Brian Hanson gives this beloved hymntune new life through exquisite part-writing and accompaniment. Abide with Me is a stunning arrangement of EVENTIDE, complete with suspensions and soaring open

Perfect for evening worship or funeral and memorial services, this arrangement of the familiar hymn is easily learned with flexible voicing. The tune is lightly embellished, and the harmony adds interest

Originally conceived with full orchestra accompaniment, this glorious setting of LASST UNS ERFREUEN also works well with organ accompaniment. The choral texture varies by stanza and includes some choral

This splendid setting features a stirring original melody with LASST UNS ERFREUEN deftly woven throughout. The mixed meters, joyous piano accompaniment, and always-creative vocal writing help this anthem

This vibrant choral setting provides a new tune paired with the well-known hymn text by St. Francis of Assisi. The choral lines soar above the rhythmic accompaniment to support the text in this call to

This well-known hymn becomes a powerful call to praise with a driving, rhythmic piano 4-hands accompaniment. The intensity builds from start to finish. Powerful, energetic and inspirational!

After a lengthy introduction featuring organ and C instrument, the choir enters singing HOLY MANNA, first in unison and then in canon. Transitional harmonic regions color the third verse, then the return of

This time-honored Fanny Crosby text is paired with the beloved Swedish tune BLOTT EN DAG and given an elegant, reflective treatment. The lyrical choral writing brings new meaning and depth to these classic

This beloved hymn text is set to LAND OF REST with a brief but lovely a cappella section incorporating the traditional NEW BRITAIN melody. The engaging piano accompaniment is enhanced by an optional violin

The pentatonic melody of this traditional hymn tune is transformed into a murmuring atmospheric texture in piano and voice. Newly written material adds interest and contrast, building to an impactful high

A beautiful setting of the beloved hymn! A simple piano accompaniment provides underlying movement, which paired with lovely lines for cello and violin, add a lush foundation to the well-crafted vocal

The well-known text is paired with an original melody in this lovely new setting. An elegant piano accompaniment adds to the rhapsodic nature of the piece in this fresh and interesting treatment. The work

Flute, oboe, and hand drum introduce and accompany this SATB a cappella setting that pairs Newton's traditional text with the tune GREENVILLE, an American melody in flowing 6/8 meter. The vocal parts are

Using the beloved lyrics from John Newton's Amazing Grace and the refrain from Charles Wesley's And Can It Be, here is Amazing Grace and Love. Featuring a brand new melody, this

From the hymn collection A Festival of Hymns, this majestic arrangement of Amazing Grace resounds in a dynamic arrangement for choir, keyboard, and optional orchestra. The congregation can

This stirring setting of the well-known hymn by Charles Wesley will be meaningful to both choir and congregation. An independent organ accompaniment supports fine choral writing. The last verse soars with a

This combination pairs a text from Isaac Watts with the spirited tune MARCHING TO ZION from William Walker's Southern Harmony. An energetic and rhythmic precision are essential for this anthem – it

Here's a grand processional with flexible options for use throughout the church year. Begin the year by using the Advent text; then bring the piece out again to celebrate Palm Sunday in festive procession,

Incorporating theologically rich text, this accessible work for choirs of any size is sure to inspire. At the Name of Jesus is written with the 500th anniversary of the Reformation in mind, using

This wonderfully catchy sea-shanty-inspired setting lends a nautical feel to John Newton's text: "Be gone, unbelief, my Savior is near ... with Christ in the vessel, I smile at the storm."  Optional

This stunning panoramic setting of the timeless and inspiring hymn begins and ends quietly with independent lines in the four voice parts and covers the entire spectrum dynamically. The high-voice descant