A Spiritrax.com original contemporary praise band worship song about singing God's praises. Main themes include grace, freedom, love, praise.
G
A country version of the classic hymn, with acoustic guitar, upright bass, piano, dobro, and drumset.
F A Eb
A bounding, joyous SATB chorus, movement 26 of Handel's Messiah. Ends with a slow quiet coda. Orchestral direction follows the London Philharmonic recording.
F
A full-blown fugue for SATB chorus, in grand Renaissance style. Handel doubles all the choral parts clearly in the orchestra, making this an easy fugue to sing. Movement 25 of the Messiah.
Fm
A powerful, strong SATB choral work, movement 24 of Handel's Messiah. In only 19 measures, the choir sings powerful unison rhythms, soft contrapuntal entrances, and a forceful antiphonal ending. Beautiful and recognizable.
Fm
This quiet alto aria about Christ's generosity towards his abusers is the B section of movement 23 of the Messiah. It was recorded separately so that it can be used alone, as a short and simple aria, or as a bridge to "He Was Despised" (Spiritrax 1208) as per Handel's original instructions.
Cm
A slow, moving aria for alto, Movement 23 of Handel's Messiah, describing Christ's sorrows. Strings gently weep in the accompaniment. As the A section is over five minutes in length, Handel's instructions to continue with a bridge and then repeat the A section in its entirety are rarely followed. This recording ends, like most, at the end of the A section; the bridge is available separately as Spiritrax 1209, "He Gave His Back to the Smiters".
Eb
This slow minor-key SATB chorus is Movement 22 of Handel's Messiah, opening the second part. Beautiful and dramatic canonic entrances, with all the choral parts clearly mirrored in the orchestra.
Gm
This grand and peaceful SATB chorus is movement 21 of Handel's Messiah. The last movement in Part 1, it is usually the last song before intermission in performances of the full work. Gentle and easy to sing with a triumphant ending, with a text simple enough for anyone to understand.
Bb
A stirring arrangement of the USA's national anthem. Natural slowing at the end gives a singer room to show their stuff. Full orchestra captures the drama of the words, with strings and harp in the quieter sections, adding horns and winds as it builds energy, and climaxing with trumpets and marching drums.
Bb G C Ab F
A dramatic orchestral rendition of the USA's most thoughtful and beautiful patriotic song, alternately somber, strong, and full of national pride. Easy arrangement to sing along with. Includes two verses, with the usual stretching of the last phrase at the very end.
Ab F C
An exciting rendition of the American patriotic song by Irving Berlin. Full orchestra with a patriotic marching flavor, led in by gospel piano. Two verses, with the second modulating up a half step. Perfect for Labor Day, July 4th, Memorial Day, etc.
F Eb Ab
Movement 20 in Handel's Messiah is a gentle, flowing double aria for alto and soprano. The text describes how Jesus will protect his people. The alto sings the first half in F, and then the soprano takes over in Bb for the second half. Simple and beautiful. Could be done by one singer with a large range, but really perfect to feature two.
F
Movement 19 of Handel's Messiah is a brief alto recitative, reciting the miracles that will occur when Jesus is born. Accompanied by bass, cello, and harpsichord.
Am
Contemporary worship band arrangement of the popular praise and worship song How Great Is Our God, originally written and performed by Chris Tomlin. Builds through to the final chorus, and ends with a section for almost a capella singing or meditation. This version is lowered to G Major to assist with congregational singing.
G
