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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 - Clarinet and Piano
Non classifié
1 171
Piano & claviers
Piano, Voix
5 501
Piano seul
2 185
Piano, Voix et Guitare
1 068
Piano Facile
676
1 Piano, 4 mains
127
Accompagnement Piano
94
Piano Trio: piano, violon, violoncelle
50
Instruments en Do
41
Piano grosses notes
36
Orgue
28
Piano Quintette: piano, 2 violons, alto, violoncelle
21
2 Pianos, 4 mains
19
Piano Quatuor: piano, violon, alto, violoncelle
19
Piano Quatuor: piano, 2 violons, violoncelle
14
Piano (partie séparée)
6
Orgue, Piano (duo)
6
1 Piano, 6 mains
4
2 Pianos, 8 mains
3
Orgue, Voix
1
Clavecin
1
+ 15 instrumentations
Retracter
Guitares
Piano, Guitare (duo)
33
Ligne De Mélodie, (Paroles) et Accords
26
Guitare
9
Guitare notes et tablatures
8
2 Guitares (duo)
4
Basse electrique
2
Mandoline, Piano (duo)
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
238
Chorale 2 parties
176
Chorale 3 parties
170
Voix Soprano, Piano
148
Voix duo, Piano
148
Voix seule
99
Voix haute
80
Voix Tenor, Piano
65
Voix Alto, Piano
53
Chorale Unison
45
Voix duo
31
Chorale TTBB
31
Voix Baryton, Piano
30
Voix moyenne, Piano
27
Voix basse, Piano
22
Voix Mezzo-Soprano, Piano
20
Chorale SSAA
14
Chorale
10
Voix Tenor
8
Voix basse
4
Voix haute, Piano
3
Voix Soprano
2
+ 17 instrumentations
Retracter
Vents
Flûte traversière et Piano
421
Saxophone Alto et Piano
255
Hautbois, Piano (duo)
246
Saxophone Tenor et Piano
189
Saxophone Soprano et Piano
136
Saxophone Baryton, Piano
67
Cor anglais, Piano
43
2 Saxophones (duo)
40
Flûte traversière
37
Quatuor de Saxophones: 4 saxophones
29
2 Flûtes traversières (duo)
19
Flûte, Violon, Piano
16
Saxophone Tenor
14
Flûte à bec Alto, Piano
14
Piccolo, Piano
12
Saxophone Alto
12
Hautbois
11
Quatuor de Flûtes : 4 flûtes
11
Quintette de Saxophone: 5 saxophones
11
3 Saxophones (trio)
10
2 Saxophones, Piano
10
2 Flûtes traversières, Piano
9
Saxophone
8
Flûte, trombone et piano
8
Flûte à bec Soprano
7
2 Hautbois (duo)
6
Hautbois (partie séparée)
6
Flûte, Basson et Piano
5
Ensemble de saxophones
5
Trio de Flûtes: 3 flûtes
5
Flûte à Bec, Piano
5
Flûte à bec Soprano, Piano
5
Flûte, Alto et Piano
5
Flûte, Hautbois, Piano (trio)
5
Saxophone Baryton
4
Saxophone Soprano
4
Flûte, Violon, Violoncelle et Piano
4
2 Flûte à bec (duo)
4
Flûte à bec Alto
3
Flûte, Violoncelle, Piano (trio)
3
Flûte à bec Tenor
2
Ensemble De Flûte à bec
2
Flûte à Bec
2
Ensemble de Flûtes
2
Hautbois, Basson et Piano
1
Saxophone et Piano
1
Saxophone (partie séparée)
1
Flûte à bec, Guitare (duo)
1
Hautbois, Harpe
1
Flûte et Guitare
1
+ 45 instrumentations
Retracter
Cuivres
Trompette, Piano
239
Trombone et Piano
213
Cor et Piano
170
Tuba et Piano
105
Trompette
68
Euphonium, Piano (duo)
61
Cor anglais, Piano
43
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trombone
19
2 Trompettes (duo)
16
Quatuor de Cuivres: 2 trompettes, Cor, trombone
15
Cor
12
2 Trombones (duo)
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
Tuba
8
Quatuor de Cuivres
7
Euphonium
7
2 Cors (duo)
7
Trombone basse et Piano
6
Trompette, Cor (duo)
4
Quatuor de cuivres: 4 trombones
3
2 Trompettes, Clavier (piano ou orgue)
3
Quatuor de cuivres: 4 cors
2
Saxhorn basse ou Euphonium ou Tuba et Piano
2
Quatuor de cuivres: 4 trompettes
2
Trompette, Violoncelle et Piano
2
Trompette, Trombone, Piano
1
2 Euphoniums (duo)
1
Tuba et Orgue
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Trombones, Piano
1
Cor et Orgue
1
Trompette, Trombone (duo)
1
+ 28 instrumentations
Retracter
Cordes
Violon et Piano
576
Violoncelle, Piano
375
Alto, Piano
299
Contrebasse, Piano (duo)
80
Quatuor à cordes: 2 violons, alto, violoncelle
77
Violon
64
Violoncelle
29
Trio à Cordes: violon, alto, violoncelle
22
2 Violons (duo)
22
Alto seul
16
2 Violoncelles (duo)
14
Harpe
12
Quintette à cordes: 2 violons, alto, violoncelle, basse
11
Contre Basse
10
Piano Trio: Violon, Alto, Piano
10
2 Altos (duo)
9
2 Violons, Piano
9
2 Violoncelles, Piano
5
Violon, Basse continue
4
Harpe, Violon (duo)
4
2 Altos, Piano
4
4 Violoncelles
3
Trio à Cordes: 2 violons, alto
3
Violon (partie séparée)
3
Violon, Violoncelle (duo)
3
Trio à cordes: 3 violins
2
Violon, Alto (duo)
2
Quatuor à cordes : 4 altos
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Alto et orchestre
1
Harpe et Piano
1
Violoncelle , Guitare (duo)
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Quatuor à cordes: 4 violons
1
Harpe, Flûte (duo)
1
Harpe, Violon, Violoncelle
1
Trio à Cordes: 3 violoncelles
1
Violon, Guitare (duo)
1
Violoncelle, Orgue
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
48
Orchestre de chambre
40
Orchestre
37
Ensemble Jazz
32
Orchestre d'harmonie
31
Cloches
27
Jazz combo
18
Batterie
11
Ensemble de cuivres
7
Fanfare
4
Vibraphone (partie séparée)
3
Piano et Orchestre
3
Xylophone, Piano
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Marimba
2
Ensemble de Percussions
1
Marimba, Piano (duo)
1
Marimba ou Xylophone et Piano
1
+ 13 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--
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
style (tous)
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ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
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GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
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KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Aria - Clarinet and Piano
Voix Soprano, Piano
Partitions à imprimer
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126
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
#
Qual fiamma...Stridono lass&ug
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Nicole Elyse DiPaolo
#
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
#
Opera
#
Classique
#
Maurice Ravel
#
Nicole Elyse DiPaolo
#
Arrière! Je réch
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Nicole Elyse DiPaolo
#
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
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
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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
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AVANCÉ
#
Classique
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Richard Strauss
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Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
#
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
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
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: 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
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
Lascia Ch'io Pianga - From Opera 'Rinaldo' - G.F. Handel ( Soprano 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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George Frideric Handel
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Raymond Fenech
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Lascia Ch'io Pianga - From Ope
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Raymond Fenech
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.759987 Composed by George Frideric Handel. Arranged by Raymond Fenech. Baroque,Christmas,Easter,Praise & Wo...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.759987 Composed by George Frideric Handel. Arranged by Raymond Fenech. Baroque,Christmas,Easter,Praise & Worship,Standards. 12 pages. Raymond Fenech #3478575. Published by Raymond Fenech (A0.759987). Lascia ch’io pianga, originally Lascia la spina, cogli la rosa, is an Italian-language soprano aria by composer George Frideric Handel that has become a popular concert piece. Its melody is first found in Act III of Handel’s 1705 opera Almira as a sarabande. This aria is arranged for Soprano Voice and Piano . The Duration is approx. 4 minutes and the level is Advanced Intermediate.
$4.99
Italian Opera Arias
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Opera
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Italian Opera Arias
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Schott Music - Digital
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SheetMusicPlus
Soprano voice and piano - intermediate to difficult - This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11090. Publish...
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Soprano voice and piano - intermediate to difficult - This edition: Sheet music. Schott VOCAL. Downloadable. Schott Music - Digital #Q11090. Published by Schott Music - Digital
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history. This collection of arias contains the most beautiful and popular solo pieces of music theatre in one volume each. A cross-section of the art of singing over three centuries.
$19.99
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
Two arias from Carmen (Habanera and Je dis que rien m'épouvante) for soprano and pianotrio
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Opera
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Classique
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Georges Bizet
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HJ Bosma
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Two arias from Carmen
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HJ Bosma
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SheetMusicPlus
Cello,Medium-High Voice,Piano,Violin - Level 4 - SKU: A0.1049942 Composed by Georges Bizet. Arranged by HJ Bosma. Opera,Romantic Period. 38 pages. HJ Bo...
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Cello,Medium-High Voice,Piano,Violin - Level 4 - SKU: A0.1049942 Composed by Georges Bizet. Arranged by HJ Bosma. Opera,Romantic Period. 38 pages. HJ Bosma #654331. Published by HJ Bosma (A0.1049942). Two arias from George Bizet's famous opera 'Carmen', arranged for soprano and pianotrio. 1. Habanera - L'Amour est un oiseau rebelle (Carmen) 2. Je dis que rien m'épouvante (Micaela).
$15.99
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
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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: A0.869052 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
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
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
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
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: Augelletti voi col canto, aria from the cantata, - Voice and Piano (G mi
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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: Augelletti vo
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868666 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868666 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #4368044. Published by Really Good Music, LLC. (A0.868666). Augelletti voi col canto is an aria from solo cantata Lungi dal vago volto by Antonio VIVALDI (1678 – 1741). 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 – A5) 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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