christmas;
Sacred;
Winter. 12 pages.
Published
by Alfred Music
$1.85 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All I Care About (SAB) Chorale 3 parties SAB, Piano [Octavo] Faber Music Limited
Arranged by Charles Beale. Choir Secular. For with Piano (SAB). Choral Octav...(+)
Arranged by Charles
Beale.
Choir Secular. For with
Piano (SAB). Choral
Octavo.
Faber Choral Singles.
Secular. Published by
Faber
Music
$1.99 $1.8905 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Jazz Fake Book - Bb edition Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 ...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 448 pages.
Published by Hal Leonard.
(3)$49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Jazz Fake Book - C edition
Instruments en Do [Fake Book] Hal Leonard
For C instrument and voice. Format: fakebook (spiral bound). With chord names, v...(+)
For C instrument and
voice. Format: fakebook
(spiral bound). With
chord names, vocal melody
and lyrics. Jazz. Series:
Hal Leonard Fake Books.
448 pages. 9x12 inches.
Published by Hal Leonard.
(7)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Jazz Fake Book - Eb Edition Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument and voice. With vocal melody, lyrics and leadsheet no...(+)
Fakebook for Eb
instrument and voice.
With vocal melody, lyrics
and leadsheet notation.
Series: Hal Leonard Fake
Books. 448 pages.
Published by Hal Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Handel: The King Shall Rejoice Chorale SATB Music Sales
| | |
| Every Teardrop Is a Waterfall Chorale 2 parties Hal Leonard
By Coldplay. Arranged by Susan Brumfield. Pop Choral Series. Concert, Pop, Roc...(+)
By Coldplay. Arranged by
Susan Brumfield. Pop
Choral
Series. Concert, Pop,
Rock.
Octavo. Published by Hal
Leonard
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Come Thou Fount of Every Blessing Chorale 3 parties SAB, Piano [Octavo] Jackman Music Corporation
By John Wyeth. Arranged by J. Spencer Cornwall. For SAB choir and piano. Octavo....(+)
By John Wyeth. Arranged
by J. Spencer Cornwall.
For SAB choir and piano.
Octavo. 7 pages. Duration
1 minute, 25 seconds.
Published by Jackman
Music Corporation
$1.30 $1.235 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Come, Thou Fount of Every Blessing Chorale 3 parties SAB, Piano [Octavo] Choristers Guild
Arranged by Joe Cox. Hymns of Faith Choral Series. General. Octavo. 11 pages. Pu...(+)
Arranged by Joe Cox.
Hymns of Faith Choral
Series. General. Octavo.
11 pages. Published by
Chorister's Guild
(LO.CGA1431).
$2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guitar Chord Songbook White Pages Paroles et Accords [Partition] Hal Leonard
By Various. For Guitar. Guitar Chord Songbook. Softcover. 1024 pages. Published ...(+)
By Various. For Guitar.
Guitar Chord Songbook.
Softcover. 1024 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dixit Dominus SSA Chorale 3 parties SSA Shawnee Press
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawne...(+)
Arranged by Russell L.
Robinson. For SSA Choir.
Sheet Music. Published by
Shawnee Press.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| One Small Child Chorale SATB SATB Word Music
One Small Child. (A Christmas Musical for Every Choir). By Thomas Fettke. For SA...(+)
One Small Child. (A
Christmas Musical for
Every Choir). By Thomas
Fettke. For SATB choir.
Musical. Modern
Christian, Christmas.
Moderate. Choral Book.
Duration 36'00".
Published by Word Music
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
By Various. For C Instruments. Fake Book. Softcover. 560 pages. Published by Hal...(+)
By Various. For C
Instruments. Fake Book.
Softcover. 560 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 Fake Book [Fake Book] Hal Leonard
C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x1...(+)
C Instruments. By
Various. Fake Book
(Includes melody line and
chords). Size 9x11
inches. 464 pages.
Published by Hal Leonard.
(4)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11...(+)
Bb Edition. By Various.
Fake Book (Includes
melody line and chords).
Size 8.5x11 inches. 464
pages. Published by Hal
Leonard.
(1)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Memories Chorale 2 parties Alfred Publishing
Choir Secular (2-Part choir) SKU: AP.48997 Composed by Adam Levine, Jacob...(+)
Choir Secular (2-Part
choir) SKU:
AP.48997 Composed by
Adam Levine, Jacob
Hindlin, Jonathan
Bellion, Jordan Kendall
Johnson, Michael Pollack,
Stefan Johnson, and
Vincent Ford. Arranged by
Andy Beck. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-48997.
Published by Alfred Music
(AP.48997). UPC:
038081563213.
English. Maroon 5
has perfected their pop
song template---a catchy
tune, memorable hook, and
genuine, relatable
lyrics. Toss in hints of
Pachelbel's Canon in D
and you have an
undeniable hit. This
well-crafted arrangement
sets a few
accompanimental guitar
figures in the voices,
and offers some subtle
text adaptations for all
occasions. It's a perfect
choice any time, but
especially effective for
end-of-year events,
marking a changing era
with heartfelt emotion.
Download PartTrax MP3s
for all the audio you
need to rehearse and
perform the SATB and
2-Part voicings. Each
PartTrax package includes
full performance,
accompaniment only, and
part-predominant mixes of
every voice part. This
title is available in
MakeMusic Cloud.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Memories Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.48995 Composed by Ad...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.48995
Composed by Adam Levine,
Jacob Hindlin, Jonathan
Bellion, Jordan Kendall
Johnson, Michael Pollack,
Stefan Johnson, and
Vincent Ford. Arranged by
Andy Beck. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Pop; Radio; Secular.
Choral Octavo. 12 pages.
Alfred Music #00-48995.
Published by Alfred Music
(AP.48995). UPC:
038081563190.
English. Maroon 5
has perfected their pop
song template---a catchy
tune, memorable hook, and
genuine, relatable
lyrics. Toss in hints of
Pachelbel's Canon in D
and you have an
undeniable hit. This
well-crafted arrangement
sets a few
accompanimental guitar
figures in the voices,
and offers some subtle
text adaptations for all
occasions. It's a perfect
choice any time, but
especially effective for
end-of-year events,
marking a changing era
with heartfelt emotion.
Download PartTrax MP3s
for all the audio you
need to rehearse and
perform the SATB and
2-Part voicings. Each
PartTrax package includes
full performance,
accompaniment only, and
part-predominant mixes of
every voice part. This
title is available in
MakeMusic Cloud.
About Alfred
Pop Choral
Series The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs. $2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Paint Me Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Pe...(+)
Choral SSA choir, piano
SKU: CF.CM9585
Composed by Debra Morton.
Fold. Performance Score.
12 pages. Duration 2
minutes, 59 seconds. Carl
Fischer Music #CM9585.
Published by Carl Fischer
Music (CF.CM9585).
ISBN 9781491154076.
UPC: 680160912575. 6.875
x 10.5 inches. Key: G
major. English.
Original. Good
friends see the best in
us. They tend to downplay
our faults while
applauding our strengths.
In short, they encourage
us to be the best we can
be, maybe even a little
more. The text of
Paint Me was
born out of the desire to
be that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me
to music, I tried to let
the cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so dont
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint
MeA was born out of
the desire to be that
person my best friend
thinks I am. To Mary Jo,
my sister and best
friend. May I really be
that person you see and
love. In setting the text
of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so donat
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
apainta the words, as
well as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me
was born out of the
desire to be that person
my best friend thinks I
am. To Mary Jo, my sister
and best friend. May I
really be that person you
see and love. In setting
the text of Paint
Me to music, I tried
to let the cadence of the
words dictate the rhythm
of the music. Use rubato,
word stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was born
out of the desire to be
that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was
born out of the desire to
be that person my best
friend thinks I am.To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love.In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so
don’t be afraid to
let the interior part of
a phrase move along,
while relaxing the
beginning and ending. I
would recommend a
straight tone as opposed
to vibrato for the held
notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
“paint†the
words, as well as making
every idea
understood.Enjoy adding
the color and shading to
make this piece of art
your own. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book - Volume II - Mini Edition Hal Leonard
(B-flat Edition). Composed by Various. For C Instruments. Fake Book. Softcover. ...(+)
(B-flat Edition).
Composed by Various. For
C Instruments. Fake Book.
Softcover. 440 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 (Bass Clef Instruments) Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Soft...(+)
Bass Clef Edition. By
Various. Fake Book
(Includes melody line and
chords). Softcover. 464
pages. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 (Eb Instruments) Fake Book [Fake Book] Hal Leonard
E Flat Edition. By Various. Fake Book (Includes melody line and chords). Softcov...(+)
E Flat Edition. By
Various. Fake Book
(Includes melody line and
chords). Softcover. Size
9x11 inches. 464 pages.
Published by Hal Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 3 - Mini Edition Fake Book [Fake Book] Hal Leonard
Second Edition C Instruments. By Various. Fake Book (Includes melody line and ch...(+)
Second Edition C
Instruments. By Various.
Fake Book (Includes
melody line and chords).
Softcover. 464 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gloriosi - Choral edition Chorale 3 parties SAB GIA Publications
SAB choir, cantor, priest, assembly, 2 C instruments, trumpet in B-flat, trumpet...(+)
SAB choir, cantor,
priest, assembly, 2 C
instruments, trumpet in
B-flat, trumpet in C,
cello, guitar SKU:
GI.G-10515C Music
of the Paschal Triduum /
Música del Triduo
Pascual. Composed by
Tony Alonso S.J. This
edition: Choral edition.
Sacred. 128 pages. GIA
Publications #10515C.
Published by GIA
Publications
(GI.G-10515C). UPC:
785147051510. The
first comprehensive
resource of its kind,
Gloriosi contains a
treasure trove of ritual
music that bridges
linguistic, cultural, and
musical differences for
the liturgies of Holy
Thursday, Good Friday,
and the Easter Vigil.
Weaving together familiar
tunes and ancient chants
with newly-composed
pieces, Tony Alonso has
meticulously crafted the
music of Gloriosi to
inspire the participation
of a diverse assembly
during these celebrations
at the heart of the
liturgical year. In
addition to settings of
all of the ritual texts
found in the Roman Missal
/ Misal Romano for the
Three Days, this
collection contains
settings of every
prescribed psalm drawn
from texts approved for
liturgical use in English
and in Spanish. El primer
recurso completo de su
tipo, Gloriosi es un
tesoro rebosante de
música ritual que
supera las diferencias
lingüÃsticas,
culturales y musicales
para las liturgias del
Jueves Santo, Viernes
Santo y la Vigilia
Pascual. Tejiendo
melodÃas familiares y
cantos antiguos con
piezas recién
compuestas, Tony Alonso
ha elaborado
meticulosamente la
música de Gloriosi
para inspirar la
participación de una
asamblea diversa durante
estas celebraciones que
están al centro del
año litúrgico.
Además de proporcionar
los textos rituales que
se encuentran en el Misal
Romano / Roman Missal
para los Tres DÃas en
forma musicalizada, esta
colección también
ofrece nueva música
para todos los salmos
prescritos para las
liturgias del Triduo
utilizando los textos
oficiales en español y
en inglés. Listen to
Music Samples on the
Gloriosi Recording Page
by Clicking HERE.
CONTENTS: Holy Thursday
Mass of the Lord’s
Supper / Jueves Santo de
la Cena del Señor: We
Should Glory in the Cross
/ Que Nuestro Único
Orgullo Sea la Cruz
• Blessed Be God
Forever / Bendito Sea
Dios por Siempre •
Kyrie, Eleison •
Our Blessing-Cup / El
Cáliz que Bendecimos
• Glory to You /
Gloria a Ti • A New
Commandment / Un
Mandamiento Nuevo •
Love One Another /
Ãmense Unos a Otros
• Lord, Hear Our
Prayer / Te Rogamos,
Óyenos • Ubi
Caritas • Agnus Dei
• Called to the
Supper of the Lamb /
Llamados al Banquete del
Señor • Called
to Keep Vigil with the
Lord / Llamados a Velar
con el Señor •
Tantum Ergo Sacramentum
Good Friday of the
Passion of the Lord /
Viernes Santo de la
Pasión del Señor:
Into Your Hands / En Tus
Manos • Glory to
You / Gloria a Ti •
Adoramus Te • The
Solemn Intercessions of
Good Friday / La
Oración Universal del
Viernes Santo •
Behold the Wood of the
Cross / Miren el Ãrbol
de la Cruz •
Faithful Cross / Cruz
Fiel • Forgive Us,
Your People / Perdona a
Tu Pueblo • O Come,
Let Us Worship / Venid,
Oh Cristianos •
Called to the Supper of
the Lamb / Llamados al
Banquete del Señor The
Easter Vigil in the Holy
Night / Vigilia Pascual
en la Noche Santa: The
Easter Proclamation /
Pregón Pascual •
Lord, Send Out Your
Spirit / EnvÃa Tu
EspÃritu, Señor
• Keep Me Safe, O
God / Protégeme, Dios
MÃo • Let Us
Sing to the Lord /
Cantemos al Señor
• I Will Praise
You, Lord / Te
Ensalzaré, Señor
• You Will Draw
Water Joyfully / Ustedes
Sacarán Agua con Gozo
• Words of
Everlasting Life /
Palabras de Vida Eterna
• Like a Deer that
Longs / Como Busca la
Cierva (Psalm 42, 43 /
Salmo 42/41, 43/42)
• Easter Alleluia /
Aleluya Pascual •
Litany of the Saints /
LetanÃa de los Santos
• Alleluia Popular:
Blessing of Water /
Aleluya Popular:
Bendición del Agua
• Alleluia Popular:
Baptism / Aleluya
Popular: Bautismo •
Alleluia Popular:
Acclamation / Aleluya
Popular: Aclamación
• Veni Sancte
Spiritus • Alleluia
Popular: Sprinkling /
Aleluya Popular:
Aspersión •
Lord, We Ask You, Hear
Our Prayer / Te Rogamos,
Óyenos • Called
to the Supper of the Lamb
/ Llamados al Banquete
del Señor. $16.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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