Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1291577 By Michael Lining. By Words: Aurelius C. Prudentius (Tr. by John M. Neale / Music: Plainsong, 13th c. Arranged by Lyndell Leatherman. Christian,Christmas,Religious,Sacred. Score. 2 pages. Leatherman Music Services #882194. Published by Leatherman Music Services (A0.1291577). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1292531 By The Choir at King's College, Cambridge 2008. By Words: Anonymous (Tr. Edith M.G. Reed) / Music: Trad. Polish carol. Arranged by Lyndell Leatherman. Christian,Christmas,Religious,Sacred. Score. 2 pages. Leatherman Music Services #883083. Published by Leatherman Music Services (A0.1292531). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

String Trio - Level 3 - Digital Download SKU: A0.552111 Composed by Bach-Gounod. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. 10 pages. Jmsgu3 #6120335. Published by jmsgu3 (A0.552111). SchwenckeThere are two popular versions of the Bach-Gounod Ave Maria to consider. Firstly, we have the version that exactly follows the harmonic scheme set forth by J. S. Bach in his Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Secondly, we have the arrangement introduced by the Choirmaster Christian Friedrich Gottlieb Schwencke in 1783 that introduces a controversial added measure designed to intensify the harmony in measure 27. Both versions employ the melody that Charles Gounod provided as an overlay to the Bach harmony. In either case, the convenient 1st & 2nd endings provide options for extended performance. The duration with the repeat runs about 4:50.  This version features the Schwencke measure (ms 27). Ave MariaAve Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals.Bach OverviewJohann Sebastian Bach was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. Bach HistoryBach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Bach StyleIt seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.Bach Revival              Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.

Piano Solo - Level 4 - Digital Download SKU: A0.835450 Composed by Stuart Brown. Concert,Contemporary. Score. 12 pages. Stuart Brown Music #2859967. Published by Stuart Brown Music (A0.835450). This is not your typical nocturne. This is night as it really is for many people: a time of restlessness, of anxiety, in which you lie awake or even feel the need to get out of the house for a while. This music is for all of those nights when you wonder what on earth is happening to the world around you, when you feel troubled by the contradictions between you and the world, when you dread the morning news of the results of an election or referendum; when you just want to shout at the world, I'm out of here ... imagine a night in which you need to step outside to gather your thoughts. You feel the chill of the night air as you stand gazing up at the sky. As clouds move above, you turn over in your mind the things that are troubling you. Gradually you begin to see more clearly the difference between the things you cannot change and those that you can; and with that realisation comes serenity and finally you are able to sleep.The composer, who is a passionate believer in unity rather than division, wrote this music three days after Britain's 2016 referendum on its continued membership of the European Union, reflecting his feelings about the outcome. This is, therefore, as deeply personal a piece of music as you'll get. Include it in a program and it will help to put the rest of the program into perspective.The music itself demonstrates that nonatonic and octatonic modes of limited transposition can be used to create melodies and harmonic progressions that combine tension with great beauty. At notated tempi the work lasts just under ten minutes. It is of advanced intermediate difficulty, the main challenges for the player being the complex modality and the shifting rhythms. The sound file provided here is the composer's own live performance, recorded on Saturday, September 10th, 2016. It is possibly appropriate for high school performance: students who are interested are welcome to get in touch with the composer via www.facebook.com/StuartBrownComposer/

Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax.  Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.  

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1433956 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic,Standards. 86 pages. Jmsgu3 #1014184. Published by jmsgu3 (A0.1433956). BACH: Partita No. 5 BWV 829 Contents: Praeambulum, Allemande, Courante, Aria, Sarabande, Menuet, Passepied, Gigue. Bach's Partita No. 5 in G major, BWV 829, is an essential work for several reasons: The Partitas, including BWV 829, were among the last keyboard suites composed by Bach and are considered his most technically demanding. They were published individually starting in 1726, then collected together as Clavier-Übung I in 1731, the first of Bach's works published under his direction. Partita No. 5 in G major, BWV 829, is particularly notable for its free-ranging structure, unlike the strictly organized English and French Suites. Additionally, the tonalities of the six Partitas form a deliberate sequence of intervals going up and down, with Partita No. 5 in G major completing this tonal scheme. This intervallic sequencing suggests Bach carefully structured the collection as a cohesive whole. Finally, Partita No. 5 is considered an exercise in spiritual delight for its technical demands and expressive qualities. It is one of the repertoire's most famous and challenging keyboard suites.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1292186 By Sarah Brightman. By Words: Mary M. MacDonald (tr. by Lachlan MacBean) / Music: Trad. Gaelic melody. Arranged by Lyndell Leatherman. Christian,Christmas,Religious,Sacred. Score. 2 pages. Leatherman Music Services #882774. Published by Leatherman Music Services (A0.1292186). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1407305 By Gaither Homecoming. By Words & Music: James M. Black. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #989982. Published by Leatherman Music Services (A0.1407305). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano, electronic keyboard, or organ solos or duets.•Chord symbols included as a service to classical guitarists.•Smooth voice-leadings, making the arrangements ideal for solo/prelude use on electronic keyboards–for example, using the piano/strings setting•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I, available here: https://www.alfred.com/best-loved-hymns-i/p/98-FJH2023/************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Double Bass,Drum Set,Percussion,Piano and Keyboard,Tenor Saxophone - Level 5 - Interactive Download SKU: A0.1227644 Composed by Reese Rosbrook. This edition: Interactive Download. Jazz. 10 pages. Duration 149. Reese_Rosbrook #6P4oLzKV6tnK36zxmQL5n3. Published by Reese_Rosbrook (A0.1227644). Key: Ab major.It's been a while since I've made a jazzy piece, and being inspired from a recent trip to New York City really brought the jazz out of me. This one is super special, because it describes what life is like in the city. The A section is your common stroll, let's say through Central Park or down the block. The beat never stops with anyone. Everyone just keeps walking, and this constant bass line represents that. The B section represents the unexpected. You decide to walk through the subway, encountering a man playing tunes on a funky guitar. The weird chords and rhythms emphasize the curiosity of the music you're hearing. And finally, the C section represents the city lights. Beautiful, aren't they? Yet, unusual at the same time, represented by the 7/4 time signature. (Which was my first time using that time signature, how do you think I did?) I had fun writing this. I'm currently working on a research paper on the Origins of Jazz, and it kind of got me into a Dave Brubeck mood. Thanks for listening! -Reese.

Organ - Level 3 - Digital Download SKU: A0.1307164 Composed by James M. Guthrie. 21st Century,Chamber,Contemporary,Contest,Festival,Historic. Score. 3 pages. Jmsgu3 #896418. Published by jmsgu3 (A0.1307164). Lili of St. Luke'sbyFran OlsenIn 1990, a small black and white spotted dog, who had been found wandering, abused and sick in Surry County, Virginia, was scheduled to be put down by the Surry SPCA as unadoptable.  Three placements had failed because the young female was too afraid of the people.  Her last chance was Richard Lee Austin, curator of Historic St. Luke's Church in Smithfield, Virginia.  Austin had reluctantly agreed to look at the small spoodle.  He had just lost a beloved Pekingese of 18 years and did not want to go through the pain of another loss.  Lili, however, immediately seemed to know that this was her person, came directly to him and won his heart.  It was a mutual love affair.Lili went eagerly to work with Dick at the Gift Shop of Historic St. Luke's Church in Smithfield, Virginia, for the next 11 years.  She was gracious and never intrusive with the visitors.  Small children were able to approach Lili without fear.  She seemed to understand that she needed to be quite still with them.In 2000, Lili became the star of her own book, Lili of St. Luke's:  The Blessing of the Animals.  Written by Fran Olsen, a volunteer at the church, and illustrated by Buttons Boggs, the charming book tells the story of Lili's desire to go to church.  The animals in the church yard scoff at her.  She finally succeeds in going to church for the annual Blessing of the Animals service which commemorates the Feast Day of St. Francis of Assisi.  Since the book was published many children have come to the church to have their picture taken with Lili.Mrs. Olsen, who is also the publisher, has donated a dollar from the sale of each book to be shared with Historic St. Luke's Church and three area humane societies with which Lili has been associated.  Contributions in the first six months of publication were $1200.Lili died on June 7, 2001, from cancer.  A week before she died, she made a personal appearance at a local elementary school.  As always, she was gracious and gentle, even though later it was apparent that she was deathly ill.  A bronze statute is planned to honor the gentle spoodle and will be placed at the church so children can continue to have their picture taken with her.  This elegy was commissioned for performance at the annual Blessing service.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1400375 By Gospel Music Hymn Sing at Lee University. By Words: Herbert Buffum / Music: D. M. Shanks. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #983591. Published by Leatherman Music Services (A0.1400375). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano, electronic keyboard, or organ solos or duets.•Chord symbols included as a service to classical guitarists.•Smooth voice-leadings, making the arrangements ideal for solo/prelude use on electronic keyboards–for example, using the piano/strings setting•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I, available here: https://www.alfred.com/best-loved-hymns-i/p/98-FJH2023/************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1293500 By Angel City Chorale. By Words & Music: John Henry Hopkins, Jr. Arranged by Lyndell Leatherman. Christian,Christmas,Religious,Sacred. Score. 2 pages. Leatherman Music Services #883986. Published by Leatherman Music Services (A0.1293500). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.This is more accurately categorized as an Epiphany carol. However, Sheet Music Plus doesn't provide that option, so I'm mentioning it here. :-)If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.