How To Play Moonlight Sonata 3rd Movement On Guitar

Ludwig van Beethoven's "Moonlight Sonata" was completed in 1801, formally titled the "Piano Sonata No. 14 in C-Sharp Small-scale" or "Quasi un Fantasia." The entirety of the piece consists of iii movements:

1. Adagio sostenuto (C♯)
2. Allegretto (D♭)
3. Presto agitato (C♯)

We'll cover the first motility, Adagio sostenuto, peradventure the most recognizable of the 3. Farther, we'll brand the popular classical piece easily discernible in tablature course.

Though the original score is in C♯m, our tabs accept been transposed to A minor, since it's an easier version to play on the guitar.

Beethoven's Moonlight Sonata

The Moonlight Sonata guitar tab is translated from pianoforte rather easily, allowing y'all to make utilize of arpeggiated fingerpicking patterns to mimic both the left and right mitt portions of the pianoforte score.

Hither's a look at the original embrace for the Piano Sonata No. 14 canvas music:

Yous can view the remainder of the piano music manuscript, if for nil else, for the historical relevance. We'll pause this original manuscript downward to a line-past-line tab canvass, where all lines will be grouped into sections along with their corresponding audio samples.

In total, we'll have seven sections to learn.

Moonlight Sonata Amp Settings & Tone

As listed above, I used my Taylor 114CE acoustic guitar for all the research and trial.

The guitar has a concert shaped trunk with a cutaway, which gives it slightly brighter and chime-friendly tone, platonic for classical fingerpicking. In almost cases I played it unplugged, though for a functioning, I'd cut in the following dials on an acoustic amp:

Mids and treble get a bump while we cutting the low end, depending on how "bassy" our guitar might audio. If y'all want a thicker tone, merely bump the bass or low knob a petty college. Additionally, I used a Boss CE-5 Chorus Ensemble to add a slight modulation effect. However, all you really demand is an unplugged acoustic.

The chorus pedal is merely optional flavor. Hither are a few more EQ conventions and best practices yous tin follow, if helpful:

1. Add new strings (I used Elixir acoustics size .052)
2. Play sitting down
3. If you apply an audio-visual preamp, punch in a brighter tone (high treble)
4. Play without a pick (most of the song is best played via fingerpicking)

Don't presume that you need to get your guitar to sound "piano-esque." The guitar, on its own, has a great sound when it takes over this slice. But let it be a guitar song and don't worry too much nigh embellishing the cadence and vibe of the pianoforte.

Parsing the Original

The 1st motility of Moonlight Sonata is roughly vi minutes in length. We'll build out a tab sheet that covers the entire six minutes. We'll then parse the song into groups and so we can focus on learning the unabridged slice, 1 segment at a fourth dimension.

There are a few practical reasons that having the vocal broken upwardly will help:

1. Information technology'south easier to follow
2. Information technology provides structure
3. It'southward less visually cluttered for the reader

As I mentioned before, we have seven full sections with several short tab lines in each. The result is a clean, premium-course tab sheet that'due south easy to follow and gets you lot playing the vocal quickly. Here'due south a central that shows how I've fix everything upwardly:

How these guitar tabs are set upwards.

Once you've got a feel for the broad management of the song, this setup makes information technology easy to become back in and choice up on the subtle nuances of each part. Let'south start with the first five lines.

Moonlight Sonata Bass Guitar Line

The bass line I added is my own interpretation of the most crucial root notes in the 1st motion. In that location are a number of different ways you could handle the bass line. I've gone with a more minimal approach, emphasizing the more prominent and thicker points of the progression, while making sure to space notes out and avert striking every chord.

Nosotros've set you up to tackle the Moonlight Sonata bass guitar line, if yous then cull. Flickr Commons Image via John Sears Photography

While the bass notes also loosely match the Moonlight Sonata chord progression, be aware that at that place are a lot of pocket-sized chords in play, none of which I've listed, because they simply don't thing equally much on a bass guitar. And then at that place's room for estimation on a couple of levels, which ways y'all should accept my bass notes with grain of salt.

Tab reference credit: Classicalguitar.org

Capo four if you want to match the key of the track.

Section #1: Lines I through Five

(0:00 - 0:27)

            LINE #1
E|-------------------------|-------------------------|
B|-----ane-----one-----1-----i-|-----1-----1-----1-----1-|
G|---2-----ii-----2-----2---|---2-----two-----2-----2---|
D|-two-----two-----two-----2-----|-2-----2-----2-----two-----|
A|-0-----------------------|-------------------------|
E|-------------------------|-three-----------------------|
A M
LINE #two
E|-------------------------|-------------------------|
B|-----ane-----ane-----3-----3-|-----iii-----1-----0-----0-|
K|---2-----ii-----iii-----3---|---1-----two-----2-----1---|
D|-three-----three-----0-----three-----|-ii-----2-----two-----0-----|
A|------------(v)----------|-------------------------|
E|-i-----------------------|-0-----------0-----------|
F D E E              
                      

Moonlight Sonata (Part I)

The beginning two lines gear up the tone for the entire piece with arpeggiated triadic patterns that fall under corresponding root notes. These root notes (creating dyadic chords) give us the loose bass line of the design.

(0:28 - i:08)

            LINE #3
E|-------------------0----0-|--0-----------------0-----0-|
B|-----------i-----one-----1--|------3-----3-----3-----3---|
G|-2---2---2-----2-----2----|----4-----4-----four-----4-----|
D|-ii-two---2-----2-----2------|--------ii-----2-------------|
A|-0------------------------|----------------------------|
E|--------------------------|--0-------------------------|
A E
LINE #4
Eastward|-0-----------ane-----------|-0-----------------3-----|
B|-----1-----i-----iii-----3-|-----ane-----1-3---0-----0-|
Grand|---2-----ii-----ii-----ii---|---0-----0-----0-----0---|
D|-2-----ii-----0-----3-----|-2-----two-----three-----------|
A|-0-----------------------|-------------------------|
Eastward|-------------------------|-3-----------3-----------|
A D One thousand G
              
LINE #five
E|-------------------------|---------------------------|
B|-1---ane-----ane-----1-----1-|---------------------------|
G|---0-----0-----0-----0---|-----five-----v-----5-8---5h8-|
D|-2-----2-----two-----2-----|---5-----5-----v-----five-----|
A|-3-----------------------|-6-----6-----6-----6-------|
Due east|-------------------------|-8-------------------------|
C C E                  ♭                              
                      

Moonlight Sonata (Role 2)

In these 3 lines we run across the song begin to complicate further by adding a fourth note to the triadic design we've used to from the first 2 lines. Root chords, specially G and C, will likewise fill out with additional notes. Each of these chords take been highlighted in red notes to better aid the reader.

If you lot're having trouble getting through the chords or if it seems also fast for you to keep up, play through information technology a couple times with just the chord shapes. If yous do this along with the track (assuming you're capo 4), you'll begin to experience and conceptualize when the chords will change.

Department #2: Line Half dozen through 10

(1:09 - 1:34)

            LINE #half-dozen            
            E|---------------------------|-------------------------|
B|-4-----------------four-----4-|-four---------------1-three---1-|
G|-----vi-----6-----6-----6---|-----5-----5---2-----2---|
D|---v-----5-----five-----v-----|---half-dozen-----6---one-----0-----|
A|-------6-----half-dozen-----half-dozen-------|-6-----6-----------------|
Eastward|-6-------------------------|-four-----three-----2-----------|
B                ♭                                                    A                          ♭                                                                                                  G F♯ D
LINE #7
                        
            Due east|-------------------------|-------------------------|
B|-3-----------4-----1-----|-3-----------3-----------|
One thousand|-----3-----3---0-2---0-2-|-----iii-----3-----2-----2-|
D|---5-----five---i-----ane-----|---5-----5-----4-----4---|
A|-v-----5-----3-----------|-five-----v-----5-----v-----|
E|-3-----------------------|-------------------------|
G C                                                D                            
                      

The walk-down you see in the 2d half of line #6 requires you to change chord shapes quickly while maintaining the rhythm and arpeggiated experience of the slice. I would advise blocking off the second portion of line #vi and the first portion of line #7 to work on together. Once you're comfortable with that office, you can add the rest of both lines.

(1:35 - two:12)

            LINE #viii
E|-------------------3-----|-4-----------------ii-----|
B|-----3-----iii-----3-----3-|-----4-----4-----4-----4-|
G|---3-----3-----4-----four---|---v-----5-----5-----5---|
D|-five-----5-----five-----v-----|-five-----5-----5-----------|
A|-------------------------|-------iii-----------three-----|
Due east|-three-----------------------|-------------------------|
G G C C
LINE #nine
E|-3-----------------three-----|-4-----------------2-----|
B|-----iii-----iii-----three-----iii-|-----4-----4-----4-----4-|
G|---four-----4-----iv-----4---|---five-----5-----5-----five---|
D|-5-----v-----5-----v-----|-5-----5-----5-----------|
A|-------------------------|-------3-----------3-----|
East|-3-----------------------|-------------------------|
Grand G Thousand C C
              
LINE #x
                        
            E|-3-----------3-----------|-3---0-----0-ane-----------|
B|-----3-----3-------------|-----------------3-----3-|
G|---four-----4-----three-6---3-six-|---2-----2-----2-----2---|
D|-------5-----v-----5-----|-------5-----0-----iii-----|
A|-------------------------|-4-----------------------|
E|-iii-----------0-----------|-------------------------|
G Eastward/One thousand C♯ D
                      

The bass line here anchors heavily on G and C, which ways yous can simplify some of these chords by playing only root notes and add the intervals in later. Information technology also takes on a more than ominous and darkened tone, particularly in line #10. The dyadic chord shapes get dense here likewise, and so slow things down and try working through those chords first before adding in the rest of the melody.

From here, we'll speed things up, taking the tab lines in larger chunks.

Section #iii: Lines 11 through 15

(2:12 - 3:15)

            LINE #xi
East|-------------------------|-------------------------|
B|-4-----------iii-----------|-------------------------|
G|-----three-----iii-----4-----4-|-------------two-----ii-----|
D|---5-----5-----three-----3---|-7---3-----3-----2-----2-|
A|-------6-----5-----v-----|---v-----5-----5-----4---|
East|-3-----------iv-----------|-v-----5-----five-----five-----|
G A                ♭                            A
LINE #12
E|--------------------v-----5-|-5-------0-----0---5-----5-|
B|------------------6-----six---|---5-8-----8-----8---5-8---|
M|------------7---7-----seven-----|---------------------------|
D|------7---7---7-----vii-------|-7-----7-----vii-----seven-------|
A|----8---8-------------------|-0-------------------------|
Due east|-ten-------------------------|---------------------------|
D A A
              
LINE #xiii
Eastward|-v-----------------5-----|-seven---0-----0-----0-7---0-|
B|-----6-----half-dozen-9---------6-|-------------------------|
Grand|---7-----7-----7-9---7---|---7-----7-----7-----vii---|
D|-7-----7-----------------|-6-----six-----vi-----6-----|
A|-5-----------------------|-------------------------|
E|-------------vii-----v-----|-4-----------------4-----|
D B A A                  ♭                                  A♭
                                
LINE #14
                        
            Due east|--8-----------7-----5-----|-iv-----------------------|
B|-----ten----ten-0---9-----vii-|-------v-----vi---0-----0-|
G|----ix-----9-----7-----five---|-----4-----4-------7-----|
D|-10----10-----0-----7-----|---vi-----half-dozen-----vi-----6---|
A|--0-----------------6-----|-------------------------|
Eastward|--------------------------|-0-----------------------|
A/D D East                ♭                            E
LINE #15
                        
            E|-------------------------|-------5-----eight-----5-----|
B|-----0-----0-----0-----0-|-----five-----5-----v-----5-|
G|-------------------------|-5-5-----5-----v-----5---|
D|---6-----half dozen-----6-----6---|-------------------------|
A|-------seven-----8-----5-----|-------------------------|
E|-0-----------------------|-0-----------------------|
Due east E/C          

These 5 lines knock off an unabridged infinitesimal of the song and, outside of the first half of line 14, are comfortably straightforward. You'll have some tritones in line thirteen, 14 and xv with some challenging chord shapes intermingled. This will likely make lines 13 and 14 the focal point of your effort.

Line 15 generously uses the open B, followed by four triadic shapes that anchor comfortably on the fifth fret. Information technology's a bigger piece to tackle but, each line is modest and manageable.

Take a couple runs through and so focus on the lines that are giving you the most trouble.

Section #4: Lines 16 through 21

(3:16 - iv:29)

            LINE #sixteen            
            Due east|-------------------------|-------------------1---four-|
B|-------------1-----------|-----------0---3-0---3---|
G|-------2-----------2-----|-------1-----1-----------|
D|-----ii-----2-----2-----2-|---3-0---3---------------|
A|-3-3-----three-----three-----three---|-two-----------------------|
E|-0-----------------------|-0-----------------------|
E/C E
LINE #17
                        
            E|-----------0---5---viii-five---|-----------------------2-|
B|-------1-----1---five-----v-|---------------1---4-one---|
G|---two-----2---------------|-----------two-----2-------|
D|-----2-------------------|---1---4-1---4-----------|
A|-3-----------------------|-0---3-------------------|
E|-0-----------------------|-0-----------------------|
E/C E/A
LINE #18
                        
            E-|-------------------four---seven-|-4---1-------------------|
B-|-------0-----0-half-dozen-----half dozen---|---3---0-3---0-----------|
Thousand-|---i-------7-----7-------|-----------1-----one-------|
D-|-0---3---6---------------|---------------3---0-three---|
A-|-------------------------|-----------------------ii-|
E-|-0-----------------------|-------------------------|
Eastward/D
LINE #19
                        
            Due east|------------------------|------------------------|
B|------------------------|------------------------|
G|------------------------|------------------------|
D|-0---------0-3---0---0-3|-----2-3-2-----0-3---0-3|
A|-----2---------2---0----|---5-------5-2-----0----|
East|---four---1-iv--------------|-four----------------------|
A♭                        A♭
LINE #20
                        
            E|------------------------|------------------------|
B|------------------------|------------------------|
G|------------------------|-----------------two-----2|
D|-----two-iii-two-----0-iii---0-three|-----2-iii-2--------------|
A|---five-------5-1-----0----|---5-------5-0h3---0h3--|
E|-4----------------------|-four-----------1----------|
A♭ A♭ F/A
LINE #21
                        
            Eastward|-------------------------|-------------------0-----0-|
B|-------------------------|-----------1-----1-----ane---|
G|-----2-----2-----1-----1-|-2---ii---2-----ii-----2-----|
D|-0h3-----three-----two-----two---|---2---two-----2-----2-------|
A|-2-----2-----2-----2-----|-0-------------------------|
Due east|-------------0-----------|---------------------------|
B/D Due east A          

Starting in the second half of the 16th line, we see Beethoven carelessness the familiar triadic arpeggio in favor of a dyadic two-note rhythm that holds through the root E.

He slowly reintroduces the triadic cadence in line 19. By line 21 you're dorsum in the aforementioned spot you started in. This segment almost works better with a pick, since at that place are only a few chords. Plus, the dyadic shapes that we practice see have their root notes and intervals positioned conveniently close together.

If a pick makes it easier, give it a go.

Either mode, the nigh challenging aspect of this segment is note memorization and knowing where you lot're at in the song. Go along an eye on the fourth dimension postage stamp if you accept to.

Section #v: Lines 22 through 27

(4:29 - five:45)

            LINE #22            
            E|-0-----------------0-----0-|-0-----------1-----------|
B|-----3-----three-----three-----3---|-----ane-----1-----iii-----three-|
G|---4-----4-----4-----4-----|---2-----ii-----2-----2---|
D|-------two-----2-----two-------|-two-----2-----0-----3-----|
A|---------------------------|-0-----------------------|
Eastward|-0-------------------------|-------------------------|
E A
LINE #23
                        
            E|-0-----------------three-----|-------------------3-----3-|
B|-----1-----ane-3---0-----0-|-----------v-----5-----5---|
G|---0-----0-----0-----0---|-5---5---5-----5-----5-----|
D|-2-----2-----iii-----3-----|---5---5-----five-----five-------|
A|-------------------------|-three-------------------------|
E|-3-----------three-----------|---------------------------|
G G/F F C
LINE #24
                        
            Eastward|-three---one-----1-----1-iii---1h3-|-three---0-----0-4---0-5-----|
B|---3-----3-----three-----3-----|---1-----1-----3-------5-|
G|-0-----0-----0-----0-------|-0-----0-------------5---|
D|---------------------------|-------------------7-----|
A|-ii-------------------------|-3-----------2-----0-----|
East|---------------------------|-------------------------|
B/G G C/G B A
LINE #25
                        
            E|-7---0-----0-8-----------|-6-----------iv---0-----0-|
B|-0-----0--------10----ten-|---3-6---3-six---3-----3---|
G|---7-----7-----9-----9---|-iii-----3-----1-----1-----|
D|------------10----10-----|-0-----------------------|
A|-------------0-----------|-------------------------|
East|-4-----------------------|-------------0-----------|
A♭ A/D D/B♭ E
LINE #26
                        
            Due east|-5-----------------5-----|-6-----------------four---i-|
B|-----v-----5-----5-----5-|-----six-----6-----6---3---|
One thousand|---five-----v-----vi-----6---|---7-----vii-----7---2-----|
D|-7-----7-----7-----seven-----|-seven-----7-----seven-----0-----|
A|-0-----------------------|-------5-----3-----------|
E|-------------------------|-------------------------|
A A A D C/E D
                                      
LINE #27            
            E-|-5-----------------five-----|-6-----------------4---one-|
B-|-----5-----5-----5-----v-|-----half dozen-----half-dozen-----6---iii---|
G-|---6-----6-----half dozen-----vi---|---7-----7-----seven---2-----|
D-|-7-----7-----7-----vii-----|-7-----7-----7-----0-----|
A-|-0-----------------------|-------v-----3-----------|
E-|-------------------------|-------------------------|
A A A D C/East D          

While it's a large clamper, a lot of these tabs are repeating lines from earlier in the song. Then again, information technology'south Beethoven, so in that location will be subtle nuances and differences that volition claiming your retentiveness. Also notation that in lines 24 through 27 the frequency of triadic chords thickens again, pregnant a slower step will be necessary to memorize and place each one.

Section #6: Lines 28 through 32

(five:45 - six:50)

            LINE #28
E|-5-----------5-----------|-3---1-----one-----i-three---0-|
B|-----5-----5-----half-dozen-----6-|---three-----three-----3-----one---|
G|---6-----6-----seven-----seven---|-0-----0-----0-----------|
D|-7-----7-----seven-----seven-----|-------------------------|
A|-------------v-----------|-2-----------------3-----|
E|-5-----------------------|-------------------------|
A D B/Chiliad C
LINE #29
                        
            Due east|-1---0-1-----------0-----|-------------0-----i-----|
B|---ane-----0-iii-5---------ane-|-3---0-----0-----0-----0-|
G|---------------4-7---2---|---2-----2-----2-----ii---|
D|-three-----iii-----6-----2-----|-0-----0-----2-----0-----|
A|-0-----2-----------0-----|-------------------------|
E|-------------4-----------|-1-----------0-----------|
A/F B/F A                ♭ A F/D E D                            
LINE #thirty
                        
            E|-0-----------0-----------|--------------------------|
B|-----i-----one-----0-----0-|-1---------1-----one-----i--|
1000|---2-----ii-----i-----1---|-----2---two-----ii-----2----|
D|-two-----2-----0-----0-----|-ii-2---ii-----2-----2------|
A|-------------------------|-0------------------------|
E|-0-----------0-----------|-------------------0----0-|
E E/D A E E
LINE #31
                        
            East|---------------------------|-----------5---8-5-12-8-----|
B|-----iii-----3-----three-----3---|-------five-----5---------10---|
G|---iv-----4-----4-----4-----|---five-----5------------------|
D|-2-----2-----2-----two-------|-----7----------------------|
A|---------------------------|-7--------------------------|
E|-4-----------------0-----0-|-5------------------0-----0-|
A                ♭/Eastward E                            Due east A E E
LINE #32
                        
            E|---7------------------------|-----------5---8-v-12-eight----|
B|-nine-----9--------------------|-------5-----5---------10--|
K|----10---7-x---seven-----------|---5-----v-----------------|
D|--------------9-----6---0---|-7---7---------------------|
A|------------------eight---7-----|-vii-------------------------|
Due east|-0------------------0-----0-|-five------------------0----0-|
E                                  E/A                    ♭ E A E                                                                      

Finally, you're in the dwelling house stretch. At this signal, the song begins to slow, repeating familiar patterns and preparing to resolve. Line 29 volition likely be the trickiest, clustering half dozen triadic chords shapes that bridge only several seconds. Play this segment with a tiresome, descending feel while calculation heavier accent to the root notes.

Since nosotros're leading into the stop of the song, we demand to feel the culmination of the slice and make sure we're emphasizing a slow decent.

Section #7: Lines 33 through 35

(6:50 - 6:50)

            LINE #33            
            Due east|---vii-----------------------|-------------------------|
B|-nine------9------------------|-------------------------|
G|-----10---7-10---7---------|-------v-----------2-----|
D|---------------9-----half-dozen---0-|-7---7---vii-------2---2---|
A|-------------------8---7---|-7-vii-------7---3-------3-|
Eastward|-0-------------------0---0-|-5-----------5-----------|
E                                              E/A♭ E/D A A
                            
LINE #34            
            East-|-------0-----------------|--------------5----------|
B-|-----1---1---------------|--------------five----------|
K-|---2-------2---2---------|--------------five----------|
D-|-2-----------2---ii---2---|--------------vii----------|
A-|-0-----------------3---three-|-p0-----------0----------|
E-|-------------------------|-------------------------|
A A
                                      
LINE #35
Due east-|------------------------|
B-|------------------------|
G-|------------------------|
D-|-vii~---------------------|
A-|-0~---------------------|
E-|------------------------|
A
                      

Line 33 walks down slowly into 3 arpeggiated A chords before dropping y'all off at the depression open up A. The song finishes on a night, resonating chord with an octave added at the 7th fret. And that'south a wrap, folks. It's a long fashion to the top, but that'southward the entire first movement, Adagio sotenuto.

Why are we using the pianoforte version and not guitar?

I used this particular piano recording of Moonlight Sonata for a few reasons:

1. It was 1 of the slower versions I could detect
2. Many of the acoustic guitar versions were played slightly different.
3. It was true to the original notation

Most of the guitar versions of this piece are quicker and have some of the artist'due south own artistic flair added to them. Still, the piano recording I used was exactly similar the original and one of the most genuine examples of the song I could find. If yous want to hear a guitar version, here are a few I would recommend.

Moonlight Sonata Guitar Performances: Acoustic and Classical

Now that we've got the academia out of the style, we can get into some inspiration. What I'll exercise outset is transport yous through a Spotify playlist I created with my favorite Moonlight Sonata guitar covers:

Nicely washed, right? There are more than renditions of this song then you'd e'er care to listen to. But, I think the acoustic guitar handles information technology well, particularly because of all the arpeggiated shapes. Here'south a cover video I'd add to the inspirational pile:

Eric Henderson does a great chore with the first movement and, similar the tabs we're using, is in the key of Am. There are other more creative versions of the movement, including some metallic renditions that might interest the electric-leaning crowd. Personally, I could practice with them. When I'm learning a song like this I prefer to go the purist's route and stay with the acoustic arrangement.

If you choose to depart from conventional wisdom, I'd suggest laying the background on a "ho-hum" acoustic guitar, then exploring other means to modern the vocal.

Is it a must to use the classical guitar posture like Henderson does in his video?

No. Not at all. The "formal" classical guitar posture, while it might exist helpful to some, is not necessary. All the guitar playing I did to write this mail was done with a Taylor 114CE Audio-visual Guitar (not a classical guitar) while in a garden-variety "sitting downwardly" guitar posture.

Yous don't need a classical guitar or the Spanish guitar form. Or that weird niggling foot stool they use. Play the guitar yous want and merely make sure y'all're comfortable.

Other Resources

The Moonlight Sonata guitar tab is complete, though we exercise have a few more links to share with you that might be useful to you:

• The full "Moonlight Sonata" track with all iii movements
• Wikipedia Page
• Piano Sail Music from 8Notes

You can also check out the words cited section at the bottom of the page.

Your Thoughts and Questions

Practise you have questions about the tab or thoughts you lot'd like to share?

You can reach out to me directly or become in affect via the comments section beneath.

Related Articles

Written by Bobby on Acoustics and Roundups

Written past Bobby on Acoustics and Roundups

• 

  Guitar Chalk'due south Founder and Editor · Bobby has developed guitar and music-related content and worked with a number of companies including Guitar World, Sweetwater, Paul Reed Smith, and Seymour Duncan.

  View all posts

How To Play Moonlight Sonata 3rd Movement On Guitar,

Source: https://www.guitarchalk.com/moonlight-sonata-guitar-tab/

Posted by: thomashersomead.blogspot.com

Share this post