Be Thou My Vision for Flute and Alto Flute Sheet Music to download and print

23 sheet music found

Be Thou My Vision for Flute and Alto Flute 2 Flutes (duet)

Flute Duet Flute - Level 3 - Digital Download SKU: A0.737067 Composed by Irish Folk…(+)

$5.00 4.62 € #2 Flutes (duet) #Irish Folk Song #Be Thou My Vision for Flute and Alto Flute #John Jay Hilfiger #SheetMusicPlus

Be Thou My Vision for Flute and Alto Saxophone Duet

Alto Saxophone,Flute,Instrumental Duet - Level 2 - Digital Download SKU: A0.1458907…(+)

$4.95 4.58 € #Traditional Irish #Be Thou My Vision for Flute and Alto Saxophone Duet #David Burndrett #SheetMusicPlus

Be Thou My Vision (Trio for Flute, Alto Sax and Piano) Flute and Piano

Alto Saxophone,Flute,Piano - Level 3 - Digital Download SKU: A0.1251312 Composed by…(+)

$11.99 11.09 € #Flute and Piano #Traditional Irish Melody #Be Thou My Vision #John A. Dempsey #SheetMusicPlus

Be Thou My Vision (for 2 flutes and 1 alto flute) 2 Flutes (duet)

Woodwind Ensemble,Woodwind Trio Alto Flute - Level 2 - Digital Download SKU: A0.1099387…(+)

$10.00 9.25 € #2 Flutes (duet) #Traditional #Be Thou My Vision #Novel Soundtrax #SheetMusicPlus

Be Thou My Vision for Flute Choir

Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 2 - Digital Download (+)

$12.95 11.98 € #Traditional Irish #Be Thou My Vision for Flute Choir #David Burndrett #SheetMusicPlus

America's Favorite Hymns - Wind Instruments Concert band

Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise and Worsh…(+)

$23.99 22.18 € #Concert band #Various #America's Favorite Hymns - Wind Instruments #Colin Kirkpatrick Publications #SheetMusicPlus

16 Favourite Hymns Vol.1 for Flute and Alto Saxophone Duet Flute, Saxophone (duet)

Instrumental Duet Alto Saxophone,Flute,Instrumental Duet - Level 2 - Digital Download S…(+)

$8.40 7.77 € #Flute, Saxophone (duet) #Various # #16 Favourite Hymns Vol.1 for Flute and Alto Saxophone Duet #David McKeown #SheetMusicPlus

BE THOU MY VISION - VIOLA SOLO with Piano Accompaniment Viola, Piano

Piano,Viola - Level 2 - Digital Download SKU: A0.807227 Composed by Traditional Iri…(+)

$5.00 4.62 € #Viola, Piano #Traditional Irish Hymn #BE THOU MY VISION - VIOLA SOLO with Piano Accompaniment #arrangements by GPoehlmann #SheetMusicPlus

Be Thou My Vision Chamber Orchestra

Chamber Orchestra - Level 2 - Digital Download SKU: A0.1342596 Composed by Traditio…(+)

$75.00 69.35 € #Chamber Orchestra #Traditional Irish Folk Tune #Be Thou My Vision #WheatMyer Music #SheetMusicPlus

Be Thou My Vision, for Recorder Duet 2 Recorders (duet)

Recorder Duet Alto Recorder,Soprano Recorder - Level 3 - Digital Download SKU: A0.14531…(+)

$4.99 4.61 € #2 Recorders (duet) #Traditional Irish Melody #Be Thou My Vision, for Recorder Duet #Cindy Blevins #SheetMusicPlus

Be Thou My Vision - Jazz Inspired Solo for Woodwind

Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,English Horn,Flute,Oboe,Soprano …(+)

$3.00 2.77 € #Traditional Irish Melody #Be Thou My Vision - Jazz Inspired Solo for Woodwind #Bloom Musicnotes #SheetMusicPlus

Be Thou My Vision | A Medley of Irish Hymns for Woodwind Ensemble and Piano

Woodwind Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Flute,Oboe - Level 3 - Digital Down…(+)

$15.00 13.87 € #Michael Ware #Be Thou My Vision | A Medley of Irish Hymns for Woodwind Ensemble and Piano #Michael Ware Music #SheetMusicPlus

Be Thou My Vision / Flute & Piano Quintet

Small Ensemble Cello,Flute,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.8746…(+)

$9.99 9.24 € #Traditional Irish Melody #$12.90 #Be Thou My Vision / Flute & Piano Quintet #Hyunsung Essie Lee #SheetMusicPlus

Be Thou My Vision

Small Ensemble Flute,Horn,Low Voice,Medium Voice,Violin - Level 3 - Digital Download SK…(+)

Small Ensemble Flute,Horn,Low Voice,Medium Voice,Violin - Level 3 - Digital Download SKU: A0.958117 Composed by Traditional Irish. Arranged by Adam Judd. Celtic,Christian,Folk,Holiday,Sacred. Score and parts. 15 pages. Adam Judd #3060805. Published by Adam Judd (A0.958117). This arrangement evokes the Irish flavor of the hymn tune Slane through countermelodies in the Flute and Violin parts. It is appropriate for general use during church services. The vocals can be performed by alto and baritone soloists or by a two-part choir.
$5.00 4.62 € #Traditional Irish #Be Thou My Vision #Adam Judd #SheetMusicPlus

Concerto Piano and Orchestra

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …(+)

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99 22.18 € #Piano and Orchestra #Gyorgy Ligeti (1923-2006) #Concerto #Schott Music - Digital #SheetMusicPlus

50 Favorite Hymns for Solo and Duet Instruments--Tuba Tuba

Tuba Solo - Digital Download SKU: A0.865253 Arranged by Chris Cooke. Christian,Gosp…(+)

Tuba Solo - Digital Download SKU: A0.865253 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Individual part. 65 pages. Chris Cooke #3603527. Published by Chris Cooke (A0.865253). 50 Favorite Hymns for Solo and Duet Instruments is a sequel to the first book, Hymns for Solo and Duet Instruments. This second collection contains my all-time favorites and is written for early-mid-intermediate players. The hymns are written so that instruments can be mixed and matched for duet or ensemble purposes. Suitable for worship services, they can be played as offertories or special music selections, or as accompaniment to congregational singing. Many of the hymns are in the traditional hymnal keys, however, there are some that may be slightly lower to accommodate instrumental ranges. This tuba book contains only the melody of these hymns. One verse and chorus is written for each and can be repeated as needed. Hymns with a particular theme or key can be combined for a medley, e.g. I Love to Tell the Story, Oh How I Love Jesus, and He Keeps Me Singing-all are in A-flat. Melody and duet parts are available for flute/oboe, clarinet/trumpet, alto sax, French horn, and trombone/baritone/bassoon. When necessary, parts occasionally cross for ease of playing for the bass instruments. A piano accompaniment book is also available. These accompaniments are eclectic in style and span the gamut from classical to gospel. The hymns with their concert keys are: All Things Bright and Beautiful, alternate tune, C And Can It Be, F Are You Washed in the Blood, G At Calvary, C Be Thou My Vision, E-flat Blessed Be the Name, A-flat Breathe on Me, Breath of God, F Come Christians, Join to Sing, E-flat Faith is the Victory, E-flat Glory to His Name, G Heavenly Sunlight, F He Keeps Me Singing, A-flat I Love to Tell the Story, A-flat Immortal, Invisible, God Only Wise, A-flat It Is Mine, B-flat Jesus Saves, F Joy Unspeakable and Full of Glory, A-flat Just As I Am, E-flat Leaning on the Everlasting Arms, A-flat Like a River Glorious, F Love Lifted Me, B-flat My Faith Looks Up to Thee, D Nothing But The Blood, A-flat Oh How I Love Jesus, A-flat On Jordanâ€™s Stormy Banks, E-flat Praise Him! Praise Him! F Redeemed, How I Love to Proclaim It! A-flat Rejoice, The Lord Is King! C Revive Us Again, F Rock of Ages, B-flat Send the Light, F Since I Have Been Redeemed, F Since Jesus Came into My Heart, F Softly and Tenderly, F Stand Up, Stand Up for Jesus, G Standing on the Promises, B-flat Sunshine in my Soul, F The Old Rugged Cross, B-flat There is Power in the Blood, B-flat There Shall Be Showers of Blessing, B-flat The Solid Rock, F This is My Fatherâ€™s World, E-flat To God Be the Glory, G Trust and Obey, F We Gather Together, B-flat When the Roll is Called Up Yonder, G When We All Get to Heaven, C Wonderful Grace of Jesus, B-flat Wonderful Words of Life, F
$7.97 7.37 € #Tuba #50 Favorite Hymns for Solo and Duet Instruments--Tuba #Chris Cooke #SheetMusicPlus

16 Favourite Hymns Vol.1 for Alto Flute and Piano

Alto Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.590302 Comp…(+)

Alto Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.590302 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred. Score and individual part. 28 pages. David McKeown #6203803. Published by David McKeown (A0.590302). 16 Favourite Hymns Vol.1 for solo Alto Flute is a collection of popular traditional hymns. They are simply arranged in easy keys for Alto Flute with separate piano accompaniment and chord symbols provided in the same file. The hymns are in alphabetical order and are as followsÂ· Abide with Me, (Eventide)Â· All People that on Earth do Dwell, (Old 100th)Â· All Things Bright and Beautiful, (Bright and Beautiful)Â· Amazing Grace, (Old Britain)Â· Be Thou MY Vision, (Slane)Â· Christ the Lord is Risen Today, (Crosby)Â· The Churchâ€™s One Foundation, (Aurelia)Â· City of God, (Richmond)Â· Crown Him with Many Crowns, (Diademata)Â· The Day Thou Gavest, (St Clement)Â· Dear Lord and Father of Mankind, (Repton)Â· Eternal Father Strong to Save, (Melita)Â· The God of Love My Shepherd Is, (University)Â· Oh God, Our Help in Ages Past, (St Anne)Â· Guide Me O Thou Great Jehovah, (Cwm Rhondda)Â· Praise My Soul the King of Heaven (Laude Anima)Volume 2 contains another 16 hymns arranged in the same way and is available via my home page at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60 7.03 € #Various # #16 Favourite Hymns Vol.1 for Alto Flute and Piano #David McKeown #SheetMusicPlus

Music for Three Treble Instruments, Collection No. 4 Sacred & Spiritual Music for Trio - 58004

Alto Flute,B-Flat Clarinet,B-Flat instrument,Oboe/English Horn,Viola,Violin - Level 5 - Di…(+)

Alto Flute,B-Flat Clarinet,B-Flat instrument,Oboe/English Horn,Viola,Violin - Level 5 - Digital Download SKU: A0.789215 By Daniel Kelley. By Various. Arranged by Daniel Kelley. Baroque,Classical,Sacred,Spiritual,Traditional. 50 pages. Last Resort Music Publishing #396466. Published by Last Resort Music Publishing (A0.789215). Music for Three Treble Instruments, Collection No. 4 Â Sacred & Spiritual Music for Trio - 58004Works by Bach, Franck, Schubert and more! The following 6 parts are included in the digital set: Part 1 Flute or Oboe or Violin Part 2 Flute or Oboe or Violin Part 2 Clarinet in Bb Part 3 Violin in C Part 3 Viola Part 3 Clarinet in Bb Extra Parts available as Digital Downloads:Part 1 Clarinet in Bb (Makes a clarinet trio)Part 3 Alto Flute in G (Makes a flute trio)Part 3 English Horn or French Horn in F (Makes a mixed trio or Double Reed trio)Score (Parts 1 - 3 in C)TABLE OF CONTENTS Amazing Grace (Early American Melody) Ave Maria (Schubert) Be Thou My Vision (Traditional Irish Melody) Panis Angelicus ~ from Messe Solonelle (Franck) Sheep May Safely Graze from Cantata #208 (J.S. Bach) Wachet Auf ~ Chorale from Cantata #140 (J.S. Bach)Published by Last Resort MusicÂ
$22.00 20.34 € #Daniel Kelley #Music for Three Treble Instruments, Collection No. 4 Sacred & Spiritual Music for Trio - 58004 #Last Resort Music Publishing #SheetMusicPlus

50 Favorite Hymns Piano Accompaniment Tracks Piano solo

Piano - Digital Download SKU: A0.1071369 Arranged by Chris Cooke. Christian,Gospel,…(+)

Piano - Digital Download SKU: A0.1071369 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Accompaniment. Duration 7162. Chris Cooke #3004581. Published by Chris Cooke (A0.1071369). This is a recording of the printed piano accompaniment book. (Other Books also available are for flute, clarinet/trumpet, alto sax, French horn, and trombone.) These recordings may also be used for group singing. There is a short introduction, and enough repeats of the verses in case you would like to play or sing them all! While these recordings contain multiple verses, the print version contains only one verse with no introduction. Many hymns are in their original hymnal keys, but if not, they have been adjusted slightly for a better playing range.This is one large file, containing all 50 accompaniments, plus one bonus recording-a harpsichord version of the first piece. For this reason, the cue point is given which is the time in the recording when each hymn occurs so they can be located more easily within this one-hour and 59-minute MP3. For instance, And Can It Be would be found at the 6-minute and 12-second time point. The full list of hymns, with their concert keys, cue points, and length of introduction, is below:All Things Bright and Beautiful (alternate tune, Monk), C,harpsichord; 4-measure introAll Things Bright and Beautiful, piano, cue point: 0:3:06; 4-measure introAnd Can It Be, F; cue point: 0:06:12; 4-measure introAre You Washed in the Blood, G; cue point: 0:09:33; 4-measure introAt Calvary, C; cue point: 0:11:25; 4-measure introBe Thou My Vision, E-flat; cue point: 0:13:44; 4-measure introBlessed Be the Name, A-flat; cue point: 0:15:29; 4-measure introBreathe on Me, Breath of God, F; cue point: 0:17:47; 4-measure introCome, Christians Join to Sing, E-flat; cue point: 0:19:16; 4-measure introFaith is the Victory, E-flat; cue point: 0:21:02; 4-measure introGlory to His Name, G; cue point: 0:23:21; 4-measure introHe Keeps Me Singing, A-flat; cue point: 0:25:40; 4-measure introHeavenly Sunlight, F; cue point: 0:27:58; 4-measure introI Know Whom I Have Believed, A-flat; cue point: 0:29:39; 4-measure introI Love to Tell The Story, A-flat; cue point: 0:32:06; 4-measure introImortal, Invisible, God Only Wise, A-flat; cue point: 0:34:52; 4-measure introIt Is Mine, B-flat; cue point: 0:36:27; 4-measure introJesus Saves, G; cue point: 0:38:22; 4-measure introJoy Unspeakable and Full of Glory, A-flat; cue point: 0:40:22; 4-measure introJust as I am , E-flat; cue point: 0:42:41; 6-measure introLeaning on the Everlasting Arms, A-flat; cue point: 0:46:36; 4-measure introLike a River Glorious F; cue point: 0:48:23; 4-measure introLove Lifted Me, B-flat; cue point: 0:50:32; 4-measure introMy Faith Looks Up to Thee, D; cue point: 0:53:19; 4-measure introNothing But the Blood, A-flat; cue point: 0:55:32; 4-measure introOh How I Love Jesus, A-flat; cue point: 0:57:51; 4-measure introOn Jordanâ€™s Stormy Banks, E-flat; cue point: 0:59:37; 4-measure introPraise Him! Praise Him! F; cue point: 1:01:56; 4-measure introRedeemed, How I Love to Proclaim It, A-flat; cue point: 1:04:14; 4-measure introRejoice, The Lord Is King! C; cue point: 1:05:49; 4-measure introRevive Us Again, F; cue point: 1:07:52; 4-measure introRock of Ages, B-flat; cue point: 1:09:36; 4-measure introSend the Light, F; cue point: 1:10:54; 4-measure introSince I Have Been Redeemed, F; cue point: 1:13:34; 4-measure introSince Jesus Came Into My Heart, G; cue point: 1:16:02; 4-measure introSoftly and Tenderly, F; cue point: 1:18:30; 4-measure introStand Up, Stand Up for Jesus, G; cue point: 1:22:29; 4-measure introStanding on the Promises, B-flat; cue point: 1:24:48; 4-measure introSunshine in My Soul, F; cue point: 1:27:06; 2-measure introThe Old Rugged Cross, B-flat; cue point: 1:29:21; 4-measure in.
$9.97 9.22 € #Piano solo #50 Favorite Hymns Piano Accompaniment Tracks #Chris Cooke #SheetMusicPlus

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