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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.1369221

Composed by John W. Fisher. Christian,Contemporary,Instructional,Praise & Worship,Sacred. Score. 2 pages. John Fisher #953572. Published by John Fisher (A0.1369221).

Do Not Be Anxious is a sermon song based on the homily delivered by Dr. Paul de Jong at First Presbyterian Church Fort Myers, Florida on Januray 21, 2024 using the text of Mark 13: 1-37. The tune arranged by John W. Fisher is the Negro Spiritual Nobody Knows the Trouble I've Seen. The  lyrics are by John W. Fisher, giving a lesson on The Sermon on the Mount of Olives. As I was taking notes on the sermon, which stressed the idea that nobody knows when the last day shall come, it came to me the melody of the classic spiritual.  Guitar chords are given for the accompaniment of this new hymn, plus a rudimentary bass piano accompaniment. This piece is didactic, as sermon songs should all be. It is steeped in theology, as opposed to so many of the contempory worship songs.

Do Not Be Anxious
Piano, Voix et Guitare

$7.00 6.42 € Piano, Voix et Guitare PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.1044425

By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425).

I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.

We Must Learn to Walk Together
Piano, Voix et Guitare
Lisa Waites
$3.99 3.66 € Piano, Voix et Guitare PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download

SKU: A0.1222866

By The Fifth Dimension. By Galt Macdermot, Gerome Ragni, and James Rado. Arranged by John Fries. 20th Century,Broadway,Musical/Show,Pop,Standards. Score. 2 pages. John Fries #819108. Published by John Fries (A0.1222866).

Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  The song spent six weeks at number one on the US Billboard Hot 100 pop singles chart in the spring of 1969 and was eventually certified platinum in the US by the RIAA.  Instrumental backing was written by Bill Holman and provided by session musicians commonly known as the Wrecking Crew.  As Holman tells it, the recording can be traced to an incident in which 5th Dimension lead singer Billy Davis Jr. left his wallet in a New York City cab; the man who found the wallet was involved in the production of Hair and invited the group to see the show:  After they'd seen it I received a phone call in which they were all talking over one another, saying 'We've got to cut this song Aquarius.  It's the best thing ever.'.

Aquarius
Piano, Voix et Guitare
The Fifth Dimension
$4.99 4.58 € Piano, Voix et Guitare PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download

SKU: A0.1223448

By The Fifth Dimension. By Galt Macdermot, Gerome Ragni, and James Rado. Arranged by John Fries. 20th Century,Broadway,Musical/Show,Pop,Standards. Score. 2 pages. John Fries #819641. Published by John Fries (A0.1223448).

Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  The song spent six weeks at number one on the US Billboard Hot 100 pop singles chart in the spring of 1969 and was eventually certified platinum in the US by the RIAA.  Instrumental backing was written by Bill Holman and provided by session musicians commonly known as the Wrecking Crew.  As Holman tells it, the recording can be traced to an incident in which 5th Dimension lead singer Billy Davis Jr. left his wallet in a New York City cab; the man who found the wallet was involved in the production of Hair and invited the group to see the show:  After they'd seen it I received a phone call in which they were all talking over one another, saying 'We've got to cut this song Aquarius.  It's the best thing ever.'.

Aquarius
Piano, Voix et Guitare
The Fifth Dimension
$4.99 4.58 € Piano, Voix et Guitare PDF SheetMusicPlus






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