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--INSTRUMENTS--
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
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
So What
Non classifié
502
Piano & claviers
Piano seul
1 001
Piano Facile
474
Piano, Voix
150
Piano, Voix et Guitare
106
Instruments en Do
18
Orgue
18
1 Piano, 4 mains
11
Accompagnement Piano
4
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano (partie séparée)
4
Piano Trio: piano, violon, violoncelle
3
Piano grosses notes
2
Orgue, Piano (duo)
2
1 Piano, 6 mains
1
Accordéon
1
Clavecin
1
2 Pianos, 8 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Orgue, Trompette (duo)
1
+ 14 instrumentations
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Guitares
Guitare notes et tablatures
39
Ligne De Mélodie, (Paroles) et Accords
26
Guitare
25
Basse electrique
14
Guitare (partie séparée)
8
Ukulele
8
Paroles et Accords
8
Piano, Guitare (duo)
4
Banjo
3
2 Guitares (duo)
3
3 Guitares (trio)
2
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1
Mandoline
1
Ensemble de guitares
1
+ 9 instrumentations
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Voix
Chorale SATB
110
Chorale 2 parties
37
Chorale 3 parties
36
Chorale TTBB
13
Chorale Unison
10
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10
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6
Voix Alto, Piano
4
Chorale SSAA
4
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4
Voix duo
3
Voix haute
3
Voix moyenne, Piano
2
Voix seule
2
Voix basse, Piano
1
Chorale SSATTB
1
Chorale SSATBB
1
Voix Tenor
1
Chorale SSAATTBB
1
+ 14 instrumentations
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88
Quintette de Saxophone: 5 saxophones
73
Flûte, Hautbois, Clarinette, Basson
70
Quatuor de Saxophones: 4 saxophones
60
Saxophone (partie séparée)
56
2 Saxophones (duo)
43
Clarinette
27
Flûte traversière
26
Saxophone Alto et Piano
24
Saxophone Tenor et Piano
24
Hautbois, Piano (duo)
23
Flûte traversière et Piano
23
Hautbois (partie séparée)
20
Quatuor de Clarinettes: 4 clarinettes
19
Saxophone Alto
19
Saxophone Tenor
18
Clarinette et Piano
17
Saxophone Soprano et Piano
14
Saxophone
12
Cor Anglais
12
Saxophone Baryton, Piano
12
Ensemble de saxophones
12
Ensemble de Clarinettes
12
Flûte, Clarinette, Cor, Basson (Quartet)
8
Cor anglais, Piano
8
Ensemble de Flûtes
8
Clarinette (partie séparée)
7
Flute (partie séparée)
6
Quintette de Flûte : 5 flûtes
6
2 Clarinettes (duo)
4
Trio de Flûtes: 3 flûtes
4
Quatuor de Flûtes : 4 flûtes
4
Clarinette, Guitare (duo)
3
2 Flûtes traversières (duo)
3
Flûte irlandaise
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Instruments en Mib
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Quintette de Clarinettes: 5 clarinettes
2
Clarinette, Violon (duo)
2
3 Clarinettes (trio)
2
Flûte, Clarinette (duo)
2
Ensemble De Flûte à bec
1
Clarinette, Trompette (duo)
1
Saxophone et Orgue
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Clarinette, Piano (trio)
1
Flûte à bec Alto, Piano
1
Flûte et Trio à cordes
1
2 Flûte à bec (duo)
1
Ocarina
1
Flûte, Violon
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2 Clarinettes, Piano
1
Flûte et Guitare
1
3 Saxophones (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Harmonica
1
+ 50 instrumentations
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80
Quatuor de Cuivres
62
Trompette
39
Trompette (partie séparée)
26
Trombone et Piano
24
Trombone
22
Trombone (partie séparée)
22
Trompette, Piano
22
Quatuor de Cuivres : 2 trompettes, trombone, tuba
21
Cor
21
Tuba
16
Cor et Piano
15
Cor Anglais
12
Tuba et Piano
12
Trompette, Saxophone (duo)
8
Cor anglais, Piano
8
Ensemble de Trombones
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Cor (partie séparée)
6
Tuba (partie séparée)
5
Bass Clef Instruments
4
Ensemble de Trompettes
4
Quatuor de cuivres: 4 cors
3
Instruments en Sib
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Ensemble de Cors
2
2 Trombones (duo)
2
Euphonium
1
Quatuor de cuivres: 4 trombones
1
Trombone, Orgue
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Trompette, Trombone (duo)
1
2 Cors (duo)
1
Quatuor de cuivres: 4 trompettes
1
Euphonium, Piano (duo)
1
Trombone et orchestre
1
4 Tubas
1
Trombone basse et Piano
1
2 Trompettes (duo)
1
2 Tubas (duo)
1
3 Trompettes (trio)
1
+ 34 instrumentations
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Quatuor à cordes: 2 violons, alto, violoncelle
123
Quintette à cordes: 2 violons, alto, violoncelle, basse
61
Violon et Piano
45
Harpe
39
Violon
38
Alto, Piano
30
Violoncelle
26
Violoncelle, Piano
24
Contrebasse, Piano (duo)
17
Contre Basse
15
Alto seul
12
Trio à Cordes: violon, alto, violoncelle
10
Alto (partie séparée)
9
2 Violons (duo)
7
Contrebasse (partie séparée)
5
Violon, Alto (duo)
5
Ensemble de Violons
4
Violon (partie séparée)
3
Harpe, Voix
3
Violon, Violoncelle (duo)
3
Violoncelle, Contrebasse (duo)
2
Harpe, Flûte (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Ensemble d'Altos
2
Trio à cordes: 3 violins
2
2 Violoncelles (duo)
2
2 Harpes (duo)
1
Quatuor à cordes : 4 altos
1
Harpe, Violon (duo)
1
4 Contrebasses
1
Alto, Guitare (duo)
1
2 Altos (duo)
1
+ 27 instrumentations
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Orchestre d'harmonie
115
Ensemble Jazz
82
Orchestre
32
Orchestre à Cordes
28
Orchestre de chambre
17
Ensemble de cuivres
14
Fanfare
12
Batterie
10
Jazz combo
9
Cloches
7
Batterie (partie séparée)
7
Percussion (partie séparée)
4
Marimba
3
Ensemble de Percussions
3
Piano et Orchestre
1
Vibraphone
1
Ensemble d'École
1
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4 partitions trouvées
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1
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Voix Baryton, Piano
#
AVANCÉ
#
Gioachino Rossini
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Nicole Elyse DiPaolo
#
Largo al factotum
#
Nicole Elyse DiPaolo
#
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
Watching Cecilia (x2)
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Voix Baryton, Piano
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INTERMÉDIAIRE/AVANCÉ
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Gary D
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Watching Cecilia
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DR GARY D BELSHAW
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.796591 Composed by Gary D. Belshaw (ASCAP). Concert,Contemporary,Opera. 27 pages. DR GARY D BELSHA...
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Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.796591 Composed by Gary D. Belshaw (ASCAP). Concert,Contemporary,Opera. 27 pages. DR GARY D BELSHAW #2927275. Published by DR GARY D BELSHAW (A0.796591). Your download will include an accompanist's copy at half price. Connor is in his last year of graduate study in vocal music performance. He, like Cecilia, are both eager to finish their degrees and get on with life, so the delays on the video shoot add to his frustrations. However, as he acknowledges in this aria, he can't help but notice what a rare person Cecilia is. Duration: close to 7 minutes. Perfect for recitals, opera workshops and opera scenes programs. Follow Gary D. Belshaw Music on Facebook and Twitter; we'll follow you back.
$5.99
Watching Cecilia
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Voix Baryton, Piano
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INTERMÉDIAIRE/AVANCÉ
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Gary D
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Watching Cecilia
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DR GARY D BELSHAW
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.796592 Composed by Gary D.Belshaw (ASCAP). Concert,Contemporary,Musical/Show,Opera. 13 pages. DR G...
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Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.796592 Composed by Gary D.Belshaw (ASCAP). Concert,Contemporary,Musical/Show,Opera. 13 pages. DR GARY D BELSHAW #2927277. Published by DR GARY D BELSHAW (A0.796592). Connor is in his last year of graduate study in vocal music performance. He, like Cecilia, are both eager to finish their degrees and get on with life, so the delays on the video shoot add to his frustrations. However, as he acknowledges in this aria, he can't help but notice what a rare person Cecilia is. Duration: close to 7 minutes. Perfect for recitals, opera workshops and opera scenes programs. Follow Gary D. Belshaw Music on Facebook and Twitter; we'll follow you back.
$3.99
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