www.MontoyaMusic.com
Manuscript Scores
The following works are currently unpublished but available for purchase and performance from this website. In some cases, I have great recordings of these works, but in other cases, I can only offer a MIDI representation at this time. I would love to hear your group perform these works, and add your performance to my LISTENING LIBRARY. If the piece says [FREE DOWNLOAD] then you may copy it, test it out, and perform it at no charge.
Children's Songs: An Exploration of the Church Modes for Young Voices
2-part equal voices with piano accompaniment
Level: Easy
Time: approx. 12 minutes
This piece is exactly what the title claims. Each of the six movements are set in a different church mode (excepting Locrian. . .send me an e-mail and I will explain why). They are easy but clever 2-part arrangements, designed for children's choir. All of the poetry is taken from the Random House Book of Poetry for Children, Jack Prelutsky, Random House, N.Y., 1983.
1. Daylight Savings Time (Lydian), text by Phyllis McGinley
2. An Atrocious Pun (Ionian), anonymous text
3. Ladybug (Mixolydian), text by Joan Walsh Anglund
4. When All the World Is Full of Snow (Dorian), text by N. M. Boecker
5. The Universe (Aeolian), text by Mary Britton Miller
6. I Heard a Bird Sing (Phrygian), text by Oliver Herford
Time: approx. 12 minutes
This piece is exactly what the title claims. Each of the six movements are set in a different church mode (excepting Locrian. . .send me an e-mail and I will explain why). They are easy but clever 2-part arrangements, designed for children's choir. All of the poetry is taken from the Random House Book of Poetry for Children, Jack Prelutsky, Random House, N.Y., 1983.
1. Daylight Savings Time (Lydian), text by Phyllis McGinley
2. An Atrocious Pun (Ionian), anonymous text
3. Ladybug (Mixolydian), text by Joan Walsh Anglund
4. When All the World Is Full of Snow (Dorian), text by N. M. Boecker
5. The Universe (Aeolian), text by Mary Britton Miller
6. I Heard a Bird Sing (Phrygian), text by Oliver Herford
Cancioncita (Little Spanish Song)
for SATB a cappella, bongos and maracas
Level: Easy
Time: 1:30
For those who like to do multicultural music, but are afraid of the language! Cancioncita (Little Spanish Song) has only two Spanish words, and the rest of the tune utilizes non-sense syllable. You're two words: dos, tres (two, three). This is a fast and fun song with lots of Spanish flavor, and hand percussion to drive the music forward.
Time: 1:30
For those who like to do multicultural music, but are afraid of the language! Cancioncita (Little Spanish Song) has only two Spanish words, and the rest of the tune utilizes non-sense syllable. You're two words: dos, tres (two, three). This is a fast and fun song with lots of Spanish flavor, and hand percussion to drive the music forward.
Don't Go Back to Sleep
SAB and ukulele ensemble
LISTENING LIBRARY #5
Level: Easy to Intermediate
Time: 4:00
This piece was commissioned by Dr. William Wells Belan for his Bridge Concert. This yearly concert highlights the accomplishments of a local community organization and celebrates them with newly written music. . .5 composers, 5 choirs. I was asked to write a piece for my alma mater high school, Mountain View High School. Their director, Nancy Ludwig, and I prepared our students for a wonderful collaborative performance to benefit Homeboy Industries in Los Angeles. CLICK HERE to read a newspaper article about the event. The current version is for ukulele ensemble (from La Habra High School). A future version will use piano or harp.
The breeze at dawn has secrets to tell you.
Don't go back to sleep.
You must ask for what you really want.
Don't go back to sleep.
People are going back and forth across the doorsill
where the two worlds touch.
The door is round and open.
Don't go back to sleep.
- Jelaluddin Balkhi (Rumi)
(translated by Coleman Barks)
Time: 4:00
This piece was commissioned by Dr. William Wells Belan for his Bridge Concert. This yearly concert highlights the accomplishments of a local community organization and celebrates them with newly written music. . .5 composers, 5 choirs. I was asked to write a piece for my alma mater high school, Mountain View High School. Their director, Nancy Ludwig, and I prepared our students for a wonderful collaborative performance to benefit Homeboy Industries in Los Angeles. CLICK HERE to read a newspaper article about the event. The current version is for ukulele ensemble (from La Habra High School). A future version will use piano or harp.
The breeze at dawn has secrets to tell you.
Don't go back to sleep.
You must ask for what you really want.
Don't go back to sleep.
People are going back and forth across the doorsill
where the two worlds touch.
The door is round and open.
Don't go back to sleep.
- Jelaluddin Balkhi (Rumi)
(translated by Coleman Barks)
Farewell to the Farm
a suite for treble voices and percussion
LISTENING LIBRARY #7
Level: Intermediate to advanced children’s chorus
Time: approx. 10 min.
Farewell to the Farm is a set of seven childhood snapshots as characterized by Robert Louis Stevenson in his first published volume of poetry "A Child's Garden of Verses" (1885). My musical setting of these texts was developed over the 10 years, from 1994-2003, as each number was performed, refined, and filed away. . .performed, refined, filed away again. . expanded from four songs to seven, and then refined once more. The result was an arch-formed pictograph on the four natural elements of life and the quintessence of childhood. Mvt. 1 - wind, Mvt. 3 - fire (sun), Mvt. 5 - water (rain), Mvt. 7 -earth (farm), and Mvts. 2, 4, and 5 - the quintessence of childhood. My first setting was "The Wind" written in September of 1994. "Farewell to the Farm," serving as the perfect title for the set, was the last poem to be composed. The last movement echoes the wind theme of movement 1. The central movement is a march and is the first to use percussion.
1. The Wind - with optional vocal trio
2. The Swing
3. The Sun's Travels - with treble solo and optional vibraphone
4. Marching Song - with snare drum
5. The Rain - with treble solo, "hand percussion," and optional vibraphone
6. Whole duty of children
7. Farewell to the Farm - with temple (or wood) blocks and slapstick
Time: approx. 10 min.
Farewell to the Farm is a set of seven childhood snapshots as characterized by Robert Louis Stevenson in his first published volume of poetry "A Child's Garden of Verses" (1885). My musical setting of these texts was developed over the 10 years, from 1994-2003, as each number was performed, refined, and filed away. . .performed, refined, filed away again. . expanded from four songs to seven, and then refined once more. The result was an arch-formed pictograph on the four natural elements of life and the quintessence of childhood. Mvt. 1 - wind, Mvt. 3 - fire (sun), Mvt. 5 - water (rain), Mvt. 7 -earth (farm), and Mvts. 2, 4, and 5 - the quintessence of childhood. My first setting was "The Wind" written in September of 1994. "Farewell to the Farm," serving as the perfect title for the set, was the last poem to be composed. The last movement echoes the wind theme of movement 1. The central movement is a march and is the first to use percussion.
1. The Wind - with optional vocal trio
2. The Swing
3. The Sun's Travels - with treble solo and optional vibraphone
4. Marching Song - with snare drum
5. The Rain - with treble solo, "hand percussion," and optional vibraphone
6. Whole duty of children
7. Farewell to the Farm - with temple (or wood) blocks and slapstick
Festivus Carol
for SATB, oboe, cello, glockenspiel and piano
Level: Easy
Time: 3:00
An original text by D. V. M., inspired by the episode of Seinfeld entitled "The Strike." This song will have your audience tapping their feet and cheering, wondering if there really is such a holiday as Festivus. Do YOU believe?
Hanerot Halalu: Candle Lighting Song
SSA, piano, and cello
LISTENING LIBRARY #10
Level: Easy
Time: 3:15
A cello begins a long flowing melody, then a soft piano joins. Then one voice sings a short and easy solo announcing the theme. She lights a candle. Next another comes out and lights her candle from the first. Then another, and another, until you have a human menorah singing on stage. Eventually, the entire choir joins as the piece swells to a full and beautiful climax. A great show piece for women, or children's choir.
Hanerot halalu anu madlikin.
These lights we do kindle.
The Hoochie Mama Song
for 3 parts, SAB, SSA, TTB or any other combination you can think of
LISTENING LIBRARY #11
Level: Easy to Intermediate
Time: 3:00
What is a hoochie mama? After much research on this topic, I have found that the common answer to this question has this bottom line: suggestive clothing and a flirtatious nature. So I set about creating a piece utilizing my love of Seinfeldian observational humor, while displaying my enjoyment of a really good Ricky Ricardo tune. This song does not pass judgement upon any real-life hoochie mamas. In fact, I took great care to simply tell a story from an innocent bystander's point of view. Therefore, the Hoochie Mama Song can be sung by men, women, or both (which should help sales besides). This song is not a rebel song . . . .it is . . . .The Hoochie Mama Song.
"Let us reflect upon the wisdom of society
which rejoices or laments each case in time.
But it really doesn't change the situation, let's be honest,
if we label her unholy or sublime." (Verse 4)
Time: 3:00
What is a hoochie mama? After much research on this topic, I have found that the common answer to this question has this bottom line: suggestive clothing and a flirtatious nature. So I set about creating a piece utilizing my love of Seinfeldian observational humor, while displaying my enjoyment of a really good Ricky Ricardo tune. This song does not pass judgement upon any real-life hoochie mamas. In fact, I took great care to simply tell a story from an innocent bystander's point of view. Therefore, the Hoochie Mama Song can be sung by men, women, or both (which should help sales besides). This song is not a rebel song . . . .it is . . . .The Hoochie Mama Song.
"Let us reflect upon the wisdom of society
which rejoices or laments each case in time.
But it really doesn't change the situation, let's be honest,
if we label her unholy or sublime." (Verse 4)
Invention in F Major (of J. S. Bach)
SATB a cappella
LISTENING LIBRARY #12
Level: Intermediate
Time: 1:15
This arrangement of the familiar Bach Invention is filled with "pa, pa's" and "dum-digga-digga's." It is NOT a jazz style Bach arrangement. It is pretty faithful to the 2-part keyboard work. It is a joy to sing, and the vocal gymnastics will help to build up your choir's muscular skills.
Time: 1:15
This arrangement of the familiar Bach Invention is filled with "pa, pa's" and "dum-digga-digga's." It is NOT a jazz style Bach arrangement. It is pretty faithful to the 2-part keyboard work. It is a joy to sing, and the vocal gymnastics will help to build up your choir's muscular skills.
I wish I were the sweet tick-tock
SATB with div. a cappella
LISTENING LIBRARY #14
Level: Intermediate to advanced
Time: 3:00
A dear colleague of mine at La Habra High School, Leslie Ferguson, provided this amazing text. Leslie is a wonderful English teacher and a wonderful writer too! The choir keeps the constant tick-tock motif while each part sings a lyric melody of the text. Mysterious and pensive.
I wish I were the sweet tick-tock
stepping stepping stepping
from one number to the next
on a red hand.
Instead I am the number
waiting waiting waiting
for each tick to tock
a numb black vibrated in to stillness;
a silent scream
calling calling calling
out my wish into wall and glass;
muted voice emptied throat
straining forcing resigning
tongueless in the body of a clock.
Time: 3:00
A dear colleague of mine at La Habra High School, Leslie Ferguson, provided this amazing text. Leslie is a wonderful English teacher and a wonderful writer too! The choir keeps the constant tick-tock motif while each part sings a lyric melody of the text. Mysterious and pensive.
I wish I were the sweet tick-tock
stepping stepping stepping
from one number to the next
on a red hand.
Instead I am the number
waiting waiting waiting
for each tick to tock
a numb black vibrated in to stillness;
a silent scream
calling calling calling
out my wish into wall and glass;
muted voice emptied throat
straining forcing resigning
tongueless in the body of a clock.
Lullaby from a Child
SATB a cappella
LISTENING LIBRARY #19
[FREE DOWNLOAD] This is the SATB version of the PUBLISHED SSAA work. I wrote the lyrics to this simple hymn-like work that looks at a mother and child from the child’s perspective. It is not the baby that needs a lullaby. . .rather, it is the frightened young mother. The second verse demonstrates this idea as the choir sings the same tune on a “loo” syllable and on the word “lullay.” This tender little piece is very suitable for Christmas.
child and his mother; mother and her child. lullay.
he, gently mothering this mother afraid and mild. lullay.
as seen before, yea three times more...
no diff'rent,
yet diff'rent
to cast mine eyes and see this vision,
and the beauty of her rose, tiny rose.
child and his mother; mother and her child.
child and his mother; mother and her child. lullay.
he, gently mothering this mother afraid and mild. lullay.
as seen before, yea three times more...
no diff'rent,
yet diff'rent
to cast mine eyes and see this vision,
and the beauty of her rose, tiny rose.
child and his mother; mother and her child.
| lullabysatb.pdf |
The Light Changes: Kyrie eleison
SSA, soprano solo, cello and finger cymbals
LISTENING LIBRARY #15
Level: Easy to Intermediate
Time: 3:15
The Light Changes is basically a double round in the Phrygian mode. The Kyrie/Christe round is punctuated by finger cymbals which announce changes of the text from Kyrie to Christe and back again. The cymbals ring louder after each triple statement of Kyrie, Christe, Kyrie. This forms three main sections - a chanted section, a more melodic section, and the round. The piece ends with a chant-like coda.
The soloist acts as cantor, intoning the melodies in the second section. In the 3rd section, she sings the words of Rumi as a solo. This can also be sung by a small group.
The cello unifies the whole piece with lines that grow from the sung melodies. Additional low and high drone notes give the piece ethereal and shimmering qualities.
The combination of Catholic and Sufi literature is important to me in these days when we are in desparate need of tolerance and under-standing between cultures and religions. The idea that "the light changes" suggests to me that it is actually our perception of "the Light" that changes. The most striking line of the piece, "I need more grace than I thought," underscores the changeability of our perceptions. Our changing understanding and our own confusion beckons us to ask for patience and mercy. Thus the use of the text Kyrie eleison compliments the Rumi poem.
Thanks to Ron Soderwall and the Woodbridge High School Choir for the opportunity to write this piece for their
Women's Invitational Choral Festival 2006. The Light Changes was premiered at this festival on November 7, 2006.
Time: 3:15
The Light Changes is basically a double round in the Phrygian mode. The Kyrie/Christe round is punctuated by finger cymbals which announce changes of the text from Kyrie to Christe and back again. The cymbals ring louder after each triple statement of Kyrie, Christe, Kyrie. This forms three main sections - a chanted section, a more melodic section, and the round. The piece ends with a chant-like coda.
The soloist acts as cantor, intoning the melodies in the second section. In the 3rd section, she sings the words of Rumi as a solo. This can also be sung by a small group.
The cello unifies the whole piece with lines that grow from the sung melodies. Additional low and high drone notes give the piece ethereal and shimmering qualities.
The combination of Catholic and Sufi literature is important to me in these days when we are in desparate need of tolerance and under-standing between cultures and religions. The idea that "the light changes" suggests to me that it is actually our perception of "the Light" that changes. The most striking line of the piece, "I need more grace than I thought," underscores the changeability of our perceptions. Our changing understanding and our own confusion beckons us to ask for patience and mercy. Thus the use of the text Kyrie eleison compliments the Rumi poem.
Thanks to Ron Soderwall and the Woodbridge High School Choir for the opportunity to write this piece for their
Women's Invitational Choral Festival 2006. The Light Changes was premiered at this festival on November 7, 2006.
Lord, Make Me an Instrument of Thy Peace
SATB and organ accompaniment
LISTENING LIBRARY #17
Level: Intermediate to advanced
Time: 3:00
This piece was commissioned by Claudelle West in honor of the long-time director of the Gloria Dei Choir of Our Lady of Guadalupe Catholic Church in La Habra, CA. The choir premiered the work in the Spring of 2008 at their annual orchestral concert.
Time: 3:00
This piece was commissioned by Claudelle West in honor of the long-time director of the Gloria Dei Choir of Our Lady of Guadalupe Catholic Church in La Habra, CA. The choir premiered the work in the Spring of 2008 at their annual orchestral concert.
missa: pueri cantores
3-part treble voices a capella
Level: Intermediate to advanced
Time: 6:00
This is a three movement missa brevis which inculdes i. kyrie, ii. sanctus, and iii. agnus dei. The title means "mass: young boys sing," but it would be equally suitable for an SSA or mixed children's choir. Very suitable for adults or children.
Time: 6:00
This is a three movement missa brevis which inculdes i. kyrie, ii. sanctus, and iii. agnus dei. The title means "mass: young boys sing," but it would be equally suitable for an SSA or mixed children's choir. Very suitable for adults or children.
O Jesu
SATB a cappella
Level: Easy
Time: 1:30
[FREE DOWNLOAD] This short and early work of mine is a tunefully sweet chorale. It has undergone many edits over the years, but is now available for you as a free work. I was moved by the text which came from Pavarotti recording. No author was listed. I wrote and harmonized an original tune in a modern chorale setting.
O my sweetest Jesus, hope of a yearning soul.
Holy tears search for you, intimate thoughts call you.
Stay with us, Lord,
and having expelled the darkness from our minds
with a purifying light,
fill the world with sweetness.
Time: 1:30
[FREE DOWNLOAD] This short and early work of mine is a tunefully sweet chorale. It has undergone many edits over the years, but is now available for you as a free work. I was moved by the text which came from Pavarotti recording. No author was listed. I wrote and harmonized an original tune in a modern chorale setting.
O my sweetest Jesus, hope of a yearning soul.
Holy tears search for you, intimate thoughts call you.
Stay with us, Lord,
and having expelled the darkness from our minds
with a purifying light,
fill the world with sweetness.
| o_jesu_satb_2008.pdf |
Old St. Nick's Low Ride
SAATB, bongos and cowbell (yes, cowbell)
Level: Easy
Time: 3:00
Old St. Nick's Low Ride is a vocal adaptation of the War tune, Low Rider. The basses sing the familiar bass line throughout and the sopranos and divided altos sing the harmonies. The tenors are the star of the show singing new Christmas lyrics in this fun wintertime romp. (This piece is not for sale, but may be requested for classroom use.)
Time: 3:00
Old St. Nick's Low Ride is a vocal adaptation of the War tune, Low Rider. The basses sing the familiar bass line throughout and the sopranos and divided altos sing the harmonies. The tenors are the star of the show singing new Christmas lyrics in this fun wintertime romp. (This piece is not for sale, but may be requested for classroom use.)
Overtonal Alleluia
Any combination of voices, and hand bells
LISTENING LIBRARY #23
Level: Easy
Time: 3:00
[FREE DOWNLOAD] The Overtonal Alleluia is simply a melody designed to be sung first in unison, then in a two-part round, and then freely by each singer, all to the background of chimes or hand bells, playing a tonic-dominant drone. This piece was performed by the Harvard-Westlake Chamber singeres, conducted by Jayne Campbell, at Western Division ACDA, Los Angeles in March of 2000.
You are free to duplicate and perform this work. Click below for a PDF copy.
Time: 3:00
[FREE DOWNLOAD] The Overtonal Alleluia is simply a melody designed to be sung first in unison, then in a two-part round, and then freely by each singer, all to the background of chimes or hand bells, playing a tonic-dominant drone. This piece was performed by the Harvard-Westlake Chamber singeres, conducted by Jayne Campbell, at Western Division ACDA, Los Angeles in March of 2000.
You are free to duplicate and perform this work. Click below for a PDF copy.
| overtonal_alleluia.pdf |
Remember me when I am gone away
SAATB a cappella
LISTENING LIBRARY #25
Level: Advanced
Time: 4:15
This piece was written for Stacey Kikkawa and the Campolindo High School Chamber Singers. The text was selected by Ms. Kikkawa and the setting was what Allaudin Mathieu would call a "magic mode" piece. It is a 12-tone work, but not atonal. The scale is a 12-note scale instead of our familiar 7-note scale. Each note swirls around the tonic and dominant notes, and you are always in the key of C (or G when the piece modulates). But, since there are 12 tones to choose from F notes and F#s can mingle in the same bar or even harmony, as well as other pairs of tones. A very unique piece, that suits the text well.
Time: 4:15
This piece was written for Stacey Kikkawa and the Campolindo High School Chamber Singers. The text was selected by Ms. Kikkawa and the setting was what Allaudin Mathieu would call a "magic mode" piece. It is a 12-tone work, but not atonal. The scale is a 12-note scale instead of our familiar 7-note scale. Each note swirls around the tonic and dominant notes, and you are always in the key of C (or G when the piece modulates). But, since there are 12 tones to choose from F notes and F#s can mingle in the same bar or even harmony, as well as other pairs of tones. A very unique piece, that suits the text well.
Sicut Cervus (As the Deer Longs)
SSA a cappella
LISTENING LIBRARY #26
Level: Intermediate to Advanced
Time: 4:00
The name of the game is "water" in this lovely piece of counterpoint for women's voices. The piece is an ABA beginning in A Major, moving to the minor sub-dominant d minor, and then returning to the tranquil waters of A Major.
Time: 4:00
The name of the game is "water" in this lovely piece of counterpoint for women's voices. The piece is an ABA beginning in A Major, moving to the minor sub-dominant d minor, and then returning to the tranquil waters of A Major.
Super Flumina Babylonis
SATB div. a cappella and oboe obligato
LISTENING LIBRARY #30
Level: Advanced
Time: 6:40
[FREE DOWNLOAD] This is one of my earliest works. It was premiered by Ruth Ballenger and her summer Guinea Pig Chorale. Other notable performances were the UNLV Chamber Choir with David Weiller conducting, the Fullerton Union High School Vocal Ensemble, and the El Cafe Chorale of Costa Rica. The piece is based on the Gregorian chant of the same name. Sections of the chant setting are interspersed with solo oboe lines. At the end of the work, the oboist leaves the stage and the choir sings a gentle chorale. Halfway through the chorale, the oboe is heard singing offstage, and the piece comes to a peaceful close.
By the waters of the Babylon, we sat and wept
remembering thee, Jerusalem.
It was there, among the reeds, that we hung up our instruments.
You may copy and perform this work for at no charge.
Time: 6:40
[FREE DOWNLOAD] This is one of my earliest works. It was premiered by Ruth Ballenger and her summer Guinea Pig Chorale. Other notable performances were the UNLV Chamber Choir with David Weiller conducting, the Fullerton Union High School Vocal Ensemble, and the El Cafe Chorale of Costa Rica. The piece is based on the Gregorian chant of the same name. Sections of the chant setting are interspersed with solo oboe lines. At the end of the work, the oboist leaves the stage and the choir sings a gentle chorale. Halfway through the chorale, the oboe is heard singing offstage, and the piece comes to a peaceful close.
By the waters of the Babylon, we sat and wept
remembering thee, Jerusalem.
It was there, among the reeds, that we hung up our instruments.
You may copy and perform this work for at no charge.
| super_flumina.pdf |
Three Requiem Chants
for men, women or mixed voices
Level: Advanced
Time: approx. 3 min.
[FREE DOWNLOAD] This work combines the supple rhythmic flexibility of Gregorian chant and principles of 12-tone atonal music theory to create a new and unique kind of chant. The chants are primarily unison (or octave) singing, but they also split into 2 or 4 parts at times.
I. Absolve, Domine (Absolve me, Lord)
II. Credo quod Redemptor Meus Vivit
(I know that my Redeemer lives)
III. Lux Aeterna (Light eternal)
Time: approx. 3 min.
[FREE DOWNLOAD] This work combines the supple rhythmic flexibility of Gregorian chant and principles of 12-tone atonal music theory to create a new and unique kind of chant. The chants are primarily unison (or octave) singing, but they also split into 2 or 4 parts at times.
I. Absolve, Domine (Absolve me, Lord)
II. Credo quod Redemptor Meus Vivit
(I know that my Redeemer lives)
III. Lux Aeterna (Light eternal)
| three_req_chants-cover.jpg |
| three_req_chants-notes_page.pdf |
| i.__absolve.pdf |
| ii._lux_aeterna.pdf |
| iii._credo_quod.pdf |
Upon Julia's Clothes
TTBB a cappella
LISTENING LIBRARY #32
Level: Advanced
Time: 2:45
[FREE DOWNLOAD] This advanced work for men's voices is one of my favorites from my earlier days of composition. It have never been performed or recorded. It is a setting of one of my favorite Robert Herrick poems:
Whenas in silks my Julia goes,
Then, then, methinks, how sweetly flows
That liquefaction of her clothes.
Next, when I cast mine eyes and see
That brave vibration, each way free,
O how that glittering taketh me!
You may download and perform this work for free. Please let me know if you do and I may include your recording in the LISTENING LIBRARY!
Time: 2:45
[FREE DOWNLOAD] This advanced work for men's voices is one of my favorites from my earlier days of composition. It have never been performed or recorded. It is a setting of one of my favorite Robert Herrick poems:
Whenas in silks my Julia goes,
Then, then, methinks, how sweetly flows
That liquefaction of her clothes.
Next, when I cast mine eyes and see
That brave vibration, each way free,
O how that glittering taketh me!
You may download and perform this work for free. Please let me know if you do and I may include your recording in the LISTENING LIBRARY!
| upon_julias_clothes.pdf |
