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1573
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797
Piano, Voix
743
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390
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162
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115
Piano grosses notes
53
2 Pianos, 4 mains
45
1 Piano, 4 mains
36
Accompagnement Piano
23
Piano Trio: piano, violon, violoncelle
18
Accordéon
17
Orgue, Piano (duo)
12
Piano (partie séparée)
6
Piano Quatuor: piano, violon, alto, violoncelle
4
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2 Pianos, 8 mains
2
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1
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94
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65
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42
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9
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7
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7
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6
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5
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1
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VOIX
Chorale SATB
667
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180
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114
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94
Chorale SSAA
67
Chorale Unison
56
Pack Instrumental pour Chorale
39
Voix duo, Piano
36
Chorale
26
Voix Soprano, Piano
24
Voix seule
21
Voix duo
15
Voix haute
14
Voix Alto, Piano
13
Voix Baryton, Piano
4
Voix Tenor, Piano
3
Voix Mezzo-Soprano, Piano
2
Chorale SSATB
2
Voix Tenor
2
Voix moyenne, Piano
2
Chorale SSAATTBB
2
Voix Soprano
1
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1
Voix, Guitare
1
Chorale SSAB a cappella
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1
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VENTS
Hautbois, Piano (duo)
236
Flûte traversière et Piano
234
Clarinette et Piano
221
Saxophone Alto et Piano
157
Saxophone Tenor et Piano
146
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
108
Clarinette
98
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94
Flûte traversière
84
2 Flûtes traversières (duo)
73
2 Saxophones (duo)
71
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65
Saxophone Alto
64
Saxophone (partie séparée)
59
Flûte, Hautbois, Clarinette, Basson
56
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52
Hautbois (partie séparée)
50
Saxophone Tenor
48
2 Clarinettes (duo)
36
Quatuor de Flûtes : 4 flûtes
33
3 Clarinettes (trio)
24
Ensemble de Clarinettes
18
Ensemble de Flûtes
18
Trio de Flûtes: 3 flûtes
16
Flûte et Guitare
16
Saxophone Soprano et Piano
15
Flûte, Clarinette (duo)
14
Ensemble de saxophones
13
3 Saxophones (trio)
13
Hautbois, Basson (duo)
10
Hautbois
10
Quintette de Clarinettes: 5 clarinettes
10
Clarinette (partie séparée)
9
Flute (partie séparée)
9
Clarinette, Guitare (duo)
9
Clarinette et Alto
9
Saxophone, Clarinette (duo)
8
Flûte à Bec
8
Saxophone Baryton, Piano
8
Saxophone
7
Flûte, Violoncelle
7
Quintette de Flûte : 5 flûtes
7
Quatuor de Flûtes à bec
6
Clarinette, Violon (duo)
6
Flûte, Clarinette, Piano (trio)
5
Cor anglais, Piano
5
Flûte à bec Soprano
5
Hautbois, Clarinette (duo)
5
Flûte, Violon
5
2 Hautbois (duo)
5
Flûte, Alto (duo)
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Harmonica
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3
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2
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Piccolo
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2 Cors Anglais Et Pianoforte
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Flûte, Trombone (duo)
1
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Cor Anglais
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165
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93
Trompette, Piano
93
Trombone
69
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59
Trompette (partie séparée)
49
Cor
44
Trombone (partie séparée)
28
2 Trombones (duo)
24
Cor et Piano
21
2 Trompettes (duo)
20
Euphonium
16
Tuba
15
Trompette, Trombone (duo)
14
Quatuor de Cuivres
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
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Quatuor de cuivres: 4 trombones
7
3 Trombones (trio)
6
Instruments en Sib
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Trompette, Saxophone (duo)
5
Cor anglais, Piano
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Tuba et Piano
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Quatuor de cuivres: 4 cors
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2 Cors (duo)
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Cor (partie séparée)
4
Bass Clef Instruments
4
2 Euphoniums et 2 Tubas
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Ensemble de Trompettes
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Tuba (partie séparée)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
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Quatuor de cuivres: 4 trompettes
3
2 Trompettes, Clavier (piano ou orgue)
2
2 Tubas (duo)
2
Ensemble de Cors
2
Trombone, Tuba (duo)
1
3 Cors (trio)
1
Trompette, Euphonium (duo)
1
2 Cors Anglais Et Pianoforte
1
Trompette, violon (duo)
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Trio de Cuivres
1
Ensemble de Tubas
1
Trompette, Cor (duo)
1
Trompette, Violoncelle (duo)
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Trombone basse
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Trompette, Trombone, Piano
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Clarinette, Cor (duo)
1
Trombone basse et Piano
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Cor Anglais
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
278
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245
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181
Violon
115
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84
Harpe
71
Alto seul
52
2 Violons (duo)
52
Violon, Violoncelle (duo)
34
2 Harpes (duo)
29
2 Violoncelles (duo)
27
Violon (partie séparée)
23
Trio à Cordes: violon, alto, violoncelle
21
Alto (partie séparée)
21
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Violon, Alto (duo)
15
2 Altos (duo)
13
Trio à Cordes: 2 violons, violoncelle
11
Harpe, Voix
10
Contrebasse (partie séparée)
9
Violoncelle, Contrebasse (duo)
6
Contrebasse, Piano (duo)
6
Trio à cordes: 3 violins
6
4 Violoncelles
6
Violon, Guitare (duo)
6
Flûte, Contrebasse (duo)
5
Ensemble d'Altos
5
Ensemble de Violons
5
Alto, Guitare (duo)
5
Contre Basse
5
Violoncelle , Guitare (duo)
4
Harpe, Violon (duo)
3
Piano Trio: Violon, Alto, Piano
3
Alto et Harpe
3
Trio à cordes
3
Trio à cordes: 3 altos
3
Harpe, Flûte (duo)
2
Harpe, Violoncelle (duo)
2
Trio à Cordes: 3 violoncelles
2
Violoncelle (partie séparée)
2
Quatuor à cordes: 4 violons
2
2 Violons, Piano
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
2 Contrebasses (duo)
1
Quatuor à cordes : 4 altos
1
Violon, Tuba (duo)
1
Alto, Violoncelle (duo)
1
Ensemble de Violoncelles
1
Trio à Cordes: 2 violons, alto
1
Harpe et Piano
1
Violoncelle, Orgue
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
228
Orchestre à Cordes
116
Orchestre
115
Ensemble Jazz
84
Cloches
62
Orchestre de chambre
57
Ensemble de cuivres
57
Batterie
37
Jazz combo
24
Ensemble de Percussions
23
Fanfare
10
Percussion (partie séparée)
6
Batterie (partie séparée)
5
Quintette à Vent
4
Marimba
4
Xylophone ou Marimba ou Vibraphone
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Caisse Claire
1
Xylophone
1
Xylophone, Piano
1
Vibraphone
1
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AUTRES
Vous avez sélectionné:
When I
Voix Baryton, Piano
Partitions à imprimer
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When I Was One-and-Twenty (1990)
Voix Baryton, Piano
Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.1012806 Comp…
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Baritone Horn TC,Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.1012806 Composed by Gerald W. Gabbard. 20th Century. 4 pages. Gerald W. Gabbard #5361737. Published by Gerald W. Gabbard (A0.1012806). A song for low voice and piano using A.E. Housman's famous poetry. Scored when the composer himself was also 21 years of age.
$4.99
4.54 €
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Voix Baryton, Piano
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Gerald W
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When I Was One-and-Twenty
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Gerald W. Gabbard
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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…
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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 – Really Live! were commissioned by John Goodman in honor of his wife Kerry King’s fiftieth birthday. The set – 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 Kerry’s indulgence, they are receiving their premiere here, rather than in a living room. A thousand-and-one thanks to Allen Shearer’s wonderful voice and Lino Rivera’s exquisite hands, which were constantly in my mind’s ear during the composition of the songs. With love to Kerry, from John and Bob. All poems used by permission.
$28.00
25.5 €
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Voix Baryton, Piano
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Robert M
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So Let Us Live - Really Live! for baritone and piano
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Robert M. Greenberg
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SheetMusicPlus
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…
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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,†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
8.15 €
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Voix Baryton, Piano
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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
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…
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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 – 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
15.43 €
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Voix Baryton, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
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