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--INSTRUMENTS--
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29
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62
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50
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35
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23
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21
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2
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2
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1
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1
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1
+ 5 instrumentations
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19
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9
Guitare
7
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5
Ukulele
5
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2
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2
4 Guitares (Quatuor)
1
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1
2 Guitares (duo)
1
+ 5 instrumentations
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Voix
Chorale SATB
17
Chorale SSAA
6
Chorale 3 parties
6
Voix seule
3
Chorale TTBB
3
Voix haute
2
Pack Instrumental pour Chorale
1
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17
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6
Clarinette
6
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4
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4
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3
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2
Clarinette (partie séparée)
2
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2
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2
3 Clarinettes (trio)
1
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1
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1
Quintette de Clarinettes: 5 clarinettes
1
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1
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1
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1
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1
Flûte et Guitare
1
Clarinette, Basson (duo)
1
Saxophone Tenor et Piano
1
Flûte traversière et Piano
1
Hautbois, Basson (duo)
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
2 Clarinettes (duo)
1
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17
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15
Trompette
6
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6
Trombone
5
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3
Tuba
3
Cor
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
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2
2 Trombones (duo)
1
Cor et Piano
1
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1
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Violon
8
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6
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5
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5
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3
Alto, Piano
2
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2
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2
Alto seul
2
Contre Basse
2
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2
Trio à Cordes: 2 violons, violoncelle
1
Alto et Harpe
1
Trio à Cordes: violon, alto, violoncelle
1
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1
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67
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18
Orchestre
16
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3
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3
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3
Orchestre à Cordes
3
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2
Batterie
2
Piano et Orchestre
1
Fanfare
1
Marimba
1
Vibraphone
1
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--INSTRUMENTS--
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AUTOHARPE
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BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
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CORNET
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Do Nothin
Alto, Piano
Partitions à imprimer
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Penitent Thief, The (for viola and piano)
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Alto, Piano
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AVANCÉ
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #64...
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Piano,Viola - Level 5 - SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #644666. Published by David Sterrett Music (A0.1039822). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Piano as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99
A Night In Tunisia
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Alto, Piano
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INTERMÉDIAIRE
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.747027 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 p...
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Piano,Viola - Level 3 - SKU: A0.747027 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899685. Published by Keith Terrett (A0.747027). A great sounding arrangement of A Night in Tunisia arranged for Viola & Piano, Violists will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99
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