Partitions Numériques de They Were Not Here pour Voix Baryton, Piano

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TRI ET FILTRES

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avec audio

avec vidéo

avec play-along

Non classifié 230

PIANO & CLAVIERS

Piano seul 106 Piano, Voix 58 Piano, Voix et Guitare 10 2 Pianos, 4 mains 9 Piano Facile 5

Instruments en Do 4 Accompagnement Piano 3 Piano Trio: piano, violon, violoncelle 3 Orgue 2 Clavecin 1 1 Piano, 4 mains 1

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GUITARES

Guitare 12 Guitare notes et tablatures 10 Basse electrique 2 Ukulele 1 Ukulele Baryton 1

2 Guitares (duo) 1

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VOIX

Chorale SATB 38 Chorale 2 parties 6 Chorale 3 parties 5 Voix seule 4 Chorale TTBB 4 Chorale SSAA 3 Voix Baryton, Piano 3

Voix Soprano, Piano 2 Voix Alto, Piano 2 Voix Tenor 2 Chorale Unison 2 Chorale SSATTB 1 Voix haute 1 Voix Soprano 1 Voix duo, Piano 1

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VENTS

Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 23 Saxophone Alto et Piano 15 Saxophone Soprano et Piano 14 Ensemble de saxophones 13 2 Saxophones (duo) 12

2 Flûtes traversières (duo) 10 Flûte traversière et Piano 8 Hautbois, Piano (duo) 8 2 Clarinettes (duo) 7 Quintette de Saxophone: 5 saxophones 7 Quatuor de Saxophones: 4 saxophones 7 Clarinette et Piano 6 Flûte traversière 6 Hautbois (partie séparée) 5 Saxophone, Clarinette (duo) 5 Ensemble de Clarinettes 5 Clarinette, Trompette (duo) 4 Ensemble de Flûtes 4 Clarinette 4 Flûte, Hautbois, Clarinette, Basson 4 Clarinette, Violon (duo) 4 2 Hautbois (duo) 3 Cor anglais, Piano 3 Quatuor de Clarinettes: 4 clarinettes 3 Clarinette et Alto 3 Flûte, Clarinette (duo) 3 Flûte, Alto (duo) 2 Quintette de Flûte : 5 flûtes 2 Saxophone Alto 2 Quatuor de Flûtes : 4 flûtes 2 Flûte, Hautbois, Clarinette (trio) 2 3 Clarinettes (trio) 2 Saxophone Baryton, Piano 2 Saxophone (partie séparée) 1 Cor Anglais 1 Hautbois, Flûte 1 Flûte à bec Alto, Piano 1 Hautbois, Basson (duo) 1 Flûte et Guitare 1 Clarinette Basse 1 Flûte, Clarinette, Piano (trio) 1 Flûte, Saxophone (duo) 1 Quatuor de Flûtes à bec 1 Quintette de Clarinettes: 5 clarinettes 1 Hautbois, Clarinette (duo) 1 3 Saxophones (trio) 1 Flûte à bec Soprano, Piano 1

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CUIVRES

Quatuor de Cuivres : 2 trompettes, trombone, tuba 19 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 13 Trombone et Piano 5 Trompette 4 Euphonium, Piano (duo) 3

Ensemble de Trompettes 3 Cor anglais, Piano 3 Ensemble de Trombones 3 2 Trompettes (duo) 3 Tuba et Piano 3 Trombone 2 Trompette, Trombone (duo) 2 Trompette, Piano 2 2 Trombones (duo) 2 Trompette, Saxophone (duo) 2 Quatuor de Cuivres: 2 trompettes, Cor, trombone 2 Cor et Piano 1 2 Cors (duo) 1 Cor 1 Cor Anglais 1 Tuba 1 Quatuor de Cuivres 1 Ensemble de Tubas 1 4 Tubas 1 2 Tubas (duo) 1

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CORDES

Quatuor à cordes: 2 violons, alto, violoncelle 23 Violon et Piano 14 Violon 10 Harpe 10 Trio à Cordes: violon, alto, violoncelle 8

Violoncelle, Piano 6 2 Violons (duo) 5 Violon, Violoncelle (duo) 5 Alto, Piano 4 Violoncelle 4 Alto seul 3 Violon, Alto (duo) 3 Ensemble d'Altos 2 Ensemble de Violons 2 Violoncelle, Orgue 1 Trio à Cordes: 2 violons, violoncelle 1 4 Contrebasses 1 Contrebasse, Piano (duo) 1 Violon, Clarinette, Piano (trio) 1 2 Violoncelles (duo) 1 Quintette à cordes: 2 violons, alto, violoncelle, basse 1 Ensemble de Violoncelles 1 Trio à Cordes: 3 violoncelles 1 Quatuor à cordes: 4 violons 1 2 Altos (duo) 1

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PERCUSSIONS & ORCHESTRES

Orchestre d'harmonie 18 Orchestre 12 Ensemble de cuivres 12 Orchestre de chambre 7 Orchestre à Cordes 6

Ensemble Jazz 5 Jazz combo 3 Ensemble de Percussions 2 Cloches 2 Fanfare 1 2 Marimbas 1 Marimba 1 Piano et Orchestre 1 Batterie 1

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AUTRES

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They Were Not Here

Voix Baryton, Piano

Partitions à imprimer

3 partitions trouvées

Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition

Voix Baryton, Piano

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Comp…(+)

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download 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,â€ the show-stopping first aria from Gioachino Rossiniâ€™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 reductionâ€”which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing daysâ€”pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, itâ€™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 â€œfudgedâ€ 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 Iâ€™ve provided.2. Iâ€™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 â€œsink or swimâ€ accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.Â 3. In addition to the composerâ€™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.Â 5. When known, Iâ€™ve noted alternate cuts that singers might like to take within certain arias.Â 6. In some cases Iâ€™ve modernized spelling conventions for easier readability (for example, by replacing â€œÃŸâ€ with â€œssâ€ in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. Iâ€™ve also replaced some text â€œcresc.â€ and â€œdim.â€ 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.Â For more information, please visit http://ndipaolo.musicaneo.com .

$8.95 8.18 € #Voix Baryton, Piano #Gioachino Rossini #Nicole Elyse DiPaolo #Largo al factotum #Nicole Elyse DiPaolo #SheetMusicPlus

Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano

Voix Baryton, Piano

Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gre…(+)

Baritone Horn TC,Vocal Solo,Voice - Digital Download 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 â€“ Leaves of Grass â€“ 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 â€œclustersâ€ 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 â€œthe love of comrades,â€ â€œmanly loveâ€ or with the code word, â€œadhesiveness.â€ The concept of homosexuality, as we know it today, was very different in Whitmanâ€™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 â€¦ very large and aromatic grass, or root, spears three feet highâ€”often called 'sweet flag'â€”grows all over the Northern and Middle States.â€ 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 itâ€™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 composerï»¿

$16.95 15.5 € #Voix Baryton, Piano #Gregory Sullivan Isaacs #Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano #Musik Fabrik Music Publishing #SheetMusicPlus

So Let Us Live - Really Live! for baritone and piano

Voix Baryton, Piano

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Compo…(+)

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.987855 Composed by Robert M. Greenberg. 20th Century,Contemporary. 26 pages. Robert M. Greenberg #115411. Published by Robert M. Greenberg (A0.987855). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 11 minutes Year of composition: 2009 Program Note: I. When I Was One-and-Twenty (A. E. Housman) II. For An Amorous Lady (Theodore Roethke) III. Love Me Not for Comely Grace (John Wilbye) IV. So Let Us Live - Really Live! (Gaius Valerius Catullus) The four love songs that that constitute So Let Us Live â€“ Really Live! were commissioned by John Goodman in honor of his wife Kerry Kingâ€™s fiftieth birthday. The set â€“ with its (relatively) light poetry and (excessively) tonal settings - was originally intended as Hausmusik (house music), music to be performed privately among (semi-inebriated) friends. However, certain personal events that occurred during their composition have compelled me to go public with them, and thus, with John and Kerryâ€™s indulgence, they are receiving their premiere here, rather than in a living room. A thousand-and-one thanks to Allen Shearerâ€™s wonderful voice and Lino Riveraâ€™s exquisite hands, which were constantly in my mindâ€™s ear during the composition of the songs. With love to Kerry, from John and Bob. All poems used by permission.

$28.00 25.6 € #Voix Baryton, Piano #Robert M #So Let Us Live - Really Live! for baritone and piano #Robert M. Greenberg #SheetMusicPlus