PARTITIONS GRATUITES :
- I Stand

Choral (Studiotrax CD)

SKU: HL.322548

Composed by Charles H. Gabriel. Arranged by Brad Nix and Jon Paige. Shawnee Sacred. General Worship, Sacred. CD. Duration 275 seconds. Published by Shawnee Press (HL.322548).

UPC: 888680974879. 5.0x5.0x0.151 inches. Arr. Jon Paige/Brad Nix. Hebrews 10:22, I Corinthians 15:57, Romans 8:37.

One of the most requested hymns of the faith is the latest addition to this popular series. Flowing with confidence and power, this solid selection will add meaning to any worship gathering. Crafted to invigorate congregational singing, the choir provides the bookends and a freely harmonized second stanza creates an unforgettable corporate worship experience. An instant classic! Score and Parts (tpt 1-2, tbn 1-2, timp) available as a digital download. Part for Handbells (3 oct.) also available as a digital download.

Arranged by Johnie Dean. For Piano. The FJH Sacred Piano Library. Title include: 'Tis So Sweet to Trust in Jesus; I Surrender All; To God Be the Glory; My Jesus, I Love Thee; Softly and Tenderly; I Am Thine, O Lord; I Stand Amazed in the Presence; Blessed Be the Name; Open My Eyes; and Trusting Jesus. Spiritual. Level: Early Advanced. Book. Published by The FJH Music Company Inc.

Arranged by Teresa Wilhelmi. For Piano. The FJH Sacred Piano Library. Contents include: Great is the Lord; Bless His Holy Name; I Stand in Awe of You; I Worship You, Almighty God; Be Still, My soul; Isn't He?; Shout to the Lord; Exaltation Medley, several interludes and Postlude. Level: Late Intermediate. Book. Published by The FJH Music Company Inc.

Composed by Larry Shackley. Sacred Anthem, General, Reformation. Octavo. Lorenz Publishing Company #10/4895L. Published by Lorenz Publishing Company (LO.10-4895L).

By Rich Mullins. By Rich Mullins and Steve Cudworth. Arranged by Robert Sterling. PraiseSong Choral. General Worship, Sacred. Octavo. 16 pages. Published by PraiseSong

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115611

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas, Epiphany. Single Part, Violin 1. Composed 1729. BWV 156. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.156/11. Published by Carus Verlag (CA.3115611).

ISBN 9790007208776. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.

ATB vocal soli, SATB choir, oboe, 2 violins, viola, basso continuo

SKU: CA.3115614

Cantata for the 3rd Sunday after Epiphany. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Stuttgart Urtext Edition: Bach vocal. Basso continuo. Sacred vocal music, Cantatas, Epiphany. Single Part, basso continuo. Composed 1729. BWV 156. 8 pages. Duration 17 minutes. Carus Verlag #CV 31.156/14. Published by Carus Verlag (CA.3115614).

ISBN 9790007208806. Text language: German/English.

Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.