One of the lesser-known American spirituals, “Listen To The Lambs,” was first published in 1914. Perhaps one of its most lasting recordings was made in 1955, sung a capella by the Tuskegee Institute Choir.

The text is drawn from an older spiritual, “I Want To Go To Heaven When I Die.” Here, it is given a rhythmic setting featuring a light Latin rhythmic backing to its haunting melody.

Based on the wonderful old gospel song, “‘Tis so Sweet to Trust in Jesus” by Louisa M.R. Snead (1850-1917) and William James Kirkpatrick (1838-1921), this solo with instrumental ensemble accompaniment features one verse and two choruses from the song.
After a brief introduction based on intervals from the song, the soloist plays an original melody by the composer prior to a light and energetic rendition of the first chorus. The verse appears in a more sustained style by the soloist, accompanied by a smooth, chorale-like background.
The second chorus is played by the soloist while the opening original theme is juxtaposed underneath. The introduction is reintroduced prior to an ascending finale by the soloist.

Based on the wonderful old gospel song, “‘Tis so Sweet to Trust in Jesus” by Louisa M.R. Snead (1850-1917) and William James Kirkpatrick (1838-1921), this solo with instrumental ensemble accompaniment features one verse and two choruses from the song.
After a brief introduction based on intervals from the song, the soloist plays an original melody by the composer prior to a light and energetic rendition of the first chorus. The verse appears in a more sustained style by the soloist, accompanied by a smooth, chorale-like background.
The second chorus is played by the soloist while the opening original theme is juxtaposed underneath. The introduction is reintroduced prior to an ascending finale by the soloist.

Grace Alone is a simple, lovely, and moving song by Scott Wesley Brown and Jeff Nelson. Its message of hope and assurance is particularly appropriate today. This song also reminds us of Christ’s service and our responsibility to others, admonishing us to “go forth in grace alone.”

The hymn tune “St. Anne” was composed in 1708 by William Croft, the organist at St. Anne’s Church, Soho, London. The words, “O God Our Help in Ages Past” were written by Isaac Watts, also in 1708, as a paraphrase of Psalm 90. For a hymn, the tune is remarkably strong and resolute and has often been used by other composers, notably J. S. Bach and Handel, as the basis for different compositions.

This particular “fanfare overture” setting of the tune is somewhat in keeping with the contrapuntal uses that were in fashion when the tune was originally composed. Instead of standard percussion, for example, timpani alone are used, a reference in style to the celebratory percussion and trumpet combinations of the 18th century.

The great Charles Wesley hymn Christ the Lord is Risen Today has here been set as a solo for instrument in E-flat or F with ensemble accompaniment by Andrew Wainwright. The hymn is widely considered as the most definitive church anthem for Easter, celebrating the resurrection of Jesus.

These short variations are a lively upbeat rendition on the tune “Truro.” The tune “Truro” first appeared in Psalmodia Evangelica, a two-volume collection of psalm and hymn tunes published in 1789. The tune is named for the city in Cornwall, England with its striking Anglican cathedral. This arrangement is based on these words:

Lift up your heads, ye mighty gates,

Elvina Hall (1820-1889) conceived the words to “Jesus Paid It All” during a church service. As her mind wondered to thoughts of the price Jesus paid for our salvation, the words came to her. Having no paper to write the words down, she wrote these words in the flyleaf of her hymnbook:…

“Kingsfold” is a traditional English melody, possibly originating in the Middle Ages. It was included in an anthology, English Country Songs, at the end of the 19th century. Ralph Vaughan Williams heard the tune in Kingsfold, Sussex (hence its name) and included it as a hymn tune in The English Hymnal (1906) to the words “I Heard the Voice of Jesus Say” by Horatius Bonar (1808-1889).

This suite of three movements features popular French Christmas songs. “Il Est Né” (“He Is Born”) tells the story of the Heavenly child being born in a stable. “Patapan,” an older carol, published in 1720, speaks of the shepherds bringing their flutes and drums with them to celebrate the birth of the Savior. The final majestic tune, “March of the Three Kings” (or “Farandole” from Bizet’s L’Arlésienne) paints the picture of the Magi completing the manger scene.

Here is a meditative study on Sir Hubert Parry’s beloved hymn tune, “Repton.” Parry set his melody to the words of American Quaker poet John Greenleaf Whittier, and over many decades it has become a beloved hymn, particularly in the United Kingdom.

This majestic arrangement is based on the well-known hymn, “We Have an Anchor.” Originally written in 1882 by Priscilla J. Owens (1829-1907), the words were set to music by William J. Kirkpatrick (1838-1921), the chorus of which reads:…

This beautiful old prayer chorus by Salvation Army officer and musician Edward Joy is well-loved by Salvationists around the world. It is a “holiness” text that speaks of submitting completely to the Lord’s will – “not a fragment, but the whole” – and the simple melody follows well the meaning and emotional content of the words. This arrangement is also purposely simple to present the song in a direct and prayerful way

Younger bands may find this a useful arrangement of the traditional hymn. While the statements in this simple hymn are grand, as in the lyrics “Father all glorious, Ever victorious,” the simplicity of the setting should allow the faithful to easily focus on the thoughts being expressed. The short fanfare introduction and interlude should draw attention to the invocation and praise this sturdy hymn expresses.

This light-hearted setting of the well-known song, “Count Your Blessings,” extensively features short silences (rests) to challenge young instrumentalists to know when – and when not – to play. Hence, the title!