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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
About
Non classifié
628
Piano & claviers
Piano seul
316
Piano, Voix
119
Orgue
22
2 Pianos, 4 mains
8
Piano, Voix et Guitare
7
Piano Trio: piano, violon, violoncelle
4
Instruments en Do
2
Clavecin
2
Orgue, Trompette (duo)
2
Accompagnement Piano
2
1 Piano, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
2
1 Piano, 6 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
Piano Facile
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 12 instrumentations
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Guitares
Guitare
24
Basse electrique
19
Guitare notes et tablatures
3
Ukulele
2
Piano, Guitare (duo)
1
2 Guitares (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
63
Voix Soprano, Piano
15
Chorale TTBB
13
Chorale SSAA
7
Voix Alto, Piano
4
Voix duo, Piano
4
Voix haute
4
Voix Baryton, Piano
3
Chorale 3 parties
2
Voix seule
2
Voix duo
2
Voix basse, Piano
1
Voix Tenor
1
Chorale SAATB A Cappella
1
Voix Tenor, Piano
1
+ 10 instrumentations
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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
52
Flûte traversière et Piano
16
Ensemble de Clarinettes
15
Flûte traversière
12
Saxophone Alto et Piano
12
Saxophone
11
Clarinette et Piano
11
Hautbois, Piano (duo)
10
Saxophone Soprano et Piano
9
Saxophone Tenor et Piano
8
Quatuor de Saxophones: 4 saxophones
7
Saxophone Baryton, Piano
6
Clarinette
6
Hautbois (partie séparée)
5
Flûte, Hautbois, Clarinette, Basson
5
Clarinette Basse, Piano
5
Ensemble de Flûtes
5
Quatuor de Clarinettes: 4 clarinettes
5
Ensemble de saxophones
4
Flute (partie séparée)
4
2 Flûtes traversières (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Cor anglais, Piano
2
2 Clarinettes (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Guitare (duo)
2
Clarinette, Basson, Piano (trio)
2
Flûte, Violon, Piano
2
Saxophone Alto
2
Quintette de Flûte : 5 flûtes
1
Clarinette Basse
1
Saxophone et Guitare
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Basson et Piano
1
Flûte, Saxophone (duo)
1
Flûte, Basson et Piano
1
3 Saxophones (trio)
1
Saxophone Tenor
1
Saxophone et Orgue
1
Cor Anglais
1
Flûte à bec Alto, Piano
1
Saxophone, Clarinette (duo)
1
Flûte et Guitare
1
2 Hautbois (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Piccolo
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Violoncelle
1
Quintette de Saxophone: 5 saxophones
1
Saxophone (partie séparée)
1
Flûte à Bec
1
2 Saxophones, Piano
1
Hautbois
1
+ 48 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
78
Trombone et Piano
73
Ensemble de Trombones
45
Tuba et Piano
35
Euphonium, Piano (duo)
34
Cor et Piano
21
Quatuor de cuivres: 4 trombones
19
Trompette, Piano
11
Trompette
10
Trombone
9
Trombone basse
7
Trombone basse et Piano
7
Cor
7
Quatuor de cuivres: 4 cors
5
Tuba
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
3 Trombones (trio)
3
Cor anglais, Piano
2
2 Trombones (duo)
2
Euphonium
2
Trompette (partie séparée)
2
Euphonium, Tuba (duo)
2
Trombone, Tuba (duo)
2
3 Euphoniums
2
2 Euphoniums et 2 Tubas
1
3 Tubas (trio)
1
4 Tubas
1
2 Trompettes (duo)
1
Trombone (partie séparée)
1
Cor Anglais
1
2 Tubas (duo)
1
Trombone et orchestre
1
Trio de Cuivres
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Trombone, Orgue
1
+ 30 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
51
Violon et Piano
24
Violon
16
Violoncelle
15
Violoncelle, Piano
14
Alto, Piano
9
Trio à Cordes: violon, alto, violoncelle
7
Contrebasse, Piano (duo)
7
Alto seul
6
Harpe
6
Violon, Violoncelle (duo)
5
Contre Basse
4
Violon, Alto (duo)
3
Violoncelle, Contrebasse (duo)
3
Harpe, Flûte (duo)
2
2 Altos (duo)
2
Violon, Guitare (duo)
1
4 Harpes
1
Violon, Clarinette, Piano (trio)
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Trio à Cordes: 2 violons, alto
1
Violoncelle , Guitare (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
+ 19 instrumentations
Retracter
Orchestre & Percussions
Orchestre
121
Orchestre d'harmonie
57
Ensemble de cuivres
35
Ensemble Jazz
28
Jazz combo
28
Orchestre de chambre
25
Orchestre à Cordes
21
Big band
8
Batterie
7
Cloches
4
Ensemble de Percussions
2
+ 6 instrumentations
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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
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Voix Soprano, Piano
Partitions à imprimer
15 partitions trouvées
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1
Chansons de Verlaine
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Voix Soprano, Piano
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AVANCÉ
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John Casken
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Chansons de Verlaine
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Schott Music - Digital
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SheetMusicPlus
Soprano voice and piano - difficult - SKU: S9.Q6665 For soprano and piano. Composed by John Casken. This edition: Sheet music. Downloadable. Dura...
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Soprano voice and piano - difficult - SKU: S9.Q6665 For soprano and piano. Composed by John Casken. This edition: Sheet music. Downloadable. Duration 12 minutes. Schott Music - Digital #Q6665. Published by Schott Music - Digital (S9.Q6665). French.Chansons de Verlaine were completed in 2006. The third song, Colloque sentimental, was written in 2003 for Alison Smart and Katharine Durran’s New French Song project. It was as a result of having written one short song to words by Verlaine that I subsequently decided to set two further poems to make a group of three. All three were also set by Debussy: L’ombre des arbres and Chevaux de bois appear in Ariettes Oubliées, while Colloque sentimental belongs to Debussy’s second set of Fêtes Galantes. The poems I have grouped together are linked by the idea of three different landscapes. In the first, Verlaine precedes the words of his own sad, pale landscape with words from Cyrano de Bergerac about a nightingale who fears himself about to fall into a river and drown. In the second poem the landscape has been occupied by a fairground where men, women and children watch as the hobby-horses go round and round before night falls and the church tolls a passing-bell. The third poem takes us into an old park where two ghosts recall their past. The one wonders if the other remembers the happy days of their past lives, but the other doesn’t want to remember, barely acknowledging the closeness they once shared, seeing only that ‘hope has fled, defeated, towards the dark sky.’ I am very grateful to Roger Nichols and Dominique Mols for their advice with the setting of the French texts and with the translations. John Casken Colloque sentimental was first performed by Alison Smart and Katherine Durran at the Purcell Room in London on 13 July 2004.
$19.99
THE BELLS. For voice and piano. High voice.
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Voix Soprano, Piano
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AVANCÉ
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Contemporain
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Gabriel Ruiz-Bernal
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THE BELLS. For voice and piano
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Gabriel Ruiz-Bernal
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.893949 Composed by Gabriel Ruiz-Bernal. Contemporary. 32 pages. Gabriel Ruiz-Bernal #6320899. Published by ...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.893949 Composed by Gabriel Ruiz-Bernal. Contemporary. 32 pages. Gabriel Ruiz-Bernal #6320899. Published by Gabriel Ruiz-Bernal (A0.893949). Music set to the poem 'THE BELLS by Edgar Allan Poe (public domain).Award nominated at the 2019 International Edgar Allan Poe Festival. Baltimore, Maryland.1- Silver Bells2- Golden Bells3- Brazen Bells4- Iron BellsMore information about the composition, original poem, perusal score, and The making of 'The Bells' at:https://www.gabrielruizbernal.com/the-bells.html
$9.99
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 page...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.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. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.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 ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.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 .
$13.95
Halevi Songs (piano/vocal score only)
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Voix Soprano, Piano
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AVANCÉ
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Elissa Brill Pashkin
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Halevi Songs
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Elissa Brill Pashkin
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Publi...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Published by Elissa Brill Pashkin (A0.938913). NOTE: This piano/vocal score is included as part of the full score package of this piece. It is not necessary to purchase it separately if you are buying the score and parts already. Halevi Songs is a 3-movement song cycle, composed in 2002. It is a setting of three poems (in English translation of the original Hebrew) of Judah Halevi, who was a Jewish scholar and poet who lived in Spain in the Middle Ages. The three movements are I. The Mirror, II. Do the Tears Know?, and III. Calm After the Storm. Each is just under three minutes. The total duration of the piece is between 8.5 and 9 minutes. The audio clip is from the third movement, in a performance of the sextet version of this piece. A complete recording is available upon request from the composer at ebrill@hcc.edu. The performers are Dianne Smith (soprano), Janet Polvino (flute), Isabelle Boggs (clarinet), Bob Ferrier (guitar), Craig Bitterman (percussion), and Joyce Crouch (piano). It may be performed with just piano accompaniment as well. Composer's Notes: The translation of the first poem, The Mirror, is by the 19th century American poet Emma Lazarus, most famous for her familiar words engraved on the Statue of Liberty: Give me your tired, your poorâ?¦ There has been some interesting academic discussion concerning this poem. It is generally attributed to Halevi, but some scholars now believe it may have been written by someone else. (I have also seen the translation attributed to someone else.) The second poem, Do the Tears Know? was originally a tombstone inscription for one of Haleviâ??s friends. This setting was written to honor my father, Harold Allan Brill, who passed away in January, 2000. The third poem, Calm After the Storm, is actually the second half of a longer poem about a sea voyage. The three songs are meant to be performed continuously, without a break in between. Licensed by BMI.
$8.99
Exile
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Voix Soprano, Piano
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AVANCÉ
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Maria Thompson Corley
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Exile
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Maria Thompson Corley
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.845962 Composed by Maria Thompson Corley. Concert. 10 pages. Maria Thompson Corley #6871039. Published by M...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.845962 Composed by Maria Thompson Corley. Concert. 10 pages. Maria Thompson Corley #6871039. Published by Maria Thompson Corley (A0.845962). Exile is AddieRose Forstman's expression of frustration about the difficulty she experienced trying to become a working classical singer after graduating with degrees from two prestigious schools. The text alternates between cliched phrases meant to be encouraging and her true feelings of being ripped at the seams and wanting to scream. It's a dissonant song, in keeping with the feeling of excruciatingly extended exile from her true craft and calling..
$9.99
Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
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Voix Soprano, Piano
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AVANCÉ
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Opera
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Classique
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Maurice Ravel
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Nicole Elyse DiPaolo
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Arrière! Je réch
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse DiPaolo #785149. Published by Nicole Elyse DiPaolo (A0.1185473). The first of its kind, this is a genuinely playable and slightly-to-moderately simplified piano/vocal reduction of Arrière! Je réchauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilèges (1925)​. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the often chaotic vocal score, particularly if the murmuring section after the standard audition cut, which is very poorly rendered in the standard reduction, is also being included. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or audition-room chaos.This Accessible Accompaniment is more generous than standard audition cuts, ending just before L'enfant re-enters with j'ai peur. It is 91 measures in total and ideal for recitals as well. 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
"Annabel Lee," for Soprano and Piano
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Voix Soprano, Piano
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AVANCÉ
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Steven Shade
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"Annabel Lee," for S
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Steve Shade
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.834328 Composed by Steven Shade. Concert,Instructional,Romantic Period,Standards. 17 pages. Steve Shade #32...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.834328 Composed by Steven Shade. Concert,Instructional,Romantic Period,Standards. 17 pages. Steve Shade #3210489. Published by Steve Shade (A0.834328). Annabel Lee is a song composed for Soprano Voice and Piano. Poe's heart wrenching poem, Annabel Lee, is set to music in the dramatic key of E minor. This purchase includes a cover page, program notes, the complete Annabel Lee poem, and the full score to the piece. Duration: About 4 minutesDifficulty: AdvancedScored for: Soprano Voice and Piano
$1.99
Kindness (high voice solo with piano)
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Voix Soprano, Piano
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AVANCÉ
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Emily Wood
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eswoodmusic@gmail.com).
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Kindness
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Emily Sue Wood
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.907126 Composed by Emily Wood. Concert,Contemporary,Wedding. 6 pages. Emily Sue Wood #4292555. Published by...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.907126 Composed by Emily Wood. Concert,Contemporary,Wedding. 6 pages. Emily Sue Wood #4292555. Published by Emily Sue Wood (A0.907126). I admire you for your kindness. This song may be interpreted as a romantic love song or a song honoring someone inspirational. Vocal pitch ranges from the A sharp below middle C to the A sharp above treble C. Original music and text. About two minutes long, written in 2018. (My Facebook page: Music by Emily Wood; eswoodmusic@gmail.com).
$4.99
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #5022033. Published by Nicole Elyse DiPaolo (A0.799615). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from So war es mit Pagliazzo and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at Noch glaub' ich is also available. To see previews of that section within the aria and a preview of the complete aria, please visit their respective SheetMusicPlus pages.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. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.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 ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.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
MARY'S SONG
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Voix Soprano, Piano
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AVANCÉ
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Sonny Rios
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MARY'S SONG
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Sonny Rios
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.962911 Composed by Sonny Rios. Christian,Christmas,Romantic Period,Sacred. 6 pages. Sonny Rios #4277991. Pu...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.962911 Composed by Sonny Rios. Christian,Christmas,Romantic Period,Sacred. 6 pages. Sonny Rios #4277991. Published by Sonny Rios (A0.962911). MARY’S SONG: Mary’s Song, or The Magnificat, is part of a greater work, a Christmas cantata (Bells Are Ringing) written by Sonny Rios in 1976. The song, for Soprano solo, is in English and has a range of Eb4-B5. Its lyrics are taken from the biblical (KJV) account of Mary and Elizabeth conversing about their pregnancies, as found in the first chapter of the gospel of Luke. The song may be sung in Christian services, secular or religious concerts and UIL competitions. The song has been registered with the US Copyright Office and ASCAP. An MP3 of the piano accompaniment (with or without lead example) is available for purchase at tenor@sonnyrios.com. If you wish to record the song, please obtain a license by emailing: tenor@sonnyrios.com.
$5.99
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Ruggiero Leoncavallo
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Nicole Elyse DiPaolo
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Qual fiamma...Stridono lass&ug
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606). The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!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 an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.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 ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.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
Victory
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Voix Soprano, Piano
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AVANCÉ
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Maria Thompson Corley
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Victory
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Maria Thompson Corley
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.845963 Composed by Maria Thompson Corley. Concert,Contemporary. 13 pages. Maria Thompson Corley #6871033. P...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.845963 Composed by Maria Thompson Corley. Concert,Contemporary. 13 pages. Maria Thompson Corley #6871033. Published by Maria Thompson Corley (A0.845963). Victory begins starkly, in keeping with the text by Susanna Musser, which talks about standing nakedly in front of gazing eyes, then being approached and harassed by cruelty, whose attempts to beat [her] up and beat [her] down are overcome by love, which leaves her instead softer, more playful, and more fiercely tender. Love has won!.
$9.99
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Voix Soprano, Piano
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AVANCÉ
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Gioachino Rossini
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Nicole Elyse DiPaolo
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En proie à la tristesse
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619). The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.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
This Earth Was Once a Garden Place—High Range Solo Voice, Fiddle, and Piano
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Voix Soprano, Piano
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AVANCÉ
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Musique Sacrée
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Anonymous
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Daniel Carter
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This Earth Was Once a Garden P
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Daniel Carter
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1047252 Composed by Anonymous. Arranged by Daniel Carter. Classical,Folk,Praise & Worship,Sacred. 6 pages. ...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1047252 Composed by Anonymous. Arranged by Daniel Carter. Classical,Folk,Praise & Worship,Sacred. 6 pages. Daniel Carter #651799. Published by Daniel Carter (A0.1047252). Based on the anonymous pioneer hymn tune PROSPECT OF HEAVEN, first published in Southern Harmony in 1835, this tune was combined with pioneer LDS poet, William W. Phelps' text about the Garden of Eden with the future hope of Christ's Second Coming to the valley of Adam-ondi-Ahman, which the LDS faith believes is the original location of the Garden. Arranged with a dance-like piano accompaniment and complimentary fiddle obbligato of Jesu, Joy of Man's Desiring, a delightful special musical number for worship, concert settings, historical music and hymn studies. Arranged as high-range and medium-range vocal solos. Obbligato part included on the last page.
$5.99
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