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Leaning On The Everlasting Arms
Trp, Asax, Trb,…features rhythmic activity and contrasting dynamics…
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Leaning On The Everlasting Arms
Trp, Hrn, Trb, Tuba with optional Asax part for horn… features rhythmic activity and contrasting dynamics…
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
Also known by the title What A Fellowship, What A Joy Divine, this hymn arrangement works equally well in church or as a feature in a concert.
Trombone Quartet -
Leaning Of The Everlasting Arms
Also known by the title What A Fellowship, What A Joy Divine, this hymn arrangement works equally well in church or as a feature in a concert.
Saxophone Quartet (2 A Sx, T Sx, Bari Sx) -
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
-
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
-
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
-
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
-
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
-
Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Leaning On The Everlasting Arms (acc)
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.