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Music for the Queen's Court: Score
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Music for the Queen's Court: Score
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.98-DB1669S Arranged by Mekel Rogers. Score.…
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Concert Band - Digital Download SKU: AX.98-DB1669S Arranged by Mekel Rogers. Score. 12 pages. Alfred Music - Digital Sheet Music #98-DB1669S. Published by Alfred Music - Digital Sheet Music (AX.98-DB1669S). UPC: 241444367544.
$5.00
4.62 €
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Orchestre d'harmonie
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Mekel Rogers
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Music for the Queen's Court: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
36.06 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Anonymous: Full Score Music for the Queen's Court: Score - concert band
Orchestre d'harmonie
Instantly printable sheet music by Anonymous for concert band of MEDIUM skill level. /
Instantly printable sheet music by Anonymous for concert band of MEDIUM skill level. /
$8.98
8.3 €
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Orchestre d'harmonie
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Anonymous
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Virtualsheetmusic
EVERYTHING LIKE BEFORE
Piano seul
Piano Solo - Digital Download SKU: A0.1012713 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). Music and song composed by me ALL AS BEFORE Tired flower bends the head photos in carved marble sad smell of the past along your tree-lined avenue how much peace in this place where you stand hidden cobwebs on your time and the scent of regret while I touch your beautiful face I ask myself who decided that your time would stop and that for you all would be over I, minstrel of my time, tell a thousand stories chronicles written in pencil real-life stories story now finished my fingers still drive, find notes and then the enchantment to disperse them in the wind there was a king in love, by a bewitched spell, with the madwoman his queen and everything comes back as before there tucked away in a corner There is a pathetic clown Look closer: it’s a little girl and everything comes back as before You clown what would you do? You want to approach the king and then you want to tell him of her polluted heart but him, he does not want to be touched and you have to amuse her smile and do not tire continue your ... dance ... in the void and silence suspended in time for your queen and everything comes back as before before your leap do you want to fly high mixed-up Icarus you have fallen into emptiness the beating of the heart makes too much noise rumbles here within into emptiness and silence no, do not love me, now or ever and hang on till the ultimate pain she'll pressure you and insinuate herself into your mind and end by doing you harm but I invisible to your eyes and I want to hug you, you do not want I would like to tell you what you do not know of me and then on swings of fantasy my hand close to yours we'll soar to the heights where she is not there if you want I will reinvent myself for you And I may please you ,I know but with your eyes you’ve already answered me and hidden I'll go .. The winter does not end the cold seems eternal here the sun dies ,effaces itself and then disappears Once upon a time there was or still is, who knows a minstrel that no longer has a court and he belongs to nobody, and no one will stop him while closing the door ,the king will delete him abracadabra here in my Kingdom nothing caresses, no kiss of goodby my name in history was written in pencil to be able to delete from a faded page the mind has its woodworm and you can not heal it past, present and she who reigns everywhere pages of your life flowing through my fingers for a king, tired and sick, who has not had a happy ending the spell is broken and now the veil has fallen regret makes its way into him and the minstrel would approach him puppet in love ,now disconnected from your wires seek your child and there is nothing like before there is the sunset in your eyes but I'm here by your side a daddy and his little girl and there is nothing like before .... ..... the be.
$5.00
4.62 €
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Piano seul
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Monica Bergo
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EVERYTHING LIKE BEFORE
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Moni Bergo
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SheetMusicPlus
I Had Much Grief
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.88…
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.889444 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. Score and parts. 12 pages. Luis Anjos Teixeira #5297057. Published by Luis Anjos Teixeira (A0.889444). I Had Much Grief, Cantata BWV 21. „Ich hatte viel Bekümmernis, BWV 21. „Sinfonia This work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as „e per ogni tempo „and for all times, indicating that due to its general theme, the cantata is suited for any occasion. With its distinctive gesture of descent and the plaintive lines of the oboe and violin, the Sinfonia, held in dark minor, sets a tone of pain that is characteristic of the cantata. With its emotional depth and formal wealth, the cantata I had much grief is almost a solitaire in Bach's church music. Performed in Weimar in 1714 and later rearranged several times, it is also suitable as a compositional business card due to its high standards and its shape, which is representative of various types of sentences, and could therefore be related to Bach's application. Bach performed the cantata on 17 June 1714, as his fourth work in a series of monthly cantatas for the Weimar court which came with his promotion to concert master. The Work was transposed to D minor during the Köthen years, and used in November 1720 for a performance in Hamburg to apply for the position as organist at St. Jacobi. As Thomaskantor in Leipzig, Bach performed the cantata again on his third Sunday in office on 13 June 1723. For this performance, he also changed the instrumentation, adding „for example four trombones to double the voices in the fifth stanza of the hymn. This version was used in several revivals during Bach's lifetime and is mostly performed today. From the plaintive sinfonia to the arias and duets touching in their pain and charm to the speaking rhythmic psalm and chorus choirs, a development arc spans that transforms suffering and grief into consolation and trust and culminates in an apotheosis reminiscent of Handel of the victorious lamb, Hardly ever has Bach put the process of a relentless self-questioning and spiritual healing as convincingly as here. This arrangement of the sinfonia is intended for modern instruments. The original score was translated into modern music literature standards thus simplifying the approach and helping to understand the legacy of baroque music in our modern times. A few embellishments and interpretation symbols where added thus mostly shortening the length of some notes. Some „fortes and „pianos are also included. The arrangement is absolutely faithful to Bach`s versions, not adding or omitting any notes from the original sources. P.S.- The score was written on Finale. The sound file was produced with samplers from Garritan, merely as an audio support for the presentation of the score. Thank you very much for taking your time to read this text and to listen to the file. I hope you enjoy the music. Musically Yours, „e per ogni tempo „and for all times Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzeneggerschen, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All The Love and Compassion. Luis Anjos Teixeira Timeless Life, Love Forever
$7.94
7.34 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Luis Anjos Teixeira
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I Had Much Grief
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Luis Anjos Teixeira
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SheetMusicPlus
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Frie…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
7.39 €
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Orchestre de chambre
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Guido Menestrina
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SheetMusicPlus
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Primo Movimento - Allegro
Small Ensemble Cello,English Horn,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A…
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Small Ensemble Cello,English Horn,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.828699 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 37 pages. Guido Menestrina #119775. Published by Guido Menestrina (A0.828699). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Primo Movimento - Allegro Karl Friedrich Abel - Symphony Op. 7 n. 1 - First Movement - Allegro Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen,[3][4] a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787.[citation needed] One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. https://www.youtube.com/watch?v=bN3mtmg-rLI.
$7.99
7.39 €
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Primo Movimento - Allegro
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Guido Menestrina
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SheetMusicPlus
Loving La Vie En Rose
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1077235 By Celeste. By Celeste Epip…
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Piano Solo - Level 5 - Digital Download SKU: A0.1077235 By Celeste. By Celeste Epiphany Waite, Dany Hericourt, Edith Giovanna Gassion, Joshua Gailer Crocker, Luis Guglielmo Guglielmi, and Thomas Richard Charles Andrews. Arranged by Timothy Stapay/Jon England. Broadway,Film/TV,Musical/Show,Pop,Standards,Traditional. Score. 10 pages. Timothy Stapay #681403. Published by Timothy Stapay (A0.1077235). This arrangement of La Vie En Rose is as performed by piano artist Jon England. La Vie en rose is the signature song of popular French singer Édith Piaf, written in 1945, popularized in 1946, and released as a single in 1947. The song became very popular in the US in 1950, when seven versions reached the Billboard charts. The song's title can be translated as Life in happy hues, Life seen through rose-colored glasses, or Life in rosy hues; its literal meaning is Life in Pink. Musically touching lives around the globe, Jon England has performed his “Piano Orchestral Pops Show†(or P.O.P.S. for short) in Theaters, Night-Clubs, Concert venues and on Television and Radio as well as hopping aboard some of the world’s most exclusive and luxurious cruise liners from time to time. His first sea-borne break came in the early 1980’s when asked to play aboard Cunard’s fabled Queen Elizabeth II since when he has headlined alongside Vic Damone, The Glenn Miller Orchestra, Al Jarreau, Kenny Burrell and many other ‘names’ on repeat trips around the world. International relations have led to the creation of a U.S.A.-oriented twin album of Jon’s music entitled 'Velvet Piano'. Always an afficionado of Liberace's performing style and remarkably varied pianistic skill, Jon was invited to participate in the Liberace International Piano Competition in Las Vegas. Jon took the coveted Showmanship Professional prize title in a packed field of contestants from all corners of the globe.
$6.99
6.46 €
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Piano seul
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Celeste
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Timothy Stapay/Jon England
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Loving La Vie En Rose
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Timothy Stapay
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SheetMusicPlus
Say Love If Ever Thou Dids't Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448333 By HAL C THOMAS. By …
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448333 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028274. Published by HAL C THOMAS (A0.1448333). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
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Piano, Voix
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HAL C THOMAS
#
HAL C THOMAS
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Say Love If Ever Thou Dids't Find
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HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448337 By HAL C THOMAS. By …
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448337 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028277. Published by HAL C THOMAS (A0.1448337). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448336 By HAL C THOM…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448336 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028276. Published by HAL C THOMAS (A0.1448336). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix et Guitare
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448342 By HAL C THOMAS. By …
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448342 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028282. Published by HAL C THOMAS (A0.1448342). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448339 By HAL C THOMAS. By …
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448339 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028279. Published by HAL C THOMAS (A0.1448339). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448338 By HAL C THOMAS. By …
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448338 By HAL C THOMAS. By John Dowland. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028278. Published by HAL C THOMAS (A0.1448338). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
Say Love If Ever Thou Dids’t Find
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448343 By HAL C THOMAS. By …
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1448343 By HAL C THOMAS. By John. Arranged by HAL C THOMAS. Chamber,Early Music,Historic,Renaissance. Score. 6 pages. HAL C THOMAS #1028283. Published by HAL C THOMAS (A0.1448343). Teachers, students, and singers often search for a classical piece in English. This Tudor-era gem by John Dowland, a contemporary of Shakespeare and court composer for Queen Elizabeth the First, is perfect for that. It’s funny, rhythmically challenging for both performers, and, of course, how often do you get to poke fun at a Queen?! The audio sample is the entire arrangement.
$7.99
7.39 €
#
Piano, Voix
#
HAL C THOMAS
#
HAL C THOMAS
#
Say Love If Ever Thou Dids’t Find
#
HAL C THOMAS
#
SheetMusicPlus
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