Thine is the Glory

Thine is the Glory
Solo Settings with Keyboard
by Douglas Smith
for Flute and Keyboard

Flute Part only.  Accompaniment sold separately : Thine Is The Glory Piano Accompaniment

Contents:
Thine Is the Glory (Maccabeus) – George F. Handel
Jesus, Lover of My Soul (Aberystwyth) – Joseph Parry
What Wondrous Love Is This (Wondrous Love) from William Walker's Southern Harmony
In Heavenly Love Abiding (Nyland) – Finnish Hymn Melody
Saw Ye My Savior (Saw Ye My Savior) – American Folk Ballad
Hark! The Voice of Jesus Calling (Ellesdie) – Attributed to W.A. Mozart
Savior, Like a Shepherd, Lead Us (Bradbury) – William B. Bradbury
Come, Ye Sinners, Poor and Needy (Beach Spring and Arise) – Traditional American Melodies
Higher Ground (Higher Ground) – Charles H. Gabriel
O, Come, O Come, Emmanuel (Veni Emmanuel) – Plainsong, adapted by Thomas Helmore

Foreword:
      The sequence of texts here seems a bit out of order. First, the title piece, “Thine Is the Glory,” expresses Christ's resurrection, and the final selection, “O Come, O Come Emmanuel,” voices the yearning of the Hebrew people for his advent. Most of the titles and texts have to do with Christ, and our various relationships with him. The musical treatments are designed to dramatize those relationships in sound. 
      In the instrumental solo parts are found several optional virtuoso sections, most of which embellish words of joy or victory. As such, they should add to, rather than detract from, authentic worship. It should be noted that these descant-like passages do not appear in the keyboard score, and so the keyboardist must continue, with added determination, playing the written part during phrases wherein the instrumental soloist is deviating from the vocal line.
      Inasmuch as the instrumental solos carry the same basic melodies as those of the vocalist, great care has been taken to utilize emotional characteristics of each through register, dynamics, and certain muting effects. Consequently, the listener should be able to absorb the essence of each picee whether it is sung or played. 
      A word about the keyboard part: organ registrations in this collection merely represent well-advised suggestions. The facts are that 1) organs are sometimes great and sometimes small, 2) rooms are sometimes acoustically live and sometimes not so life, and 3) an experienced organist (the preferred type for all these settings!) will not ordinarily accompany a flute in the same manner as a trumpet. Therefore, each organist must feel free to examine these suggestions and then choose a registration that befits the situation. 
      In both Wondrous Love and Savior, Like a Shepherd Lead Us, two versions of accompaniment (A and B) are provided. The parts are labeled clearly for the facilitation of the accompanist.