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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
Aria: \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Non classifié
4 248
Piano & claviers
Piano, Voix
5 994
Piano seul
3 482
Piano, Voix et Guitare
1 147
Piano Facile
992
Instruments en Do
422
Orgue
407
1 Piano, 4 mains
128
Accompagnement Piano
116
Accordéon
90
Piano Trio: piano, violon, violoncelle
73
Piano grosses notes
53
2 Pianos, 4 mains
27
Piano Quatuor: piano, violon, alto, violoncelle
22
Piano Quintette: piano, 2 violons, alto, violoncelle
21
Piano Quatuor: piano, 2 violons, violoncelle
15
Orgue, Trompette (duo)
13
Orgue, Piano (duo)
7
Clavecin
7
Instrument seul et Orgue
6
2 Accordéons
6
Piano (partie séparée)
6
Orgue, Voix
4
1 Piano, 6 mains
4
2 Pianos, 8 mains
3
Ensemble d'Accordéons
2
Clavier
1
+ 21 instrumentations
Retracter
Guitares
Guitare notes et tablatures
339
Guitare
318
Ligne De Mélodie, (Paroles) et Accords
190
Ukulele
130
Basse electrique
90
Paroles et Accords
55
2 Guitares (duo)
54
Piano, Guitare (duo)
33
Mandoline
19
4 Guitares (Quatuor)
18
Banjo
9
3 Guitares (trio)
8
Guitare (partie séparée)
5
Ensemble de guitares
5
Dulcimer
5
Basse électrique (partie séparée)
2
Mandoline, Guitare (duo)
1
Mandoline, Piano (duo)
1
Ukulele Baryton
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
1 146
Chorale 3 parties
474
Chorale 2 parties
326
Voix Soprano, Piano
243
Voix seule
227
Chorale TTBB
170
Voix duo, Piano
163
Voix Tenor, Piano
153
Chorale SSAA
134
Voix duo
95
Voix haute
91
Pack Instrumental pour Chorale
88
Voix Alto, Piano
87
Voix Baryton, Piano
80
Chorale
75
Chorale Unison
73
Voix basse, Piano
52
Voix Mezzo-Soprano, Piano
45
Voix moyenne, Piano
28
Voix Tenor
15
Chorale SSATB
9
Voix Soprano
9
Voix et basse continue
8
Chorale SSATTB
6
Voix basse
5
Chorale SSAATTBB
5
Voix duo, Orgue
4
Voix haute, Piano
3
Voix, Guitare
3
Chorale SATBB
2
Chorale SATTB
2
Chorale SSAB a cappella
2
Voix Moyenne
2
Voix Baryton
1
Voix Soprano, Orchestre
1
Chorale, Orgue
1
Chorale SSAATB
1
+ 32 instrumentations
Retracter
Vents
Flûte traversière et Piano
439
Clarinette et Piano
365
Flûte traversière
357
Clarinette
327
Saxophone Alto et Piano
278
Hautbois, Piano (duo)
267
Quatuor de Saxophones: 4 saxophones
264
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
229
Saxophone Alto
204
Saxophone Tenor et Piano
198
2 Saxophones (duo)
184
Saxophone (partie séparée)
183
Quatuor de Clarinettes: 4 clarinettes
165
Flûte, Hautbois, Clarinette, Basson
159
Saxophone Soprano et Piano
148
Saxophone Tenor
138
2 Flûtes traversières (duo)
128
Hautbois (partie séparée)
114
Saxophone
113
2 Clarinettes (duo)
112
Quatuor de Flûtes : 4 flûtes
96
Quintette de Saxophone: 5 saxophones
77
Clarinette (partie séparée)
73
Ensemble de Clarinettes
73
Flûte à Bec
68
Saxophone Baryton, Piano
67
Ensemble de saxophones
62
Ensemble de Flûtes
57
Flûte, Clarinette (duo)
56
3 Saxophones (trio)
56
Flûte et Guitare
55
Cor anglais, Piano
49
Quatuor de Flûtes à bec
48
Hautbois
35
Quintette de Clarinettes: 5 clarinettes
32
Saxophone Soprano
29
3 Flûtes à bec (trio)
28
3 Clarinettes (trio)
28
Flute (partie séparée)
26
2 Hautbois (duo)
26
Clarinette Basse, Piano
26
Clarinette, Violon (duo)
24
Flûte, Violon, Piano
24
Trio de Flûtes: 3 flûtes
23
Flûte à bec Soprano
23
Saxophone, Clarinette (duo)
20
Hautbois, Basson (duo)
20
Flûte, Clarinette, Piano (trio)
17
2 Clarinettes, Piano
17
Flûte, Hautbois, Clarinette (trio)
16
Flûte, Violon
16
5 Flûtes à bec
15
2 Flûte à bec (duo)
15
Flûte à bec Alto, Piano
14
Saxophone Baryton
14
Instruments en Mib
14
2 Saxophones, Piano
13
Flûte, Violon et Violoncelle
13
Flûte, Clarinette et Basson
13
Clarinette, Guitare (duo)
13
Cor Anglais
12
Ensemble De Flûte à bec
12
Hautbois, Clarinette, Basson (trio d'anches)
12
Piccolo, Piano
12
Hautbois, Clarinette (duo)
11
Clarinette, Trompette (duo)
10
2 Flûtes traversières, Piano
10
Flûte à bec Tenor
10
Flûte, Hautbois, Basson
8
Hautbois, Flûte
8
Quintette de Flûte : 5 flûtes
8
Flûte, trombone et piano
8
Clarinette, Violoncelle (duo)
8
Flûte, Violoncelle
8
Flûte, Saxophone (duo)
8
Flûte à Bec, Piano
7
Flûte à bec Alto
7
Saxophone et Guitare
7
Clarinette, Violoncelle, Piano (trio)
7
Piccolo
7
Clarinette et Alto
7
Ocarina
7
Flûte, Hautbois, Piano (trio)
7
Flûte à bec Soprano, Piano
6
Flûte, Trompette (duo)
6
Clarinette, Basson (duo)
6
Clarinette, Harpe (duo)
6
Saxophone et Orgue
6
Flûte, Alto (duo)
6
Flûte, Alto et Piano
5
Flûte, Violoncelle, Piano (trio)
5
Flûte, Basson et Piano
5
Flûte, Violon, Violoncelle et Piano
4
Clarinette Basse
4
Flûte, Hautbois (duo)
4
Flûte à bec, Guitare (duo)
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
4
4 Hautbois
3
Harmonica
3
Hautbois, Harpe
3
Saxophone et Piano
3
Clarinette, Orchestre
3
Hautbois, Violoncelle
2
Clarinette, Trombone (duo)
2
Clarinette, trompette et piano
2
Flûte, Violoncelle, Guitare
2
Cor anglais, Guitare (duo)
2
2 Hautbois, Piano
2
Hautbois, Guitare (duo)
2
Clarinette, Basson, Piano (trio)
2
3 Hautbois
2
Flûte traversière, Orgue (duo)
1
Clarinette, Saxophone, Piano
1
2 Flûtes, Basse continue
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Saxophone et violoncelle
1
Flûte traversière, Basse continue
1
Hautbois, Basson et Piano
1
Clarinette, Contrebasse (duo)
1
Flûte et Trio à cordes
1
Flûte à bec, Harpe
1
Flûte à bec Alto, Basse continue
1
Flûte et Quatuor à Cordes
1
Saxophone et Harpe
1
Flute, harpe et violon
1
Clarinette, Orgue
1
+ 121 instrumentations
Retracter
Cuivres
Trompette
325
Trompette, Piano
264
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
222
Trombone
220
Trombone et Piano
217
Cor et Piano
171
Cor
167
Quatuor de Cuivres : 2 trompettes, trombone, tuba
121
Tuba et Piano
107
Tuba
89
Trombone (partie séparée)
76
Trompette (partie séparée)
74
Quatuor de Cuivres: 2 trompettes, Cor, trombone
72
Euphonium, Piano (duo)
66
2 Trompettes (duo)
63
Cor anglais, Piano
49
Quatuor de Cuivres
48
2 Trombones (duo)
45
Quatuor de cuivres: 4 trombones
43
Quatuor de cuivres: 4 cors
42
Trompette, Trombone (duo)
31
Cor (partie séparée)
25
Tuba (partie séparée)
24
Euphonium
23
2 Cors (duo)
19
Ensemble de Trombones
19
Trompette, Saxophone (duo)
18
2 Euphoniums et 2 Tubas
17
Trompette, Cor (duo)
16
Instruments en Sib
14
Quatuor de cuivres: 4 trompettes
13
4 Tubas
13
Cor Anglais
12
Ensemble de Cors
12
3 Trombones (trio)
9
Ensemble de Trompettes
9
Trio de Cuivres
9
Bass Clef Instruments
8
2 Tubas (duo)
6
Trombone basse et Piano
6
Trombone, Orgue
4
Trombone basse
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Cor, Violoncelle (duo)
4
3 Trompettes (trio)
3
Trompette, Violoncelle (duo)
3
Trombone, Tuba (duo)
3
Trompette et Guitare
3
2 Trompettes, Clavier (piano ou orgue)
3
Cor et Orgue
2
Trombone, Cor (duo)
2
Saxhorn basse ou Euphonium ou Tuba et Piano
2
Trompette, Harpe
2
Cor, Tuba (duo)
2
Cor anglais, Guitare (duo)
2
Trompette, Violoncelle et Piano
2
Cor et Harpe
2
Tuba et Orgue
1
Cor et Basson (duo)
1
Instruments en Fa
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trombone, violoncelle (duo)
1
2 Euphoniums (duo)
1
Trompette, Basson (duo)
1
Trompette, Tuba (duo)
1
2 Trombones, Piano
1
Trompette, violon (duo)
1
Ensemble de Tubas
1
Trompette, Trombone, Piano
1
+ 64 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
925
Violon et Piano
587
Violon
416
Violoncelle, Piano
413
Violoncelle
325
Alto, Piano
319
Alto seul
201
Harpe
186
Trio à Cordes: violon, alto, violoncelle
161
Violon, Violoncelle (duo)
156
2 Violons (duo)
119
Violon (partie séparée)
88
Contrebasse, Piano (duo)
82
Contre Basse
79
2 Violoncelles (duo)
77
Violon, Alto (duo)
59
Alto (partie séparée)
57
2 Altos (duo)
56
4 Violoncelles
45
Trio à Cordes: 2 violons, violoncelle
39
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
Violoncelle , Guitare (duo)
30
Violon, Guitare (duo)
29
Quintette à cordes: 2 violons, 2 altos, violoncelle
29
Violoncelle (partie séparée)
27
Contrebasse (partie séparée)
26
Alto, Violoncelle (duo)
25
Quatuor à cordes: 4 violons
17
Trio à Cordes: 3 violoncelles
16
Trio à cordes: 3 violins
16
Quatuor à cordes : 4 altos
14
Piano Trio: Violon, Alto, Piano
14
Alto, Guitare (duo)
14
Trio à cordes
12
Trio à Cordes: 2 violons, alto
12
Harpe, Violon (duo)
11
2 Violons, Piano
10
2 Harpes (duo)
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
9
Harpe, Flûte (duo)
7
Violoncelle, Contrebasse (duo)
7
Violon, Basse continue
6
2 Violoncelles, Piano
6
Violoncelle, Orgue
5
Trio à cordes: 3 altos
4
2 Altos, Piano
4
Violon, Orgue
4
Ensemble de Violons
3
Flûte, Contrebasse (duo)
3
Violon, Basson (duo)
3
Ensemble d'Altos
2
2 Contrebasses (duo)
2
4 Contrebasses
2
Ensemble de Violoncelles
2
Violoncelle, Orchestre
2
Violon, Clarinette, Piano (trio)
2
Harpe, Voix
2
Alto et orchestre
1
Alto et Basson
1
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
Harpe, Violon, Violoncelle
1
Harpe et Piano
1
Harpe, Quatuor à cordes
1
3 Contrebasses
1
+ 60 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
717
Orchestre à Cordes
368
Orchestre
367
Batterie
233
Instrumentation Flexible
233
Orchestre de chambre
177
Ensemble de cuivres
131
Ensemble Jazz
102
Fanfare
97
Cloches
70
Percussion (partie séparée)
39
Jazz combo
33
Ensemble de Percussions
29
Marimba
19
Timbales (partie séparée)
13
Batterie (partie séparée)
13
Percussion
13
Quintette à Vent
8
Xylophone
5
Piano et Orchestre
4
Vibraphone
4
Xylophone, Piano
3
Vibraphone (partie séparée)
3
Quatuor à Vent : 4 instruments à vents
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Caisse Claire
1
Voix et Orchestre
1
Marimba, Piano (duo)
1
2 Xylophones
1
Marimba ou Xylophone et Piano
1
Big band
1
Marimba et Orgue
1
Quintette de Cuivres: autres combinaisons
1
Timbales
1
+ 29 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
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AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE TRAVERSI…
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Voix Soprano, Piano
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Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
#
AVANCÉ
#
Classique
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
#
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
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
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Voix Soprano, Piano
#
AVANCÉ
#
Classique
#
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
Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Acc
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Voix Soprano, Piano
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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 - SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 12 pages. Nicole ...
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Soprano voice,Vocal Solo - SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 12 pages. Nicole Elyse DiPaolo #5022031. Published by Nicole Elyse DiPaolo (A0.799614). 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 Noch glaub' ich 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 So war es mit Pagliazzo is also available. To see previews of those sections within the 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 .
$10.95
MANCINI Francesco: Ingoiatelo, aria from solo cantata "L'Arianna", - Voice and Piano (F m
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Ingoiatelo,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869009 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Ins...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869009 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #6326645. Published by Really Good Music, LLC. (A0.869009). Ingoiatelo is an Aria 3 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of F major (C4 – A5) for high voice.
$5.95
MANCINI Francesco: Stringa si dolce nodo, aria from solo cantata "L'Arianna", - Voice and
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Stringa si
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869008 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Ins...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869008 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #6326631. Published by Really Good Music, LLC. (A0.869008). Stringa si dolce nodo is an Aria 2 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A minor (E4 – G5) for high voice.
$5.95
MANCINI Francesco: Struggiti, o core, aria from solo cantata "L'Arianna", - Voice and Pia
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Struggiti,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869012 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Ins...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869012 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 5 pages. Really Good Music, LLC. #6326657. Published by Really Good Music, LLC. (A0.869012). Struggiti, o core is an Aria 4 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (D4 – G5) for high voice.
$5.95
MANCINI Francesco: Pur ti stringo, aria from solo cantata "L'Arianna", - Voice and Piano
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Pur ti stri
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869006 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Ins...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869006 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #6326623. Published by Really Good Music, LLC. (A0.869006). Pur ti stringo is an Aria 1 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of B flat major (F4 – G5) for high voice.
$5.95
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
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Voix Soprano, Piano
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AVANCÉ
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Richard Wagner
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Nicole Elyse DiPaolo
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O Sachs! Mein Freund!
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Oper...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 5 pages. Nicole Elyse DiPaolo #893099. Published by Nicole Elyse DiPaolo (A0.1303524). The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic 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 is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well. Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition. 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 “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
$8.95
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
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
VIVALDI Antonio: Scherza l'aura lusinghiera, aria from the opera "Il Farnace", - Voice an
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Scherza l'aur
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868943 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868943 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #5033541. Published by Really Good Music, LLC. (A0.868943). Scherza l'aura lusinghiera is an aria from the opera Il Farnace, composed by Antonio VIVALDI (1678 – 1741) in 1727 and revised several times for its following productions. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the score manuscript of the version of the opera from 1731. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (D4 – G5) for high voice.
$5.95
PORPORA Nicola: Già la notte s'avvicina, aria from the cantata, - Voice and Piano (A maj
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Nicola PORPORA
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Sergei PICHUGIN
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PORPORA Nicola: Già la
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868703 Composed by Nicola PORPORA (1686–1768). Arranged by Sergei PICHUGIN. Baroque,Concert,Instruct...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868703 Composed by Nicola PORPORA (1686–1768). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #4404620. Published by Really Good Music, LLC. (A0.868703). Già la notte s'avvicina is an aria from Solo cantata VI, written by the eminent Italian composer Nicola PORPORA (1686 – 1768). The cantatas were composed on the poetry of Pietro Metastasio, famous Italian librettist and poet, who once took music lessons from Porpora. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on early publication of the composer’s twelve cantatas (London, 1735). The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A major (E4 – A5) for high voice.
$5.95
VIVALDI Antonio: In bosco romito, aria from the opera "L'Atenaide", - Voice and Piano (G
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
#
Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: In bosco romi
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869052 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869052 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #6445609. Published by Really Good Music, LLC. (A0.869052). In bosco romito is an aria from the opera L’Atenaide, composed in 1728 by Antonio VIVALDI (1678 – 1741). It has been realized from the score manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The manuscript of the aria also contains alternative text: Mi sento d’intorno Un figlio tradito etc. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G minor (D4 – Bb5) for high voice.
$5.95
VIVALDI Antonio: In bosco romito, aria from the opera "L'Atenaide", - Voice and Piano (F
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: In bosco romi
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869053 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869053 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #6445607. Published by Really Good Music, LLC. (A0.869053). In bosco romito is an aria from the opera L’Atenaide, composed in 1728 by Antonio VIVALDI (1678 – 1741). It has been realized from the score manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The manuscript of the aria also contains alternative text: Mi sento d’intorno Un figlio tradito etc. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of F minor (C4 – Ab5) for high voice.
$5.95
My Grandma: There Never Was a Dearer Friend to Me, Aria for Soprano
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Voix Soprano, Piano
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AVANCÉ
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James Nathaniel Holland
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My Grandma: There Never Was a
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James Nathaniel Holland
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.730210 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Musical/Show,Opera. 7 pages. Jame...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.730210 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Musical/Show,Opera. 7 pages. James Nathaniel Holland #37197. Published by James Nathaniel Holland (A0.730210). There Never Was a Dearer Friend to Me (My Grandma) Aria for Soprano (Coloratura) From the 21st Century, American opera The One Upstairs Music and Libretto by James Nathaniel Holland Website: http://lacoronadelossantos.net/jamesnathanielholland.html YouTube video presentation: https://www.youtube.com/watch?v=mTdPgcQqf90 Entire Opera at: https://www.youtube.com/watch?v=AiZ3kGBkFEA SYNOPSIS: Setting: NYC. An unsuspecting woman moves into a volatile apartment situation with a crazy neighbor above who keeps banging on the floor at the slightest provocation. It's war! Find out who wins and how in the end. In this aria, our protaganist, Loie (soprano), has had enough with her upstairs neighbor. After banging on the neighbor's door, she quiets down to sing this aria.
$3.99
VIVALDI Antonio: Scherza l'aura lusinghiera, aria from the opera "Il Farnace", - Voice an
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Scherza l'aur
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868942 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868942 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #5033539. Published by Really Good Music, LLC. (A0.868942). Scherza l'aura lusinghiera is an aria from the opera Il Farnace, composed by Antonio VIVALDI (1678 – 1741) in 1727 and revised several times for its following productions. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the score manuscript of the version of the opera from 1731. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A major (E4 – A5) for high voice.
$5.95
CALDARA Antonio: Alma del core, aria from the opera "La costanza in amor vince l'inganno", arranged
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Antonio CALDARA
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Sergei PICHUGIN
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CALDARA Antonio: Alma del core
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #4716145. Published by Really Good Music, LLC. (A0.868846). Alma del core is the aria from the opera-pastorale La costanza in amor vince l'inganno (Faithfulness in love conquers treachery), composed in 1710 and revised in 1716 by Antonio CALDARA (1670 – 1736). It was realized for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (G4 – F#5) for high voice.
$5.95
VIVALDI Antonio: Sposa son disprezzata, aria from the opera "Bajazet", - Voice and Piano
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Sposa son dis
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868693 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868693 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4403476. Published by Really Good Music, LLC. (A0.868693). Sposa son disprezzata is an aria, originally composed by Geminiano Giacomelli (1692 – 1740) for his opera La Merope (1734) and borrowed by Antonio VIVALDI (1678 – 1741) for the pasticcio Bajazet, composed – and compiled – in 1735. Most existing publications of voice and piano arrangement of Sposa son disprezzata date back to the version (far enough from the original), first published in the 1880s. On the contrary, the proposed publication has been realized and arranged by Sergei Pichugin for voice and piano directly from the score manuscript of the opera. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of F minor (C4 – G5) for high voice.
$5.95
VIVALDI Antonio: Nell'orrido albergo, aria from the cantata "Cessate, omai cessate", - Vo
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Nell'orrido a
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #5029047. Published by Really Good Music, LLC. (A0.868940). Nell'orrido albergo is an aria from the cantata for alto solo Cessate, omai cessate by Antonio VIVALDI (1678 – 1741). It has been realized from the score and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (B3 – A5) for high voice.
$5.95
Jacopo MELANI: Bionde chiome, aria from the opera "Il Girello", - Voice and Piano (B mino
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Jacopo MELANI
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Sergei PICHUGIN
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Jacopo MELANI: Bionde chiome,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instruc...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4409121. Published by Really Good Music, LLC. (A0.868735). Bionde chiome is an aria from the opera (dramma musicale burlesco) Il Girello, composed in 1668 by Jacopo MELANI (1623 – 1676). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of B minor (E4 – G5) for high voice.
$5.95
VIVALDI Antonio: Ben conosco, aria from the opera "Arsilda Regina di Ponto", - Voice and
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Ben conosco,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4614779. Published by Really Good Music, LLC. (A0.868836). Ben conosco is an aria from the opera Arsilda Regina di Ponto, composed in 1716 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (D4 – G5) for high voice. .
$5.95
SCARLATTI, Domenico: Consolati, e spera, aria from the opera "Ifigenia in Tauri", - Voice
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Domenico SCARLATTI
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Sergei PICHUGIN
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SCARLATTI, Domenico: Consolati
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Baroque,Concert,In...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4365848. Published by Really Good Music, LLC. (A0.868642). Consolati, e spera is an aria from the opera Ifigenia in Tauri (1713) by Domenico SCARLATTI (1685 – 1757), one of the greatest composers of Italian Baroque. It was arranged for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in B minor (D4 – E5) for high voice. .
$5.95
VIVALDI Antonio: Amato ben, aria from the opera "La verità in cimento", - Voice and Pian
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Amato ben, ar
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4403484. Published by Really Good Music, LLC. (A0.868697). Amato ben is an aria from the opera La verità in cimento (Truth in Contention), composed in 1720 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of C minor (F#4 – Ab5) for high voice. .
$5.95
BONONCINI Giovanni: Non posso disperar, aria from the opera "Eraclea", - Voice and Piano
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Giovanni BONONCINI
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Sergei PICHUGIN
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BONONCINI Giovanni: Non posso
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868827 Composed by Giovanni BONONCINI (1670 – 1747). Arranged by Sergei PICHUGIN. Baroque,Concert,In...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868827 Composed by Giovanni BONONCINI (1670 – 1747). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #4602789. Published by Really Good Music, LLC. (A0.868827). Non posso disperar is the aria from the opera Eraclea (1692), composed by Giovanni BONONCINI (1670 – 1747), although in some publications it was misattributed to Severo De LUCA (1684 – 1734). The aria was realized for voice and piano by Sergei Pichugin. It may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (F4 – A5) for high voice. .
$5.95
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