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There Will Be Another Time II
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You've selected:
There Will Be Another Time II
Sheetmusic to print
9 sheet music found
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1
There Will Be Another Time II
There Will Be Another Time II
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Piano solo
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James Michael Stevens
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James Michael Stevens
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There Will Be Another Time II
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James M Stevens Music ASCAP
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SheetMusicPlus
Piano - Digital Download SKU: A0.1061091 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Jazz,Sacred,Wedd...
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Piano - Digital Download SKU: A0.1061091 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Jazz,Sacred,Wedding. Full Performance. Duration 165. James M Stevens Music ASCAP #3578891. Published by James M Stevens Music ASCAP (A0.1061091). This is a newly edited version of the piano performance for Stevens' There Will Be Another Time which may also be used for various instrumental solos.
$2.99 ≈
£2.34
There Will Be Another Time - Violin & Piano
There Will Be Another Time - Violin & Piano
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Violin and Piano
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INTERMEDIATE/ADVANCED
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James Michael Stevens
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James Michael Stevens
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There Will Be Another Time - V
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James M Stevens Music ASCAP
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.572541 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,...
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Piano,Violin - Level 4 - Digital Download SKU: A0.572541 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Jazz,Sacred,Wedding. 8 pages. James M Stevens Music ASCAP #3578909. Published by James M Stevens Music ASCAP (A0.572541). This is an original composition for Violin and Piano in an uplifting and inspirational style in the key of F major. There is a separate violin part in the score and the piano part can serve as a stand alone solo. The track as heard is available under There Will Be Another Times II. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. 2018 Instrumental Arranging Contest Entry https://youtu.be/v-3Vl4qLv7w
$6.99 ≈
£5.48
There Will Be Another Time (from Relaxing & Romantic Piano, Vol. II)
There Will Be Another Time (from Relaxing & Romantic Piano, Vol. II)
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Piano solo
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James Michael Stevens
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James Michael Stevens
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There Will Be Another Time
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James M Stevens Music ASCAP
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SheetMusicPlus
Piano - Digital Download SKU: A0.1060404 Composed by James Michael Stevens. Arranged by James Michael Stevens. Holiday,Jazz,Love,Spiritual,Standards. Ful...
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Piano - Digital Download SKU: A0.1060404 Composed by James Michael Stevens. Arranged by James Michael Stevens. Holiday,Jazz,Love,Spiritual,Standards. Full Performance. Duration 165. James M Stevens Music ASCAP #539801. Published by James M Stevens Music ASCAP (A0.1060404). There Will Be Another Time is the piano solo recording from the piano book, Relaxing & Romantic Piano, Vol. II, played and composed by Dr. James Michael Stevens.
$1.99 ≈
£1.56
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
£10.94
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
#
SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
£10.94
Škoda lásky (Rosamunde, Beer Barrel Polka)
Škoda lásky (Rosamunde, Beer Barrel Polka)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Jaromir Vejvoda
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F
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Škoda lásky
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1033890 Composed by Jaromir Vejvoda. Arranged by F. Leslie Smith. Holiday,...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1033890 Composed by Jaromir Vejvoda. Arranged by F. Leslie Smith. Holiday,Pop,Wedding. Score and parts. 41 pages. Sweetwater Brass Press #639202. Published by Sweetwater Brass Press (A0.1033890). Jaromir Vejvoda, born in 1902 in the Czech city of Zbraslav, was a fiddler and flugelhorn player. As a young man, he began writing music while working as a bartender. In 1927 he composed a particularly rollicking, toe-tapping tune. He persuaded the Czech-American composer Eduard Ingriš to write an arrangement for the piece, and the result was titled "ModÅ™anská polka" (ModÅ™any being the Prague suburb in which it was first performed). In 1934 Václav Zeman added lyrics, and the title changed to "Škoda lásky," Czech for “Wasted Love.” It also became known as “Rosamunde.” The public loved it. It was so successful that Vejvoda was able to quit tending bar and turn full time to music. The polka soon spread to other countries. Lew Brown and Wladimir Timm added English lyrics, and when the Andrews Sisters recorded it in 1939 as “Beer Barrel Polka,” it became one of their biggest hits. During World War II it was the favorite song of the Western Allies and has since been played and recorded by literally dozens of artists. Suggested tempo for this brass quintet “Škoda lásky” is 120 BPM. It opens in C major, changes to F major, then back to C. All five instruments get a chance to shine. There are no really tricky rhythmic patterns, and the notes are, for the most part, within the normal playing range of each instrument. Some possible exceptions: Trombone’s highest notes are F above the staff; it’s lowest, G at the bottom; Tuba’s highest notes are F in the staff; Trumpet 2’s highest are its G at the top of its staff. Completed in 2022, performance time runs about 3 minutes. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
£6.23
Suite from Abdelazer
Suite from Abdelazer
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Saxophone Quartet: 4 saxophones
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INTERMEDIATE
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Henry Purcell
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Robert Stevens
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Suite from Abdelazer
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SAXpress.com
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1421819 Comp...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1421819 Composed by Henry Purcell. Arranged by Robert Stevens. Baroque,Chamber,Classical,Early Music. 32 pages. SAXpress.com #1003167. Published by SAXpress.com (A0.1421819). Suite from Abdelazer Henry Purcell (1659-1695) SATB Saxophone Quartet Suite from Abdelazer by Henry Purcell, arranged for saxophone quartet SATB. Purcell wrote the incidental music for the play Abdelazer (sometimes spelled 'Abdelazar') in 1695, shortly before his death. It is a lively mix of songs and dances of the time. Typical of the day, several of the movements became well known as popular songs. The rondo was later made famous by Benjamin Britten, who used it as the theme for his set of variations, ‘The Young Person’s Guide to the Orchestra’. The rondo as well as another selection, the Hornpipe, was included in the 2005 film Pride and Prejudice.This transcription for saxophone quartet SATB of Suite from Abdelazar is comprised of five of the ten selections Purcell wrote for the play. The movements are as follows: I. Overture II. Minuet III. Hornpipe IV. Air V. Rondo About the Composer: Henry Purcell (born c. 1659, London, England—died November 21, 1695, London) was an English composer of Baroque music. Purcell's musical style was uniquely English, although it incorporated Italian and French elements. Generally considered among the greatest English opera composers, Purcell is included with John Dunstaple and William Byrd as England's most important early music composers. Later, Purcell's music also had a strong influence on the composers of the English musical renaissance of the early 20th century.The cause of Purcell's untimely death at the age of 36 is unclear. There are many theories, some preposterous (he died from chocolate poisoning), some more likely: he died of tuberculosis. Purcell was universally mourned as a very great master of music.  Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense spared in the north aisle of the Abbey.
$18.95 ≈
£14.86
"Tumbleweed" - (Part Scores)
"Tumbleweed" - (Part Scores)
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Sydney Stevens
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"Tumbleweed" -
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Sydney Stevens, Water Music
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859710 Composed by Sydney Stevens. Children,Country,Folk,New Age. 31 pages. Sydney Stevens, Wa...
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859710 Composed by Sydney Stevens. Children,Country,Folk,New Age. 31 pages. Sydney Stevens, Water Music #5954113. Published by Sydney Stevens, Water Music (A0.859710). Contact: sydneystevenspianostudio@gmail.comTumbleweed: Gentle folk-based piano/vocal by Sydney Stevens (ASCAP). Arrangement is for piano/vocal/chords/Vln I, II. Full score and part scores included with download.Sounds like: Dar Williams, Rose Polenzani, Christina PerriFrom Album: Cycles of Life Theme: I am a tumbleweed tumbling todayMood: Gentle, warm, emotional, comforting, innocent.Musical Traits: Simple, broken chords in the left hand piano along with right hand melody that reflects the vocal line.Performance Time: 3:17Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links:www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY: Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter. Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer, Stevens runs a b.
$9.95 ≈
£7.80
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
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Orchestra
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INTERMEDIATE
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Patriotic
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Manuel de Espinosa de los Mo
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Keith Terrett
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Spanish National Anthem for Sy
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Music for all Occasions
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SheetMusicPlus
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Per...
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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!
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.
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.
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.
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.
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.
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.
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.
Interpretation and etiquette:
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.
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.
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.
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.
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.
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.
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.
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.
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 ≈
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There Will Be Another Time II
