When we get to heaven we would all love to hear God speak the words “Well done!” This song challenges us to be faithful to our task to share the gospel and to show God's love to everyone. Cindy Berry's powerfulanthem Faithful Servant sings of just such a reward and of the ongoing need to do unto others as the Lord would have us do. Commissioned in celebration of 100 years of ministry by the First Baptist Church of Lawton Oklahoma this emotional ballad should be the theme song for every church and the heartfelt desire of every Christian. Truly inspiring!

This collection of Rummel's J.S. Bach 'adaptations' for the Piano presents twelve titles from the original twenty-five originally published by J & W Chester between 1922 and 1938, demonstrating a range of styles from the contemplative Liebster Jesu, Wir Sind Hier to the uninhibited Sturze zu Boden. A close friend of Debussy, Rummel belonged to a younger generation of leading composers, leading a trend away from previous Keyboard transcribers, established by Busoni, Liszt, Reger and others who concentrated on adapting Bach's Organ works rather than the Vocal music. <br>This vibrant collection is suitable for intermediate to advanced pianists but will be of interest to all who enjoy Bach's music for Keyboard. <br>Born in Berlin to a diversely creative family, Walter Rummel (1887 - 1953) was surrounded by art and music from an early age. He came from a pedigree of distinguished musicians, his family home a favoured meeting place for musicians and artists alike. His great grandfather, Christian Rummel (1787 - 1849) was director of the court orchestra at Wiesbaden for Duke Wilhelm of Nassau and his maternal grandfather, Samuel Morse (1791 - 1892), the American painter and inventor of the telegraph. / [J.S. Bach Adaptions: Piano Transcriptions By Walter Rummel] / Classique / Partition /

The Secret Language of Film Music-Today musical composition for films is more popular than ever. In professional and academic spheres media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music and remarkably only a meager few actually allow readers to see the music itself while none of them examine landmark scores like Vertigo  To Kill aMockingbird  Patton  The Untouchables or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music.This is the first book since Roy M. Prendergast's 1977 benchmark  Film Music: A Neglected Art to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture.The core thesis of Scoring the Screen is that music for motion pictures is indeed a language developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages it exists primarily to convey meaning. To quote renowned orchestrator Conrad Pope (who has worked with John Williams Howard Shore and Alexandre Desplat among others): “If you have any interest in what music 'means' in film get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today.”