| Bells! Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Bells! by R. W. Smith. Concert band. Young Concert Band. Sound Foundations Serie...(+)
Bells! by R. W. Smith.
Concert band. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR362). Grade 1.
Score and set of parts.
Composed 2009. Duration 2
minutes, 11 seconds.
Published by C.L.
Barnhouse
$44.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare, March And Cadence (Quickstep) Fanfare [Partie séparée] Bourne Music Co.
FANFARE, MARCH AND CADENCE (Quickstep) [Frank Erikson]. By Frank Erikson. Quicks...(+)
FANFARE, MARCH AND
CADENCE (Quickstep)
[Frank Erikson]. By Frank
Erikson. Quickstep
Marching Band. For Oboe
and Glockenspiel / Bells.
Band Music. Part.
Published by Bourne Music
Co.
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jingle Bells on Parade Fanfare [Conducteur et Parties séparées] - Débutant Jalen Publishing
Arranged by Dallas Burke. For marching band. Christmas and Holiday. Easy. Score ...(+)
Arranged by Dallas Burke.
For marching band.
Christmas and Holiday.
Easy. Score and parts.
Published by Jalen
Publishing
$60.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fanfare Prelude on "St. Theodulph" - Organ Orgue Lorenz Publishing Company
Handbells (3-5 octaves) and organ - Moderately Easy SKU: LO.20-1022 Compo...(+)
Handbells (3-5 octaves)
and organ - Moderately
Easy SKU:
LO.20-1022 Composed
by Douglas E. Wagner.
Bellmark Series. General,
Palm Sunday, Sacred.
Organ part. Lorenz
Publishing Company
#20/1022. Published by
Lorenz Publishing Company
(LO.20-1022). UPC:
000308022551. For a
dynamic beginning to your
Palm Sunday service, this
work is just the ticket.
The interesting dialogue
between bells and organ
coupled with the familiar
tune of the day,
perfectly captures the
regal pomp of the Lord's
entry into Jerusalem. $5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137F Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137 Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137). ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Goin' on a Sleigh Ride (Jingle Bells / Over the River) Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing
Arranged by Sally K. Albrecht. For Choir. (2-Part). Choral Octavo. Choral Desig...(+)
Arranged by Sally K.
Albrecht. For Choir.
(2-Part). Choral Octavo.
Choral Designs. Secular,
Christmas. Choral Octavo.
12 pages. Published by
Alfred Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Goin' on a Sleigh Ride (Jingle Bells / Over the River) Chorale 3 parties SAB [Octavo] Alfred Publishing
Arranged by Sally K. Albrecht. For Choir. (3-Part Mixed). Choral Octavo. Choral...(+)
Arranged by Sally K.
Albrecht. For Choir.
(3-Part Mixed). Choral
Octavo. Choral Designs.
Secular, Christmas.
Choral Octavo. 12 pages.
Published by Alfred
Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ukrainian Bell Carol Fanfare - Intermédiaire Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-134-120 Composed by Mykola Leotnovich....(+)
Fanfare Band - Grade 3
SKU:
BT.AMP-134-120
Composed by Mykola
Leotnovich. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Score
Only. Composed 2005. 28
pages. Anglo Music Press
#AMP 134-120. Published
by Anglo Music Press
(BT.AMP-134-120). 9x12
inches.
English-German-French-Dut
ch. The
Ukrainian Bell
Carol is part of a
large choral work
entitled Shchedryk by the
Ukrainian composer Mykola
Dmytrovich Leontovych
(1877-1921). It was first
performed by students of
Kiev University in
December 1916. The tune
is an adaptation of an
old
‘shchedrivkaâ€
, a song traditionally
sung on Ukrainian New
Year’s Eve
(January 13th) which
hopes for good fortune in
the year to come. In
Shchedryk, Leontovych
added his own the lyrics
which concern the legend
claiming that when Jesus
was born, all the bells
on earth started ringing
in his honour.The tune
has since been the
inspiration of at least
four different Christmas
carols, but Philip Sparke
has sourced the
originalUkrainian melody
to create this stirring
arrangement.
De
Ukrainian Bell
Carol is onderdeel
van het grote koorwerk
Shchedryk van de
Oekra ense componist
Mykola Dmytrovich
Leontovych (1877-1921).
De melodie is gebaseerd
op een
‘shchedrivkaâ€
, een lied dat van
oudsher werdgezongen op
de Oekra ense
oudejaarsavond (13
januari). In
Shchedryk voegde
Leontovych de tekst toe
over de legende die
vertelt dat bij de
geboorte van Jezus alle
klokken op aarde begonnen
te luiden. Sindsdien is
deze melodiede
inspiratiebron geweest
voor ten minste vier
verschillende Christmas
carols, waarvan Carol
of the Bells de
beroemdste is. Voor dit
meeslepende arrangement
heeft Philip Sparke
echter de oorspronkelijke
Oekra ense
melodiegebruikt.
D
as Ukrainian Bell
Carol ist Teil eines
großen Chorwerkes
namens Shchedryk
vom ukrainischen
Komponisten Mykola
Dmytrovich Leontovych.
Leontovych ergänzte
ein traditionelles
ukrainisches Neujahrslied
um eine alte Legende, die
besagt, dass zu Ehren von
Jesu Geburt alle Glocken
läuteten. Die Melodie
diente inzwischen als
Grundlage für
mindestens vier
verschiedene
Weihnachtslieder. Philip
Sparke griff für seine
bewegende Bearbeitung
jedoch auf die originale
ukrainische Melodie
zurück.
Ukra
inian Bell Carol
constitue une des parties
de l’œuvre
chorale Shchedryk
du compositeur ukrainien
Mykola Dmytrovich
Leontovich (1877-1921).
La mélodie
s’inspire
d’un vieux chant
traditionnel ukrainien
(shchedrivka)
chanté le Jour de
l’An
(célébré le 13
janvier, conformément
au calendrier julien)
dans l’espoir que
l’année venir
se présente sous de
bons hospices.
l’écriture de
Shchedryk, Mykola
Leontovich a choisi de
changer les paroles. Il
opte pour la légende
selon laquelle, toutes
les cloches des
églises se sont mises
carillonner joyeusement
pour annoncer la
naissance de Jésus. La
mélodie du chant a
inspiré au moins
quatre
noëlsdifférents.
Carol of the Bells
en est la version la plus
célèbre. Elle a
été adaptée en
1936 (texte et
mélodie) par Peter J.
Wilhousky (1902-1978)
d’après la
version originale de
Mykola Leontovich. Philip
Sparke s’est
basé sur la mélodie
du chant traditionnel
ukrainien pour
réaliser cet
arrangement brillant et
pétillant.
Ukrainian Bell
Carol costituisce una
delle parti
dell’opera corale
Shchedryk del compositore
ucraino Mykola Dmytrovich
Leontovich (1877-1921).
Il testo narra una
leggenda secondo la quale
le campane delle chiese
si sono messe a suonare
per annunciare la nascita
di Gesù. La melodia di
Leontovich ha ispirato
almeno quattro canti
natalizi diversi. Carol
of the Bells di Peter
J.Wilhousky è la
versione più celebre.
Philip Sparke ha scelto
di ispirarsi alla melodia
originale del canto
tradizionale ucraino
(shchedrivka) per
realizzare questo
brillante
arrangiamento. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ukrainian Bell Carol Fanfare - Intermédiaire Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-134-020 Composed by Mykola Leotnovich....(+)
Fanfare Band - Grade 3
SKU:
BT.AMP-134-020
Composed by Mykola
Leotnovich. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
Anglo Music Press #AMP
134-020. Published by
Anglo Music Press
(BT.AMP-134-020). 9x12
inches.
English-German-French-Dut
ch. The
Ukrainian Bell
Carol is part of a
large choral work
entitled Shchedryk by the
Ukrainian composer Mykola
Dmytrovich Leontovych
(1877-1921). It was first
performed by students of
Kiev University in
December 1916. The tune
is an adaptation of an
old
‘shchedrivkaâ€
, a song traditionally
sung on Ukrainian New
Year’s Eve
(January 13th) which
hopes for good fortune in
the year to come. In
Shchedryk, Leontovych
added his own the lyrics
which concern the legend
claiming that when Jesus
was born, all the bells
on earth started ringing
in his honour.The tune
has since been the
inspiration of at least
four different Christmas
carols, but Philip Sparke
has sourced the
originalUkrainian melody
to create this stirring
arrangement.
De
Ukrainian Bell
Carol is onderdeel
van het grote koorwerk
Shchedryk van de
Oekra ense componist
Mykola Dmytrovich
Leontovych (1877-1921).
De melodie is gebaseerd
op een
‘shchedrivkaâ€
, een lied dat van
oudsher werdgezongen op
de Oekra ense
oudejaarsavond (13
januari). In
Shchedryk voegde
Leontovych de tekst toe
over de legende die
vertelt dat bij de
geboorte van Jezus alle
klokken op aarde begonnen
te luiden. Sindsdien is
deze melodiede
inspiratiebron geweest
voor ten minste vier
verschillende Christmas
carols, waarvan Carol
of the Bells de
beroemdste is. Voor dit
meeslepende arrangement
heeft Philip Sparke
echter de oorspronkelijke
Oekra ense
melodiegebruikt.
D
as Ukrainian Bell
Carol ist Teil eines
großen Chorwerkes
namens Shchedryk
vom ukrainischen
Komponisten Mykola
Dmytrovich Leontovych.
Leontovych ergänzte
ein traditionelles
ukrainisches Neujahrslied
um eine alte Legende, die
besagt, dass zu Ehren von
Jesu Geburt alle Glocken
läuteten. Die Melodie
diente inzwischen als
Grundlage für
mindestens vier
verschiedene
Weihnachtslieder. Philip
Sparke griff für seine
bewegende Bearbeitung
jedoch auf die originale
ukrainische Melodie
zurück.
Ukra
inian Bell Carol
constitue une des parties
de l’œuvre
chorale Shchedryk
du compositeur ukrainien
Mykola Dmytrovich
Leontovich (1877-1921).
La mélodie
s’inspire
d’un vieux chant
traditionnel ukrainien
(shchedrivka)
chanté le Jour de
l’An
(célébré le 13
janvier, conformément
au calendrier julien)
dans l’espoir que
l’année venir
se présente sous de
bons hospices.
l’écriture de
Shchedryk, Mykola
Leontovich a choisi de
changer les paroles. Il
opte pour la légende
selon laquelle, toutes
les cloches des
églises se sont mises
carillonner joyeusement
pour annoncer la
naissance de Jésus. La
mélodie du chant a
inspiré au moins
quatre
noëlsdifférents.
Carol of the Bells
en est la version la plus
célèbre. Elle a
été adaptée en
1936 (texte et
mélodie) par Peter J.
Wilhousky (1902-1978)
d’après la
version originale de
Mykola Leontovich. Philip
Sparke s’est
basé sur la mélodie
du chant traditionnel
ukrainien pour
réaliser cet
arrangement brillant et
pétillant.
Ukrainian Bell
Carol costituisce una
delle parti
dell’opera corale
Shchedryk del compositore
ucraino Mykola Dmytrovich
Leontovich (1877-1921).
Il testo narra una
leggenda secondo la quale
le campane delle chiese
si sono messe a suonare
per annunciare la nascita
di Gesù. La melodia di
Leontovich ha ispirato
almeno quattro canti
natalizi diversi. Carol
of the Bells di Peter
J.Wilhousky è la
versione più celebre.
Philip Sparke ha scelto
di ispirarsi alla melodia
originale del canto
tradizionale ucraino
(shchedrivka) per
realizzare questo
brillante
arrangiamento. $130.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| New Horizons Orchestre d'harmonie Curnow Music
Contents: Fanfare of the Bells · Chapel Gorge Overture · Under Three Flags...(+)
Contents: Fanfare of the
Bells · Chapel Gorge
Overture · Under Three
Flags · Jericho ·
Solitude and Dance ·
Fanfare Prelude on the
Italian Hymn ·
Rhapsody for Hanukkah
· Jungle Fantasy ·
Overture to a Winter
Festival · Heralds
foran Occasion · New
Horizons · Trumpet
Tune · Joy to the
World · Cielito Lindo
$16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Elburg Fantasy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135396-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2013. De Haske
Publications #DHP
1135396-020. Published by
De Haske Publications
(BT.DHP-1135396-020).
9x12 inches.
English-Dutch. This
musical fantasy depicts
the history of the Dutch
fortified town of Elburg.
The work begins with an
atmospheric medieval
picture of the Convent of
St Agnes, the nunnery
that was built in the
first half of the 15th
century. We hear the
sound of the convent
bells together with an
upward motif, which will
reappear later in the
work. Next, the rest of
Elburg is featured,
including the fortress -
from which the bells of
the Sint-Nicolaaskerk
(Saint Nicholas Church)
are ringing. Then,
cheerful sounds can be
heard at the Vischpoort
(Fish Gate), where a
dancing group is
performing a 16th century
French folk dance (a
branle des chevaux). We
also hear old wagons
rumbling over the
town’scobble
stones. Trade made this
Hanseatic town a lively
place. The repetitive
upward motif first heard
in the introduction now
develops into a more
distinct feature,
reflecting the mercantile
spirit of the town
residents.Then follows
the slow middle movement,
in which the clock has
been turned back to the
time when Elburg was
still lying on the
Zuiderzee (which was a
bay of the North Sea),
and was struggling with
floods. After the second
St. Marcellus Flood
(1362) and the water
flood of 1367 it was
decided that the town
would be relocated. We
now hear the theme of
branle des chevaux in a
minor key, followed by a
death bell sounding in
remembrance of the
drowned citizens of the
former town. Back in our
own time, a slow,
expressive theme in
Baroque style mirrors
Elburg’s tranquil
places, such as the
Feithenhof (Feithen
Court) and the
Weduwenhofje (Widow
Court). Then the bustle
returns with motifs from
the introduction,
followed by an attractive
theme in which
present-day Elburg is
portrayed with its many
tourists. Now, suddenly,
there is an echo from the
past, depicting the
dramatic floods and wars
that once plagued the
town. This leads to the
grand closing theme:
branle des chevaux
is heard for a final time
from the perspective of
the historic town centre.
Deze muzikale
fantasie vertelt de
geschiedenis van de
Nederlandse vestingstad
Elburg. Het werk begint
met een middeleeuws
sfeerbeeld vanuit het
Agnietenklooster, het
nonnenklooster dat in de
eerste helft van de 15e
eeuw werd gebouwd. We
horen de kloosterklok
samen met een opwaarts
motief, dat ook later in
het werk terugkomt.
Vervolgens komt de rest
van Elburg aan bod,
inclusief de vesting -
van waaruit de klokken
van de Grote of
Sint-Nicolaaskerk
weergalmen. Dan klinken
bij de Vischpoort de
vrolijke geluiden van een
dansgroep die daar een
16e-eeuwse Franse
volksdans (branle des
chevaux) uitvoert.
Ook horen we oude karren
over de kinderkopjes van
de stad denderen.
Dehandel maakt deze
Hanzestad tot een
levendige plaats. Het
zich steeds herhalende
opwaartse motief uit de
inleiding krijgt hier een
nadrukkelijker karakter
en verbeeldt de
handelsgeest van de
stedelingen.Dan volgt het
langzame middendeel,
waarin de klok wordt
teruggedraaid naar de
tijd dat Elburg nog
direct aan de Zuiderzee
lag en te kampen had met
overstromingen. Na de
tweede
Sint-Marcellusvloed
(1362) en de watervloed
van 1367 werd besloten
dat de stad verplaatst
zou worden. We horen het
thema van de branle des
chevaux in mineur,
gevolgd door een
doodsklok, die de
verdronken inwoners van
de voormalige stad
herdenkt. Terug in onze
eigen tijd verklankt een
langzaam, expressief
thema in barokke stijl de
verstilde plekken in de
stad, zoals het
Feithenhof en het
Weduwenhofje. Dan keert
de levendigheid terug met
motieven uit de
inleiding, gevolgd door
een aansprekend thema
waarin het Elburg van nu
met zijn vele toeristen
doorklinkt. Plotseling is
er dan nog even een echo
uit het verleden: de
dramatiek van de
overstromingen en
oorlogen die de stad ooit
teisterden. Hieruit
vloeit het grootse
slotthema voort: de
branle des chevaux is
voor de laatste keer te
horen vanuit het
perspectief van de
historische
binnenstad. $203.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Elburg Fantasy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135396-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2013. 52 pages. De Haske
Publications #DHP
1135396-120. Published by
De Haske Publications
(BT.DHP-1135396-120).
9x12 inches.
English-Dutch. This
musical fantasy depicts
the history of the Dutch
fortified town of Elburg.
The work begins with an
atmospheric medieval
picture of the Convent of
St Agnes, the nunnery
that was built in the
first half of the 15th
century. We hear the
sound of the convent
bells together with an
upward motif, which will
reappear later in the
work. Next, the rest of
Elburg is featured,
including the fortress -
from which the bells of
the Sint-Nicolaaskerk
(Saint Nicholas Church)
are ringing. Then,
cheerful sounds can be
heard at the Vischpoort
(Fish Gate), where a
dancing group is
performing a 16th century
French folk dance (a
branle des chevaux). We
also hear old wagons
rumbling over the
town’scobble
stones. Trade made this
Hanseatic town a lively
place. The repetitive
upward motif first heard
in the introduction now
develops into a more
distinct feature,
reflecting the mercantile
spirit of the town
residents.Then follows
the slow middle movement,
in which the clock has
been turned back to the
time when Elburg was
still lying on the
Zuiderzee (which was a
bay of the North Sea),
and was struggling with
floods. After the second
St. Marcellus Flood
(1362) and the water
flood of 1367 it was
decided that the town
would be relocated. We
now hear the theme of
branle des chevaux in a
minor key, followed by a
death bell sounding in
remembrance of the
drowned citizens of the
former town. Back in our
own time, a slow,
expressive theme in
Baroque style mirrors
Elburg’s tranquil
places, such as the
Feithenhof (Feithen
Court) and the
Weduwenhofje (Widow
Court). Then the bustle
returns with motifs from
the introduction,
followed by an attractive
theme in which
present-day Elburg is
portrayed with its many
tourists. Now, suddenly,
there is an echo from the
past, depicting the
dramatic floods and wars
that once plagued the
town. This leads to the
grand closing theme:
branle des chevaux
is heard for a final time
from the perspective of
the historic town centre.
Deze muzikale
fantasie vertelt de
geschiedenis van de
Nederlandse vestingstad
Elburg. Het werk begint
met een middeleeuws
sfeerbeeld vanuit het
Agnietenklooster, het
nonnenklooster dat in de
eerste helft van de 15e
eeuw werd gebouwd. We
horen de kloosterklok
samen met een opwaarts
motief, dat ook later in
het werk terugkomt.
Vervolgens komt de rest
van Elburg aan bod,
inclusief de vesting -
van waaruit de klokken
van de Grote of
Sint-Nicolaaskerk
weergalmen. Dan klinken
bij de Vischpoort de
vrolijke geluiden van een
dansgroep die daar een
16e-eeuwse Franse
volksdans (branle des
chevaux) uitvoert.
Ook horen we oude karren
over de kinderkopjes van
de stad denderen.
Dehandel maakt deze
Hanzestad tot een
levendige plaats. Het
zich steeds herhalende
opwaartse motief uit de
inleiding krijgt hier een
nadrukkelijker karakter
en verbeeldt de
handelsgeest van de
stedelingen.Dan volgt het
langzame middendeel,
waarin de klok wordt
teruggedraaid naar de
tijd dat Elburg nog
direct aan de Zuiderzee
lag en te kampen had met
overstromingen. Na de
tweede
Sint-Marcellusvloed
(1362) en de watervloed
van 1367 werd besloten
dat de stad verplaatst
zou worden. We horen het
thema van de branle des
chevaux in mineur,
gevolgd door een
doodsklok, die de
verdronken inwoners van
de voormalige stad
herdenkt. Terug in onze
eigen tijd verklankt een
langzaam, expressief
thema in barokke stijl de
verstilde plekken in de
stad, zoals het
Feithenhof en het
Weduwenhofje. Dan keert
de levendigheid terug met
motieven uit de
inleiding, gevolgd door
een aansprekend thema
waarin het Elburg van nu
met zijn vele toeristen
doorklinkt. Plotseling is
er dan nog even een echo
uit het verleden: de
dramatiek van de
overstromingen en
oorlogen die de stad ooit
teisterden. Hieruit
vloeit het grootse
slotthema voort: de
branle des chevaux is
voor de laatste keer te
horen vanuit het
perspectief van de
historische
binnenstad. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sambalero Batterie-Fanfare [Conducteur et Parties séparées] Row-Loff Publications
By Lalo Davila. For marching percussion ensemble (Snare, Tenor Drums, Cymbals, B...(+)
By Lalo Davila. For
marching percussion
ensemble (Snare, Tenor
Drums, Cymbals, Bass
Drums, Bells, Xylophone,
Marimba, Vibes, (4)
Timpani, Small Cowbell,
(2) Large Cowbells, (3)
Toms, Samba Whistle,
Police Whistle, Claves,
Splash Cymbal, Suspended
Cymbal, . Score and
Parts.
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233 Composed by
Zachary Cairns. Folio.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+2+2+4+4+2+2+8
+8+8+4+4+3+3+3+2+4+4+4+2+
1+6+3+20 pages. Duration
2 minutes, 36 seconds.
Carl Fischer Music
#CPS233. Published by
Carl Fischer Music
(CF.CPS233). ISBN
9781491156322. UPC:
680160914869. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233F Composed
by Zachary Cairns. Sws.
Cps. Full score. 20
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS233F.
Published by Carl Fischer
Music (CF.CPS233F).
ISBN 9781491156339.
UPC: 680160914876. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Aria (Handbell Score) MorningStar Music Publishers
Handbell , handbells SKU: MN.30-919A Composed by Robert A. Hobby. Handbel...(+)
Handbell , handbells
SKU: MN.30-919A
Composed by Robert A.
Hobby. Handbell score.
MorningStar Music
Publishers #30-919A.
Published by MorningStar
Music Publishers
(MN.30-919A).
This piece is
in ABA form, with a
festive fanfare to
surround a lyrical aria.
Utilizes interesting
dialog between organ and
bells. 4 octaves (41
bells) and Organ. $4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare Supernova Orchestre d'harmonie Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum,
Tambourine, Timpani,
Tom-tom, Triangle,
Trombone and more. -
Grade 0.5 SKU:
CF.PPS23 Composed by
Larry Clark. Primer Band.
Set of Score and Parts.
With Standard notation.
8+2+8+2+5+2+2+8+2+3+2+6+2
+3+1+1+2+4+12 pages.
Duration 1 minute, 39
seconds. Carl Fischer
Music #PPS23. Published
by Carl Fischer Music
(CF.PPS23). ISBN
9780825895425. UPC:
798408095420. 9 x 12
inches. Open your
beginning band's very
first concert with this
bold new fanfare by
popular composer Larry
Clark. Like a supernova,
your band will explode
right from the start with
this forceful new piece
that sounds much more
difficult than it is to
play. Fanfare Supernova
contains biting
fanfare-like harmonies,
though it only contains
the first six notes of
the Bb scale and the most
difficult rhythms in the
winds are quarter
notes. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare Supernova Orchestre d'harmonie Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum,
Tambourine, Timpani,
Tom-tom, Triangle,
Trombone and more. -
Grade 0.5 SKU:
CF.PPS23F Composed by
Larry Clark. Primer Band.
Full score. With Standard
notation. 12 pages.
Duration 1 minute, 39
seconds. Carl Fischer
Music #PPS23F. Published
by Carl Fischer Music
(CF.PPS23F). ISBN
9780825896040. UPC:
798408096045. 9 x 12
inches. Open your
beginning band's very
first concert with this
bold new fanfare by
popular composer Larry
Clark. Like a supernova,
your band will explode
right from the start with
this forceful new piece
that sounds much more
difficult than it is to
play. Fanfare Supernova
contains biting
fanfare-like harmonies,
though it only contains
the first six notes of
the Bb scale and the most
difficult rhythms in the
winds are quarter
notes. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Here Drums Santa Claus Batterie-Fanfare [Conducteur et Parties séparées] Row-Loff Publications
Arranged by Philip Gregory. Concert Ensemble. For Bells, Xylophone, Marimba, Vib...(+)
Arranged by Philip
Gregory. Concert
Ensemble. For Bells,
Xylophone, Marimba,
Vibes, Snare Drum, Bass
Drum, Crash Cymbals,
Triangle, Finger Cymbals,
Chimes, (4) Timpani,
Sleigh Bells, Optional
Hand Bells. Level: 3.
Duration 3:03. Published
by Row-Loff Publications.
$40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
|