His death I live again - Partitions musicales à imprimer

18 partitions trouvées

Brass Ensemble - Level 3 - Digital Download

SKU: A0.971680

Composed by Bob Kauflin and Drew Jones. Arranged by The Beat Sellery. Contemporary. Score and parts. 23 pages. The Beat Sellery #5996931. Published by The Beat Sellery (A0.971680).

The Gospel Song communicates the love of God expressed in Jesus Christ in just four lines.

Holy God, in love, became Perfect Man to bear my blame. On the cross He took my sin. By His death I live again.

This four-part arrangement for brass retains the original melody in a way that could be used with solo or congregational singing, or by itself as an instrumental. The arrangement begins in the original key of C and modulates up to Eâ™ for the second and third repetitions.

The trumpet 1 part is difficult, but it contains an alternate part for the most challenging section. The other parts are all at an intermediate level.

The Gospel Song Ensemble de cuivres
His death I live again

This four-part arrangement for brass retains the original melody in a way that could be used with solo or congregational singing, or by itself as an instrumental
$12.99 12.36 € Ensemble de cuivres PDF SheetMusicPlus

Choral Choir (TTBB) - Level 2 - Digital Download

SKU: A0.1270160

By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160).

For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.

Wanna hear something? You know that Indians never ate clams. They didn't have linguini!
And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.

Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. â€˜Is that you kids?â€™ It ain't! My god! It's this humongous, giant clam!

Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the shipâ€¦ You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.

I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.

You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.

So Americans built forts. Them forts --you knowâ€”them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?

So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.

Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.

He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.

That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.]

Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.

You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...

I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.

Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For â€¦he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.

The Story Of Reuben Clamzo & His Strange Daughter Chorale TTBB
Arlo Guthrie
$3.99 3.8 € Chorale TTBB PDF SheetMusicPlus

Small Ensemble - Digital Download

SKU: A0.976717

Composed by Robert Myers. Contemporary,Easter,Sacred. Score and parts. 67 pages. WheatMyer Music #4794639. Published by WheatMyer Music (A0.976717).

It Is Not Death to Die is a new setting of French poet Henri Abraham CÃ©sar Malan's Non, ce n'est pas mourir as translated by George Washington Bethune and adapted for this work. Why this text? It first came to my notice shortly after the passing of Billy Graham, who was known to paraphrase D. L. Moody,

Someday you will read or hear that Billy Graham is dead. Donâ€™t you believe a word of it. I shall be more alive than I
am now. I will just have changed my address. I will have gone into the presence of God.

Graham's bold proclamation and Malan's poetry motivated me to focus anew on the resurrection, re-remembering it as the pivotal element of the Christian faith. For if there is no resurrection, Paul says in 1 Cor 15, our faith is useless. But Christ has indeed been raised from the dead! Unfortunately, singing about heaven has, perhaps, been neglected of recent decades. We seem to have focused more on the already to the detriment of the not yet. But it is important to remember that this life is not all there is! Quoting Paul again, the sufferings of this present time are not worth comparing with the glory that is to be revealed to us (Rom 8:18). Yet, if Christ delays, the grim inevitability of our transition into eternity is a certain experience we all face. Malan's poetry so poignantly and eloquently captures this tension that it compelled me to compose a fresh musical setting that attempts to captures the mixture of dread and hope borne out in the acclamation that death is swallowed up in victory! I pray that this setting aids the Church to remember the great hope and promise Christ has granted us:

O Death, where is your victory?
O Death, where is your sting?
_______________________________________________________________________________________________

The music opens with a C# diminished chord in a very still and somber texture reflective of grief. The text is introduced with the first of two main motives, a rising 4-note outline of B minor in a triple repetition of It Is Not Death. As each stanza proceeds the music concludes on the second motive, a 5-note descending span of a minor 7th in Bb Lydian. The energy and mood of the music gradually shift over the five stanzas, as the focus moves from this life to the next; the texture thickens, the harmony expands, and the dynamic grows into the musicâ€™s pinnacle on reign with You on high! The music closes on a reprise of the opening section, simultaneously mindful of our mortality and our eternity.

Available with orchestral (this version) or piano accompaniment, It Is Not Death to Die is a fitting close to the Easter season, or is suitable for Ascension Sunday, a funeral or memorial service, or any time in the church year to remind Christians of the central hope of our faith, eternal life in Christ.

Robert Myers
S.D.G.

Orchestration
2 1 1 1 1
2 2 2 1 1
Timp
Glock
Perc
Mark Tree, Sus Cym, Crash Cym, Snare, Bass Drum, Mid Tom, Triangle, Tam Tam
Piano
Strings

It Is Not Death to Die - Orchestration
$75.00 71.35 € PDF SheetMusicPlus

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.976710

Composed by Robert Myers. Christian,Concert,Contemporary,Easter,Sacred. Octavo. 10 pages. WheatMyer Music #4767525. Published by WheatMyer Music (A0.976710).

It Is Not Death to Die is a new setting of French poet Henri Abraham CÃ©sar Malan's Non, ce n'est pas mourir as translated by George Washington Bethune and adapted for this work. Why this text? It first came to my notice shortly after the passing of Billy Graham, who was known to paraphrase D. L. Moody,

Someday you will read or hear that Billy Graham is dead. Donâ€™t you believe a word of it. I shall be more alive than I
am now. I will just have changed my address. I will have gone into the presence of God.

Graham's bold proclamation and Malan's poetry motivated me to focus anew on the resurrection, re-remembering it as the pivotal element of the Christian faith. For if there is no resurrection, Paul says in 1 Cor 15, our faith is useless. But Christ has indeed been raised from the dead! Unfortunately, singing about heaven has, perhaps, been neglected of recent decades. We seem to have focused more on the already to the detriment of the not yet. But it is important to remember that this life is not all there is! Quoting Paul again, the sufferings of this present time are not worth comparing with the glory that is to be revealed to us (Rom 8:18). Yet, if Christ delays, the grim inevitability of our transition into eternity is a certain experience we all face. Malan's poetry so poignantly and eloquently captures this tension that it compelled me to compose a fresh musical setting that attempts to captures the mixture of dread and hope borne out in the acclamation that death is swallowed up in victory! I pray that this setting aids the Church to remember the great hope and promise Christ has granted us:

O Death, where is your victory?
O Death, where is your sting?
_______________________________________________________________________________________________

The music opens with a C# diminished chord in a very still and somber texture reflective of grief. The text is introduced with the first of two main motives, a rising 4-note outline of B minor in a triple repetition of It Is Not Death. As each stanza proceeds the music concludes on the second motive, a 5-note descending span of a minor 7th in Bb Lydian. The energy and mood of the music gradually shift over the five stanzas, as the focus moves from this life to the next; the texture thickens, the harmony expands, and the dynamic grows into the musicâ€™s pinnacle on reign with You on high! The music closes on a reprise of the opening section, simultaneously mindful of our mortality and our eternity.

It Is Not Death to Die Chorale SATB

$2.25 2.14 € Chorale SATB PDF SheetMusicPlus

Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 3 - Digital Download

SKU: A0.1366087

Composed by Melody Scottish Gaelic - Lyrics Charles Wesley. Arranged by Connie Boss. Holiday,Religious,Sacred,Wedding. 10 pages. Connie Boss #950448. Published by Connie Boss (A0.1366087).

The melody to this Celtic Easter Alleluia is fromTaladh Chriosda - Lyrics are from Christ the Lord is Risen Today. I thought this made a nice Easter song to combine the two public domain songs. This version has an optional accent instrumental part for either flute or violin or cello. The parts are included with this purchase

questions or requests, email cdboss@cvalley.net

Lyrics:
Celtic Easter Alleluia

Â

Alleluia, Alleluia, Alleluia, Alleluia

Â

1. Â Christ the Lord is risâ€™n today
Sons of men and angels say
Raise your joys and triumphs high,
The heavâ€™ns, and earth, reply

Alleluia, Alleluia, Alleluia, Alleluia

Â

2. Â Lives again our glorious King
Where, O death, is now thy sting?
Once He died our souls to save,Â
His victory, Oâ€™re the grave?Â

Alleluia, Alleluia, Alleluia, Alleluia

Â

3. Â Loveâ€™s redeeming work is done,
Fought the fight, the battleâ€™s won,Â
Death in vain forbids His rise,Â
Christ opened His paradise,.

Celtic Easter Alleluia Duet flute or violin or cello and Piano
$6.99 6.65 € PDF SheetMusicPlus

Alto Voice,Piano Accompaniment,Soprano voice - Level 2 - Digital Download

SKU: A0.1366071

Composed by Melody Scottish Gaelic - Lyrics Charles Wesley. Arranged by Connie Boss. Easter,Holiday,Religious,Sacred. 6 pages. Connie Boss #950433. Published by Connie Boss (A0.1366071).

The melody to this Celtic Easter Alleluia is fromTaladh Chriosda - Lyrics are from Christ the Lord is Risen Today. I thought this made a nice Easter song to combine the two public domain songs.Â

questions or requests, email cdboss@cvalley.net

Lyrics:
Celtic Easter Alleluia

Â

Alleluia, Alleluia, Alleluia, Alleluia

Â

1. Â Christ the Lord is risâ€™n today
Sons of men and angels say
Raise your joys and triumphs high,
The heavâ€™ns, and earth, reply

Alleluia, Alleluia, Alleluia, Alleluia

Â

2. Â Lives again our glorious King
Where, O death, is now thy sting?
Once He died our souls to save,Â
His victory, Oâ€™re the grave?Â

Alleluia, Alleluia, Alleluia, Alleluia

Â

3. Â Loveâ€™s redeeming work is done,
Fought the fight, the battleâ€™s won,Â
Death in vain forbids His rise,Â
Christ opened His paradise,.

Celtic Easter Alleluia Duet and Piano
$5.50 5.23 € PDF SheetMusicPlus

Small Ensemble Piano,Vocal,Voice - Level 5 - Digital Download

SKU: A0.978194

Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265333. Published by Call of the Wild Publishing (A0.978194).

THREE LABE SONNETS for mezzo-soprano and piano is a collection of settings by Louise LabÃ©, (1520-1566), a female French Renaissance poet. LabÃ© was fluent in Latin and Italian, and a trained musician. She wrote twenty-four sonnets.
TRANSLATION
Sonnet VIII - I Live, I Die I live, I die, I burn with fire, I drown. It matters very little what I feel; All life is now too real, now too surreal; Joy comes and endless boredom weighs me down, And suddenly I laugh and then I cry; With grief and bliss Iâ€™m weeping for the past; Good feelings go away and yet they last, And suddenly I bleed and then I sigh. Thatâ€™s how it goes. Strange, ever changing love Has worn me out. I wish I were removed From such a star-crossed fate! I need a truce With Lady Luck. Again and yet again, Her wheel is spinning madly to produce This wanton, wild, intense, exquisite pain.

Sonnet XVIII - O Kiss Me O kiss me, kiss me, re-kiss me, and kiss! Be reckless, impudent, hot-headed, bold! O woo me! Pursue me! Kiss me like this: And Iâ€™ll give back fifty as hot as red coals. There, is it hurting? Come, letâ€™s soothe the pain. Iâ€™ll give you sixty others just like these. And so weâ€™ll kiss again and then again, While we enjoy each other at our ease. I know thereâ€™s fire within your unshaped clay, And so, allow me, love, to share my happiness: O letâ€™s make burning passion rule today. Iâ€™m fond of doing what I love to do, Yet cannot feel supreme delight unless I have my other wild encounters, too.

Sonnet XIV - As Long As Tears As long as tears can well up in my eyes Iâ€™m saddened that our nights are marked by pain. And now my voice expresses once again A plaintive melody Iâ€™ve improvised. As long as I can pluck the lute, I try To sing about your charms in my refrain. As long as I can think, my fevered brain Is burning with an ardent zeal. I cry And cry a hundred thousand times for you. But when I feel my whirling thoughts grow still, And when both hand and voice wonâ€™t work their will, Because your treachery is piercing through My heart, Iâ€™ll know thereâ€™s just one final way. Iâ€™ll ask for Death to darken that bleak day.

"Three Labe Sonnets" for mezzo-soprano and piano
$4.50 4.28 € PDF SheetMusicPlus

Piano Solo - Digital Download

SKU: A0.976849

Composed by Monica Bergo. Children,Contemporary. Score. 10 pages. Monica Bergo #3236735. Published by Monica Bergo (A0.976849).

2017 Holiday Contest Entry

GYPSY DANCE
And it is another day that passes and goes
I know that one the same will not return
I feel restless, I lose my colors
Invaded by the gray of the outside world

Need love
And that sense of emptiness
Suspended in limbo, I move in slow motion
invent a fairy tale that time which was
I miss the affection of my tribe

I wear a dress from 1000 colors
Weave hair with grass and flowers
Again gypsy in this other my life
It is not just a fairy tale, it is a never ending story

Between the elves, the fairies and gypsy violins
In the woods near to ancient kingdoms
I feel beautiful too, happy and accepted
here's the trivial woman who has transformer

dance gypsy cries inside of me
It is a fire that melts this cold there
is freedom
it is desire to live
It is dances gypsy and Iâ€™m the queen

Again this decomposes my identity
Nemesis goes crazy and unleash
My spirit
Which is young and free
I mud and Diamond
Matte and shining

I alpha female of a group of witches
Unleashed storms, threats suspended
Then a rainbow of many colors
Here the rain is over, wake up the flowers

We dance happy in this my kingdom
In a circle, spell of a beautiful dream
Another my world I will not return
If Iâ€™m not anyone
Leave me alone

I will not return
In this tale, I will hide
A still picture
On the surface I will be
Turn the page and I animet

and the end will be
Disappearance Monica, in the world here
But in this my kingdom forever I will live
From a cover I will smile

Iâ€™m not gypsy, not even Queen
but inside me I remained a child
Gypsy violins do not sound
I miss the affection of my tribe

and I go back to that time when everything was empty
dream and fly was my only game
I'm not so bad in the world here
in the shoes I wear in my reality

dance gypsy cries inside of me
It is a fire that melts this cold there
is freedom
it is desire to live
It is dances gypsy and Iâ€™m the queen

I tread with joy my but and my if
The inadequacy I do not know what
And yet I know that thrill try
The apparent death, far and distant

The dance gypsy , here,under the moon
Ancient ritual that brings good luck
You will be welcome in my tribe
In this my book, the end can write to you ...

Monica Bergo

Danza gitana Piano seul

$3.99 3.8 € Piano seul PDF SheetMusicPlus

Concert Band - Level 4 - Digital Download

SKU: A0.942434

Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434).

Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870.

The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahmsâ€™ works, has loneliness and alienation as its central themes. Brahmsâ€™ devotion to Clara Schumann, Robert Schumannâ€™s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Claraâ€™s daughter.

In 1869, Brahms spent the summer near the Schumannâ€™s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes.

In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her?

Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goetheâ€™s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heartâ€™s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody.

Goetheâ€™s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness.

The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahmsâ€™ statement that I speak through my music.

The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.html

An English translation of the German text used by Brahms

SOLO

But down there, who is it?

His path loses itself in the bush.

Behind him the branches close.

The grass stands up again.

Desolation surrounds him.

O, who heals the wounds of the one to whom balm has become poison,

who drank hatred of people from the fullness of love?

Once despised, now a despiser.

Secretly he destroys himself in unsatisfying self-seeking.

CHORUS

If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart.

Rhapsody for Concert Band Orchestre d'harmonie
July 16th, Clara noted in her diary that Brahms speaks only in monosyllables
$20.00 19.03 € Orchestre d'harmonie PDF SheetMusicPlus

Full Orchestra - Level 5 - Digital Download

SKU: A0.1518051

By Zsigmond Rosarion. By Zsigmond Rosarion. 21st Century,Christian,Classical,Contemporary. 57 pages. Zsigmond Rosarion #1092214. Published by Zsigmond Rosarion (A0.1518051).

The Valley of the Dry Bones is based off of the chapter in Ezekiel The Valley of the Dry Bones (from the Bible) symbolizes the Israelites' revival and God's power and sovereignty Ezekiel 37:1-6

The hand of the Lord was upon me, and He brought me out by the Spirit of the Lord and set me down in the middle of the valley; and it was full of bones. He caused me to pass among them round about, and behold, there were very many on the surface of the valley; and lo, they were very dry. He said to me, “Son of man, can these bones live?” And I answered, “O Lord God, You know.” Again He said to me, “Prophesy over these bones and say to them, ‘O dry bones, hear the word of the Lord.’ Thus says the Lord God to these bones, ‘Behold, I will cause breath [spirit] to enter you that you may come to life. I will put sinews on you, make flesh grow back on you, cover you with skin and put breath in you that you may come alive; and you will know that I am the Lord.’”

Ezekiel is called by the Lord, and given a vision. Ezekiel is set down in a valley full of bones. This is not some symbolic imagery, but these are literally dead people, long dead. God asks Ezekiel if he believes the bones can come back to life, and Ezekiel says only the Lord knows.

God gives Ezekiel a prophesy concerning all the dead. At a future date, God will cause breath (His Spirit) to enter the bones so that they may come to life. God will use His power (which is always through the Spirit of God) to cause these dead to be resurrected. We know this isn’t symbolic of spiritual death and spiritual life because of the graphic imagery that is used.

The Valley of the Dry Bones Orchestre
Zsigmond Rosarion
$39.99 38.04 € Orchestre PDF SheetMusicPlus

Guitar - Level 3 - Digital Download

SKU: A0.984011

Composed by Steven H. Boothe. Christian,Sacred. Guitar Tab. 13 pages. Boothe Publishing #4360937. Published by Boothe Publishing (A0.984011).

Fourteen year old Joseph Smith went into a grove of trees to pray and ask God for help to know which church was true, and which one he should join. God and His son Jesus Christ appeared to him and spoke to him face to face. With the appearance of God and His son to the boy Joseph Smith, there was once again a prophet on the earth. This event came to be called the first vision. This vision proved to Joseph Smith that God is not dead. God and His son Jesus Christ are alive and love us today. They have not left us alone here in the world to work out our own salvation. The greatest teachers and preachers of our times cannot save us for they are subject to death. Only Jesus Christ could and did break the bands of death. God talks to us today through His prophets. He does not speak to us through those who say He is gone and has left them in charge. The only way to find truth about God is to study His doctrine and then talk with Him. Ask Him if what you are learning is true. With 4,300 Christian religions on the earth today, we can know through revelation from God which is His true church. There can be only one. God told Joseph that He had a great work for him to do. God sent an angel who revealed to Joseph plates of gold. These plates of Gold were records kept by Israelite prophets in ancient America. God brought them to this land of promise before the Jews were carried away captive into Babylon. I know this is true. You can read the Book of Mormon. You can ask God for yourself if it is true. Then you too can know, for God will answer your prayer.

The First Vision TAB Guitare notes et tablatures

$3.99 3.8 € Guitare notes et tablatures PDF SheetMusicPlus

Guitar - Digital Download

SKU: A0.1069964

Composed by Steven H. Boothe. Children,Pop,Sacred. Accompaniment. Duration 215. Boothe Publishing #4633683. Published by Boothe Publishing (A0.1069964).

The First Vision Guitar Minus Vocal
$1.99 1.89 € PDF SheetMusicPlus

Piano - Digital Download

SKU: A0.1069995

Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Sacred. Accompaniment. Duration 231. Boothe Publishing #5984125. Published by Boothe Publishing (A0.1069995).

The First Vision Piano Minus Vocal Piano seul

$1.99 1.89 € Piano seul PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 4 - Digital Download

SKU: A0.1339986

Composed by Kevin G. Pace (ASCAP), Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sacred. 11 pages. Kevin G. Pace #925650. Published by Kevin G. Pace (A0.1339986).

A glorious choral arrangement for Christmas or Easter. Â Music by Kevin G. Pace. Â Text by Krista Mason Pace.

Text:
Great are the words of prophets of oldWho spoke of a King to come as foretold;
A Savior, Redeemer, to rule and to reign;
Taking our sorrow, grief, loss, and pain.
Angels came singing, sent from above
Revealing as promised, our Fatherâ€™s love;
Teaching the world of His plan for all men
That through Godâ€™s own Son, weâ€™d come home again.

Chosen of God, a virgin so fair
Was blessed from on high, a Son she would bear,
And call His name Jesus, for He was the One;
His life to offer, Thy will be done.
Angels came singing, sent from above
Declaring glad tidings, our Fatherâ€™s love;
Shepherds and wise men would reverently bend
For Jesus was born, the Savior of men.

Women did come, their spices prepared;
Still grieving the loss of life thus not spared.
Then, finding the tomb with the stone rolled away
Void of His body, cried in dismay.
Angles came singing, sent from above
Why seek ye the living? Our Fatherâ€™s Love
Rising, thus breaking the death bands to give
A promise of life to all who would live.

Seeking for truth, he knelt down to pray;
Disturbed by the strife of men in his day.
A pillar of light shone around this young boy;
Christ and His Father answered in joy.
Angels came singing, sent from above;
Proclaiming the good news, our Fatherâ€™s love;
Full restoration of truth to the Earth;
That all may rejoice, His gift of great worth.

This Christmas (Easter) day, I ponder anew
His birth, life, and death; my covenants true,
And His resurrection that leads to my own;
Prophets still leading, guiding me home.
Angels are singing, sent from our home
Protecting our children, loved ones who roam.
One day we'll join them to sing in His light.
Heâ€™s coming again in glory and might.

Angels Came Singing, sacred choral music Chorale SATB

$1.99 1.89 € Chorale SATB PDF SheetMusicPlus

Vocal Solo,Voice - Level 4 - Digital Download

SKU: A0.701496

Composed by Kevin G. Pace, Krista Mason Pace. Christian,Christmas,Easter,Praise & Worship,Sacred. 2 pages. Kevin G. Pace #3135415. Published by Kevin G. Pace (A0.701496).

An original hymn. Could be used as a Christmas or an Easter hymn. Text by Krista Pace below.
YouTube video: https://youtu.be/s21oDdYj2Hc

Great are the words of prophets of old

Who spoke of a King to come as foretold;

A Savior, Redeemer, to rule and to reign;

Taking our sorrow, grief, loss, and pain.

Angels came singing, sent from above

Revealing as promised, our Fatherâ€™s love;

Teaching the world of His plan for all men

That through Godâ€™s own Son, weâ€™d come home again.

Chosen of God, a virgin so fair

Was blessed from on high, a Son she would bear,

And call His name Jesus, for He was the One;

His life to offer, Thy will be done.

Angels came singing, sent from above