Category Archives: Newsletter

How’s the weather?

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Here in the northern hemisphere, it’s summer. Even after moving further north from Orlando to Baltimore, we still have frequent afternoon thunderstorms. All this rain reminded me of two more ways we can work with the ideas from last week.

Review

Here’s the progression from Maurice Clerc again:
ClercHarmony

Registration

Did you practice this progression (or something similar) this week? The first registration suggestion was to use celestes to accompany a flute solo. The second option was for a solo in the tenor range. If you tried the tenor solo, did you use your right or left hand for the solo? Hopefully you made some progress toward mastering these registrations and are now ready to add a new texture to the improvisation!

Raindrops

Keep the celestes as the accompaniment, but now add something sparkly to the flute solo, like a larigot or sifflote. Instead of playing long connected legato lines, your task is to make raindrops – super short staccato notes – on this sparkly registration. Because rain falls pretty quickly during a nice summer shower, be sure to spend some time practicing just the rain with the chords to make sure you can think faster than your fingers play! I prepared a handout to demonstrate each of the three dispositions.

Advanced options

If you happen to have an organ with a pedal divide, you can actually put the melody in the pedal (right foot) while still playing a bass part with the left. And lest you feel unchallenged because you don’t have a pedal divide, try thumbing the melody on another keyboard while still playing the raindrops and accompanying chords. From top to bottom, registrations on the keyboards would be: Top=celestes, Middle=Solo, Bottom=Raindrops. If you can master this disposition, people who aren’t able to see what you are doing will think you’ve grown another arm!

Another free method

After sharing First Lessons in Extemporizing on the Organ by Hamilton Crawford Macdougall, several readers pointed me to resources where I’ve been able to locate other method books available for download. This week I spent looking at Organ Accompaniment and Extempore Playing by George E. Whiting. It is available through IMSLP which is a fabulous source of scores if you are not already aware of it.

The book claims to be the only work that treats choir accompaniment and improvisation together. Given that it was first published in 1887, I suspect that was true at the time. The improvisation instruction begins with imitating hymns. These imitations become interludes, modulations, and then periods. Here’s one example of a modulation sequence which he suggests learning:
WhitingSequence
Because the book also focuses on accompaniment, one of the common themes becomes registration and how to make the organ sound at its best. While some of the ideas are opinionated:

As for the Flutes –especially the Stopped Diapasons– I consider them of the least consequence of any of the various tone qualities of the organ. They are the most cheaply built of any of the registers, and small, inferior organs are apt to be full of them.

Others are more practical:

Light passages, rapid scales, staccato chords, arpeggios, trills, etc., are not appropriate to the Diapasons of either manual: this family of stops requiring a grave, church-like style of performance, such as chorals, linked chords, contrapuntal effects, and slow arpeggios.

While the improvisation instruction is nothing that couldn’t be found in any number of newer methods, if you want to improvise in a late 19th century style, this book provides lots of key ideas about how to register the organ and, through the examples of accompaniment and orchestral transcription, what sort of disposition of voices sound best.

Summer Rain

In addition to being a season when I can expect rain outside to enable the plants to grow, I hope these emails provide nourishment for your growth in improvisation. It has been a pleasure to receive emails from several of you lately. These messages nourish me and keep me looking for ideas and ways to help you. Thank you for subscribing.

Hoping this season brings growth in your improvisation skills,
Glenn

 
Newsletter Issue 41 – 2015 07 01
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Practice with focus

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First I’d like to offer an update on information from the last newsletter. Last week I offered a review of an almost free edition of First Lessons in Extemporizing on the Organ by Hamilton Crawford Macdougall. Thanks to a couple of readers, I discovered the complete edition of the book is available for free here. No need to suffer through the incomplete version I had found on Forgotten Books. If any one knows of any other free improvisation method books that are available on-line, please let me know and I’ll pass them along as well.

Maurice Clerc

I spent most of this week attending the Church Music Institute of Shenandoah Conservatory where Maurice Clerc taught improvisation. My primary take away for the week was that I need to spend more time in focused practice. As we get better as improvisers, it is still important to spend time practicing with focus, and perhaps even challenging ourselves to master a particular element in a particular setting.

One note at a time

One of the focus areas for the week was harmony. After a brief review of traditional cadences, Maurice Clerc focused on creating harmonic progressions by changing one note at a time. The example he eventually wrote out for us was as follows:
ClercHarmony

Rather than following traditional harmonic progressions, these chords change by moving notes to neighboring tones. I’ve heard a very similar lesson from several French organists, so I believe this is one of the hallmarks of the French style of improvisation.

Registration

We first worked with this progression playing the chords on the celestes with the left hand and a melody on the harmonic flute with the right. (Think of ‘Clair de lune’ from Louis Vierne’s Pièces de fantasie.) Another suggested option was for a solo on the clarinet in the tenor range or even a 4′ in the pedal! The new registration I heard from Maurice Clerc this week was to use all the 8′ foundations. Can you play an active texture with lots of movement in different voices (not just tremolos) and still follow a progression of harmonies where basically one note changes at a time?

Form

If you practice the progression above in several different keys and with several different registration arrangements, it becomes very easy to create a lengthy 7-9 minute piece simply by modulating once or twice and changing the disposition of the material. Choose a tonic key for the opening and concluding sections with one registration. Add a contrasting middle section in one or two other keys and with a different registration, and suddenly you are on your way to improvising the slow movement of a symphony!

Focus

As we made the progression from simple harmonies to a symphonic form, each step required us to focus on some quality of the improvisation. For the students who mastered the harmony quickly, Maurice Clerc focused on the quality of the melody, critiquing the range, rhythm, and shape. If the melody was ok, could there be more movement in the accompaniment? Any problems that arose required a step backwards in the process and simplification. When it was time to work on the form, the different sections were mapped out in advance, making it easy to work on each section individually. Though some people might think we are taking the spontaneity out of the improvisation by working each section over and over, I prefer to consider it as exploring for better options. If you find something that works, were you focused enough to be able to do it again? Is there an even better option that you might discover (especially if you didn’t like the one you chose last time)?

Encouraging you to be focused in your explorations,
Glenn

 
Newsletter Issue 40 – 2015 06 22
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Solo Pedal Variations

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Thank you to everyone who has completed the survey from the last newsletter about a workshop next summer in Baltimore! So far, it looks like July is the preferred month, but you can still make your voice heard here. I’m excited by the interest demonstrated in the responses and will keep you posted as the event takes shape.

Solo Pedal

A regular part of my early organ studies was devoted to pedal practice. Whether it was exercises by Stainer, Gleason or Nilson, a significant chunk of my practice time was spent acquiring the ability to find my way around the pedal board. The end goal however was always to combine the feet with the hands. Aside from a few cadenza passages, we rarely play with out feet alone after we master the basic technical exercises.

After creating the virtuoso pedal variation on Salzburg, I realized how easy it would be to progress to solo pedal variations. Where we made the virtuoso pedal part by playing the bass and ornamenting the tenor, we could play the soprano ornament the bass, perhaps something like this:

SalzburgSopranoBass
Sometimes it might be easier (or sound better) to use the alto as a harmony part rather than the bass. When there is a half note in the melody, we can choose to find some way to fill in order to keep the motion going (I added passing notes above), or we could slow the motion down to eighth notes or even have a quarter note if we need a break in our virtuosity!

Ornamented Melody

As Salzburg has several large skips in the melody, we could create another simpler variation by using choosing to only ornament the melody with neighbor tones:

SalzburgTriplets
And of course, one of the most impressive pedal techniques is to play notes with both feet at the same time, adding in three- or four-note chords for the biggest splash:
SalzburgChords
While these solo pedal variation techniques might better be suited to concert use than liturgical use, they are still useful tools for our improvisational toolbox. If we need to practice our pedal technique, we might as well practice our improvisation skills at the same time. Besides, wouldn’t a flashy pedal cadenza be a great touch to add to the end a toccata?

Hoping your feet will soon be flying across the pedalboard,

Glenn

 
Newsletter Issue 38 – 2015 05 26
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Summer Improv Courses 2015

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Immersion

While I was a student, some of my best memories come from being able to take short courses where I could immerse myself in a topic. These often involved travel and allowed me to work with a new teacher and new instruments. One of my dreams has been to organize a course and invite the teachers that I’ve wanted to work with to come to me. While I won’t get to do that this summer, I would like your feedback in order to plan a workshop for next summer. If you would like to come to Baltimore and the Cathedral of Mary Our Queen for a workshop next summer, please complete my survey here.

Summer 2015

During this summer, there are several different workshops with improvisation instruction. Listed below are the ones that I am aware of. If you know of others, please email me or share them in the comments so that I can add them to the website.

This summer is also when the American Guild of Organists holds regional conventions. I’m sure there will be some improvisation workshops at some of these events, and for the first time NCOI will hold the first rounds at the Charlotte regional.

robinsonMcNeil Robinson

I received word yesterday that McNeil Robinson has passed away. I was very fortunate to have taken some lessons with him while I lived in Albany. While I never had the intensive experience of being one of his students full-time, he was an absolute master that I greatly admired. Sadly, I know of very few recordings of his improvisations, but there is a two-part concert improvisation posted on YouTube here (part 1 and part 2). He will be greatly missed.

Hoping we can all learn to improvise as well as he did,

Glenn

 
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Newsletter Issue 37 – 2015 05 11
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Virtuoso Pedal Variation

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Fast feet

Most people are amazed when they discover that an organist uses his or her feet to play notes (and has to do so without looking). And the more notes an organist plays on the pedals, the more impressed they tend to be. Variations for pedal solo, pedal cadenzas, and any other piece with a very active pedal part are crowd-pleasers and generate a lot of enthusiasm for the performer.

Inspiration strikes

Recently I had the opportunity to hear an organ concert where the performer played the ‘Concert Variations on Old Hundredth‘ by John Knowles Paine. I may or may not have ever heard the piece before, but towards the end, there was a rousing variation with a very flashy pedal line that reminded me of the Charles Ives ‘Variations on America‘ (which was the model for the newsletter series on creating holiday variations). Probably because I sang Old 100th every week at the Presbyterian church where I grew up, I knew the harmonization well and was struck with how easy it would be to create a virtuoso pedal improvisation very similar to what Paine had taken the time to write down.

Work from the harmony

Since we are now in the Easter season, let’s take the tune Salzburg for an example today. (We will sing it this week with the text ‘At the Lamb’s High Feast We Sing.’) Starting from the tune as harmonized by J.S. Bach (available as a PDF here), we can create a pedal line of sixteenth notes by ornamenting the tenor with lower neighbor notes. So the first two measures could become something like this:

SalzburgBass

Other fills

The first note of each beat is the traditional bass note of the harmony and the tenor follows with a lower neighbor in order to fill out the rest of the beat. When the chord stays the same for two beats, you could borrow a note from the chord in order to keep from playing the same pattern twice. The second beat of the second measure in my example uses the C# from the alto and where there is a unison D for beats three and four, I fill out the harmony, keeping the pattern, but using different notes from the D major chord.

When there are half notes or eight notes in the bass, you’ll need to find a different figuration in order to fill the time. Here are some options for portions of the third line of the hymn:

SalzburgBassEighths

Hands

Finally to finish off our virtuoso pedal variation, we need something for the hands to do. My recollection of the Paine variation is that both hands played the standard harmonization in short staccato chords an octave higher than normal. Ives gives the right hand the harmonized melody to play in full quarter notes and suggests the left hand should hold onto the bench! Try both and figure out which is easier for you. The great joy of this idea is that it is easily repeated and can be practiced almost like you would practice a written piece. I wrote out a complete example for the tune that you can download here. While I doubt it will become a classic in the organ literature, it will serve nicely as my postlude for this weekend!

May all your improvisations be fun and impressive!

Glenn

 
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Newsletter Issue 36 – 2015 04 16
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Choose Your Adventure

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HouseofDangeGrowing up, I loved to read, and one of the series of books I discovered was the Choose Your Own Adventure series. Whereas normally a book proceeds from front to back, these were different because every few pages, there would be an option in the plot for the reader to choose what action the main character takes next. Based upon your choice, you would flip to somewhere else in the book and continue reading until the next decision point. Sometimes you flipped forward, sometimes backward, so you never knew how soon the end would come. You could also reread the book many times to see how the different choices changed the outcome, so suddenly instead of just one book, you had fifteen or twenty!

Programming Choice

In preparing for my upcoming concert at the Cathedral of Mary, Our Queen, I had to choose repertoire to play and decide if I wanted to improvise on the concert. As I sifted through my music options, I felt like I was in a choose your own adventure story. Which piece will follow this one? What theme shall I use for my improvisation? While there was never a wrong way to progress through the adventure books, there was usually only one way that led to the best ending. What is the best musical program I can build from the pieces available to me? What would I be comfortable improvising and how might it fit into the mix?

Try it again!

While it is important to be able to keep going while improvising, I believe it is also useful to attempt the same improvisation multiple times. Just as I reread the adventure books multiple times to get to all the different endings, we could practice our improvisations from the same starting points and make different choices as we progress along. Occasionally the ending of the book came fast and furious (and not too happily). So might our improvisation come to a rapid close if we deviate too far from our plan, but the joy of practicing is that we can start once again from the beginning, making a few different choices and hopefully reach a more satisfactory ending. Even if you are content with your improvisation, could you do it the same way again? Chances are (especially if it is more than a minute long), you’ll end up doing something a little different the next time through. Did the change make it better? This is how some composers actually write their pieces. Why couldn’t we do the same as improvisers?

Final answer

While I had the pleasure to reread the Choose Your Own Adventure books numerous times, at some point, I had exhausted the options of the book and it was time to move on to another volume. The themes we choose for our improvisations offer an almost infinite source of options for us to explore. We may provide a “final answer” when we improvise in public, but even after a performance, we can continue to work and rework a theme many more times. How many different ways have you tried to improvise on the same theme? Besides simply doing variations on the theme, can you use the theme in a new way to create a completely different form? I challenge you to dive into a theme and work with it to see how many different styles and types of piece you can make with it before exhausting your adventure with it.

May your adventures always end happily!

Glenn

PS. If you need a theme to work with, check out the list of options at www.organimprovisation.com/themes

 
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Newsletter Issue 35 – 2015 03 19
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Waiting, Wondering, What Do I Do?

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Out of the Depths600Another one of my duties at the Cathedral of Mary, Our Queen is to manage the concert series. It so happens that the artist scheduled for March cancelled (well before my arrival here), so I had to decide whether there would simply be no concert, or how I might choose to fill the slot. As our concert brochure announced a performance of Marcel Dupré’s Chemin de la Croix, I considered trying to find someone else who might play the piece, or if I might be courageous enough to improvise my own music for Stations of the Cross. While I opted to play mostly repertoire and fill the concert slot myself, the time I spend practicing repertoire is reminding me of things I need to do when practicing improvisation which I thought you might need to do as well.

Practice Time

Perhaps it’s blatantly obvious, but in order to improve, we have to set aside time to practice. This includes our improvisations. Beginning in my student days, I set aside regular time to practice. My undergraduate teacher taught me to make my practice time sacred, something I haven’t necessarily done in recent years. Especially if practice time is hard to come by where you play, make practicing your number one priority when you have it scheduled. Don’t let any other appointments or phone calls interrupt you. When you decide to practice, make it a time of focused work with goals to accomplish. If you have regular practice time, it is easier to develop a plan for your improvisation practice so that not only are you not wondering when will you get to practice you won’t be wondering what to improvise today.

What to practice

If our goal when practicing is to improve the performance of the piece, then we pay attention to particular details of the piece and work them. If there is a technically demanding passage, we slow it down, play it in different rhythms, and then play it faster. If we want to include a difficult technical gesture in our improvisation, what might it look like? Think about it first and then play slowly. Just because something goes by quickly is not an excuse for sloppiness.

Certain blocks of my practice time have been devoted to registering pieces for the concert. Perhaps a chunk of our improvisation time could be spent exploring new combinations at the organ. Choose odd combinations of stops that you might never have used before and search for a texture or style that works well with that sound combination. While we often look for sounds to express our ideas, what if we turn the tables and try to discover what ideas the sounds might suggest to us?

Deadlines

Another great motivator can be a deadline. I certainly know that having a concert date on the calendar will get me on the organ bench a lot more than simply playing for Mass every weekend. While everyone often notices the bad effects of peer pressure, there can be good side effects as well. If you tell someone in advance when and what you will improvise, you now are responsible to that person and will be more likely to stick with your plan. While it can be intimidating to have another competent musician evaluate whether you do what you say you will do, there is a great deal of motivation and focus that you can gain by knowing someone is listening purposefully. Whether your goal is a simple four measure interlude (exactly four measures) or a whole concert of improvisations, choose a date and a time and tell someone your intentions.

Waiting to find time on the bench or wondering what to do when we get there doesn’t help us improve. Whether we are learning a new piece, polishing repertoire for a concert, or practicing our improvisations, having a purpose and a deadline for our practice time will keep us on the road to being better organists.

May you find more time for focused practice!

Glenn

 
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Newsletter Issue 34 – 2015 03 2
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Call me old-fashioned

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One of the great things about my new home town of Baltimore is the numerous concert offerings. The Baltimore Symphony has a fabulous line up of programs, and the Peabody Institute seems to offer some sort of concert almost every day! Add in a few other concert series at local churches and other institutions and there is a true wealth of cultural opportunities to explore here. Oh, and should you happen to not find anything to your liking in Baltimore, Washington DC and Philadelphia are just a short drive away!

New and Different

Perhaps it’s my interests in improvisation and composition, but I’m always interested in hearing works that are new or lesser known. I might have also inherited part of this attitude from one of my organ teachers as well who always encouraged students to play pieces that everyone else wasn’t playing. Whatever the reason, I was led to attend a concert last week that included some twentieth-century works by well-known composers but which are seldom done. While not absolutely new, these works were certainly different. Presenting some different instrumental ensembles and technically very demanding, the works have been rarely performed since they were written. While we can lament the great masterworks that lay hidden and unplayed for many years, I suspect the selections I heard will remain largely unknown for the foreseeable future.

Melody (or lack thereof)

Many times on this blog, I have stressed the importance of color. Usually, this comes through increasing harmonic complexity. While a theorist may have delighted at the study of the scores from the concert I heard, as a listener, even with some of the techniques explained in the program, I found myself floating in a sea of sound that had no coherence (another favorite topic of mine!). I completely understood the development of aleatoric (chance) music at this concert because there was no melody for me to follow. There was no pulse to prompt me to tap my foot. It just seemed random. Why waste the time working out complicated structures when the listener simply cannot hear them? That’s when I decided you could call my old-fashioned: I like a good melody that I can remember, follow, and perhaps even sing.

Good Melody

What makes a good melody? What should we think about as we try to improvise a melody? Since I proposed the Four C’s of Improvisation, I’d now like to propose the Four R’s of a Remarkable Melody:

  1. Rhythm – Is the melody monorhythmic (like many hymns) or does it have a variety of rhythmic patterns?
  2. Range – Is the melody within a tight or wide range?
  3. Relaxation – Does the melody offer a sense of tension and release?
  4. Rotundity (I think I made this one up to fit my list.) – What shape does the melody have? Are there lots of skips or is it mostly stepwise?

I’m not sure that there are absolutely right answers for these questions, but I propose that a remarkable melody probably has something interesting about the rhythm (even if it is that it is all the same), a high point and a low point (preferably only one of each), builds and releases tension with a shape that can be recognized by the ear. All of these can apply regardless of the complexity of the harmonic language.

Evaluation and Application

At the next concert you attend, evaluate the melodies of the pieces on the programs? What makes them remarkable? Consider what qualities the next melody you improvise has. Does it move primarily in one direction? Could you create a longer piece simply by changing one of these four R’s at a time? A short four-bar melody could easily become a 24-measure piece just by stating the melody (4m), adjusting each of the criteria (4×4=16m), and then stating the original theme again (4m). Exploring these ideas will also give you the tools to produce development sections in larger sonata and symphonic forms. Even when you aren’t pleased with the results (as I wasn’t happy with the concert I attended), be brave enough to experience the new and different!

May all your melodies be remarkable!

Glenn

 
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Newsletter Issue 33 – 2015 02 23
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Getting back up to speed

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After a month of packing, moving and settling in to my new position at the Cathedral of Mary, Our Queen in Baltimore, I’m delighted to resume the regular weekly publication of thoughts and practice tips on organ improvisation. I’m still discovering the fabulous instrument at the Cathedral – stoplist available here – and look forward to posting videos later this year.

How Fast Can You Play

Back in October, I wrote an article on the first part of my first lesson with Franck Vaudray. At the time, I couldn’t find the paper that summarized my lesson and was my practice guide for the next week, but luckily while packing to move, I was able to locate it! So four months later, I’ll finally tell you about the second part of my lesson. (If you haven’t read the first part, it is available here.)

Melodic dictation

After assessing my technique and ability to play in an atonal style, this next part of my lesson tested my dictation and transposition skills and concluded with canons. Asking me to look away from the keyboard, Franck Vaudray proceeded to play a melody that I had to then play back to him. No reference or tonality was given. I had to find the right pitch and play the melody as he had just done. I don’t remember exactly how well I fared at this, but I do remember that Mr. Vaudray was kind enough to play the melody several times for me before I got it. We repeated the process for a second melody. Both are pictured below.
DictationCanons

Transposition

Once I had the motives down, it was time to transpose them. If transposition is not something you practice regularly, I’d suggest moving up (or down) by half-steps through all twelve transpositions. Be sure and do this with both hands. As these motives are not exactly tonal, be sure and pay attention to the intervals and shapes as you practice the transpositions.

In my lesson, we may or may not have gone through all twelve transpositions of both melodies with both hands before we started a more advanced transposition cycle. Rather than simply move in one direction or even around the circle of fifths, I was asked to alternate hands with one hand moving higher with each transposition and one hand moving lower. Applying this to the first motif, the starting notes for this pattern look like this: (Stems up for the right hand, stems down for the left)
TranspositionPlan
If you were mentally tired after the atonal lesson, this one really stretches the mind!

Canons

In the themes above, you may have noticed a rhythm written out above the second melody. This shows the rhythmic placement for that motive in canon. Not only was I asked to play the canon in any transposition, but eventually to play the canon in different transpositions. For example, the left hand plays as written while the right hand follows starting on G, a minor third above. While I don’t think I was asked to do this then, it would be an interesting exercise to try and play the canon following the transposition scheme above. That would be a real challenge!

Free at last

Finally, I was given free reign to improvise a piece using these motives. After transposing and playing them in canon for the past thirty minutes, it was relatively easy to keep the themes front and center regardless of the tonality that I might have wondered in to. I prepared a worksheet with the melodies and transposition scheme that you can download here for your own practice.

Thorough preparation

How much work do we do with a theme before we improvise with it? While not all forms or pieces would require the amount of preparation outlined here, is there a hymn or chant that you improvise on regularly? Will it work as a canon? Perhaps you should put it through the transposition and canon practice outlined here. The better we know the theme, the more flexible we can be in our improvisations, and the more competent, convincing and coherent they will be as well!

Wishing you all the best for 2015!

Glenn

 
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Newsletter Issue 32 – 2015 02 02
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A News Update and Happy Holidays

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First, I wish to offer my apologies for not sending out newsletters or posting regularly at organimprovisation.com for the past month. My schedule has been subject to change on an almost daily basis for the past two months as I have been coping with two different events in my life. In a live conversation, here is where I would ask if you want the good news or the bad news first. Since I’m writing and have to make the choice for you, we’ll start with the….

Bad News

On December 9, early in the morning, my mother passed away. She developed other difficulties while undergoing her second round of chemotherapy for lymphoma. Her condition kept us and the doctors guessing for several weeks as she would seem to be deteriorating as we got good test results or otherwise showed signs of improvement. I was able to spend a couple of weeks with her and my family as we journeyed through this difficult time together. I played for the funeral, improvising the prelude. Another organist friend sang a composition I had written earlier in the year when I began to face the possibility that my mother would not be with us much longer. For me, improvising is not just a skill for making music, but also a life skill. Being able to change directions and make choices that reflect your values and the current conditions is not simply a useful skill for creating a piece but also for daily living. I’ve had to employ it quite often while coping with the bad news and the …

Good News

On January 15, I will begin my new position as Director of Music for the Cathedral and Archdiocesan Liturgies at the Cathedral of Mary, Our Queen in Baltimore, MD. The space is fabulous with a large four-manual pipe organ. There is a tour of the building on-line here. With such a wonderful instrument at my disposal, I hope to begin posting videos in the new year where I can provide examples and lessons for the content I have been providing here. In the mean time, my postings may still be a little erratic, but I plan to be back on pace by the end of January once I am settled in Baltimore.

Happy Holidays

As I suspect this will be the last newsletter issue until after the new year, I will wish you both Merry Christmas and Happy New Year now. Thank you for your interest in organ improvisation. For your holiday inspiration, I found the clip below showing Pierre Cochereau improvising on a noel. Enjoy all the marvels of the season!

May all your improvisations be competent, convincing, coherent and colorful!

Glenn

CochereauVideo

 
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Newsletter Issue 31 – 2014 12 24
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