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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
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MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
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730
Piano & claviers
Piano, Voix et Guitare
395
Piano seul
394
Piano, Voix
105
Piano Facile
72
Instruments en Do
18
Orgue
14
1 Piano, 4 mains
9
Piano Trio: piano, violon, violoncelle
5
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Accompagnement Piano
2
2 Pianos, 8 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano grosses notes
1
Piano (partie séparée)
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 11 instrumentations
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Guitares
Guitare
54
Guitare notes et tablatures
35
Ukulele
7
Basse electrique
6
2 Guitares (duo)
4
4 Guitares (Quatuor)
4
Banjo
2
Paroles et Accords
2
Ensemble de guitares
2
Ligne De Mélodie, (Paroles) et Accords
1
Mandoline, Guitare (duo)
1
Mandoline
1
Guitare, Violon, Violoncelle (trio)
1
+ 8 instrumentations
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Voix
Chorale SATB
101
Chorale 3 parties
32
Chorale TTBB
23
Chorale SSAA
15
Chorale 2 parties
14
Chorale Unison
6
Voix duo
6
Voix Soprano, Piano
5
Voix Baryton, Piano
4
Voix seule
3
Voix Alto, Piano
3
Voix haute
3
Voix duo, Piano
2
Chorale SSATTB
2
Chorale SSAB, Piano
1
Voix Tenor
1
Voix moyenne, Piano
1
Voix Soprano
1
Voix Tenor, Piano
1
+ 14 instrumentations
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Vents
Ensemble de saxophones
65
Quintette de Saxophone: 5 saxophones
59
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
55
Ensemble de Clarinettes
31
Quatuor de Saxophones: 4 saxophones
24
Flûte traversière et Piano
23
Hautbois, Piano (duo)
20
Ensemble de Flûtes
20
Flûte traversière
20
2 Saxophones (duo)
19
Clarinette et Piano
18
Flûte, Hautbois, Clarinette, Basson
14
Saxophone Alto et Piano
13
Clarinette
12
Quintette de Flûte : 5 flûtes
12
Quatuor de Clarinettes: 4 clarinettes
11
Saxophone Alto
10
Saxophone Tenor et Piano
10
2 Clarinettes (duo)
9
Hautbois (partie séparée)
8
Saxophone, Clarinette (duo)
7
Saxophone Soprano et Piano
7
Quatuor de Flûtes : 4 flûtes
7
Cor anglais, Piano
7
Saxophone Baryton, Piano
7
Saxophone Tenor
6
2 Flûtes traversières (duo)
6
Flûte et Guitare
6
Clarinette, Violon (duo)
5
Flûte à bec Soprano
5
Saxophone (partie séparée)
4
Clarinette, Trompette (duo)
4
3 Saxophones (trio)
4
Flûte, Clarinette (duo)
4
Clarinette Basse, Piano
4
Clarinette et Alto
3
2 Hautbois (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Hautbois, Clarinette (duo)
3
Flûte à bec Alto, Piano
3
3 Clarinettes (trio)
3
Trio de Flûtes: 3 flûtes
3
Flûte, Alto (duo)
2
Hautbois
2
5 Flûtes à bec
2
Flûte, Trompette (duo)
2
Hautbois, Basson (duo)
2
Clarinette, Guitare (duo)
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Flûte à bec (duo)
1
Flûte, Basson et Piano
1
Flûte, Saxophone (duo)
1
Saxophone
1
Piccolo, Piano
1
Hautbois, Violon, Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Violon
1
Flûte, Clarinette, Violon (trio)
1
Flûte à Bec
1
Hautbois, Guitare (duo)
1
Flûte à bec Soprano, Piano
1
Quatuor de Flûtes à bec
1
Cor Anglais
1
Flûte à bec Alto
1
+ 59 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
67
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
61
Ensemble de Trombones
24
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
Ensemble de Trompettes
17
Trombone et Piano
15
Quatuor de Cuivres
15
Trompette
13
Trompette, Piano
12
Cor et Piano
8
Cor anglais, Piano
7
Tuba
7
Trombone
7
Euphonium, Piano (duo)
6
Cor
6
Ensemble de Cors
5
Tuba et Piano
5
Trompette, Trombone (duo)
5
2 Trompettes (duo)
4
2 Trombones (duo)
4
Quatuor de cuivres: 4 cors
3
2 Tubas (duo)
2
Trio de Cuivres
2
2 Euphoniums et 2 Tubas
1
2 Cors (duo)
1
Trompette, Euphonium (duo)
1
Quatuor de cuivres: 4 trombones
1
2 Euphoniums (duo)
1
Cor Anglais
1
+ 24 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
103
Violon et Piano
31
Violon
29
Violoncelle
20
Harpe
18
Violoncelle, Piano
15
Trio à Cordes: violon, alto, violoncelle
15
Ensemble d'Altos
14
Ensemble de Violons
13
Alto, Piano
11
2 Violons (duo)
10
Alto seul
7
2 Violoncelles (duo)
6
Violon, Violoncelle (duo)
6
2 Altos (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Harpe, Flûte (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
4 Violoncelles
3
Quatuor à cordes: 4 violons
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Harpe, Violon (duo)
2
Violoncelle, Contrebasse (duo)
2
Violon, Alto (duo)
2
Alto et Harpe
2
Alto (partie séparée)
2
Quatuor à cordes : 4 altos
1
Harpe, Violoncelle (duo)
1
Harpe, Voix
1
4 Contrebasses
1
Violoncelle , Guitare (duo)
1
Ensemble de Violoncelles
1
Trio à cordes: 3 violins
1
Trio à Cordes: 2 violons, alto
1
+ 29 instrumentations
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Orchestre & Percussions
Ensemble Jazz
51
Orchestre d'harmonie
34
Orchestre à Cordes
31
Orchestre
30
Ensemble de cuivres
23
Orchestre de chambre
23
Jazz combo
16
Ensemble de Percussions
7
Fanfare
4
Cloches
2
Marimba
2
Batterie
1
Quintette de Cuivres: autres combinaisons
1
Piano et Orchestre
1
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CHORALE - CHAN…
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CLARINETTE
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CORNET
DEEJAY
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I Like It Here
Voix Baryton, Piano
Partitions à imprimer
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Fire In My Soul-- In E-flat 1st Version
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Voix Baryton, Piano
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INTERMÉDIAIRE
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Cody Weinmann
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Fire In My Soul-- In E-flat 1s
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Cody Weinmann
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640627. Published b...
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640627. Published by Cody Weinmann (A0.835113). This song was originally composed in 2008. It was largely based out of depression. I felt like I was going nowhere. So, I wrote this in all my angst and sadness. The song is meant to have almost a happy ending in the second chorus as the singer clings to hope in Jesus. Little did I know that six years later, I would be transformed by a relationship with Christ, the Savior Himself.I hope this song could bring comfort to all those who mourn and are down.
$4.99
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Voix Baryton, Piano
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AVANCÉ
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Op...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations. About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Voix Baryton, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs
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Musik Fabrik Music Publishing
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishi...
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Baritone Horn TC,Vocal Solo,Voice - SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
Si yo nunca desapareciera (LOW VOICE)
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Voix Baryton, Piano
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INTERMÉDIAIRE/AVANCÉ
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Kristian S Rodriguez
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Si yo nunca desapareciera
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Kristian S. Rodriguez
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.1023338 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. R...
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Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.1023338 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez #5191599. Published by Kristian S. Rodriguez (A0.1023338). I composed this piece as part of a larger song cycle, Colores mexicanos, which I wrote as part of an undergraduate thesis, Colores mexicanos: The Mexican Art Song and Setting Mexican Texts to Music (2016). This cycle explores various texts from various perspectives throughout Mexican history, culture, and society, while reflecting influences from Mexican folk and academic music within the composition. Si yo nunca... is the second piece in the cycle, and like the first, it features text from the Cantares mexicanos, written by Mexica authors during the beginning of the Spanish viceroyalty period in the 16th century. This text uses vague, abstract language to emphasize the idea that human culture never truly disappears, and it’s fitting for a state freshly defeated by another civilization. The musical setting features the Andulusian cadence, a compositional device frequently used in Latin American music, distorted across various octaves and in various figures, as the singer suggests that there is more after death, a fitting metaphor for an ancient yet very active culture that still pervades Mexican society today.
$3.99
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