"My students were tired of playing out of the hymn book. This collection makes them to feel like artists when they perform in their worship services!" This volume of 10 beloved, multi-denominational hymns are arranged with the aim of being easy enough for young players to master, yet beautiful enough for advanced musicians to enjoy. Perfect as short featured solos, or use the optional attaccas and links connecting the entire set for prelude/postlude settings. Also available for solo violin, viola, cello, oboe, flute, and piano. Listen to a playlist of the entire collection (as arranged for violin) on YouTube. DETAILS: Total length = 24 minutes. Solo instrument part = 15 pages. Piano score =29 pages . All texts included. SONG LIST: Abide With Me; Come, Come Ye Saints (All is Well); Come, Follow Me; Come, Thou Fount of Every Blessing; Count Your Blessings; How Firm a Foundation; I Know that My Redeemer Lives; I Stand All Amazed; Lead, Kindly Light; Nearer, My God, to Thee. www.jennierhodesmusic.com.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.