Page d'accueil
--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
Cole
Non classifié
1 577
Piano & claviers
Piano, Voix et Guitare
1 228
Piano seul
913
Piano, Voix
842
Piano Facile
324
Instruments en Do
122
Piano grosses notes
57
1 Piano, 4 mains
57
Ligne De Mélodie, Piano
27
Orgue
24
Accordéon
20
Piano (partie séparée)
16
Accompagnement Piano
8
Piano Trio: piano, violon, violoncelle
8
Orgue, Trompette (duo)
5
Piano Quatuor: piano, 2 violons, violoncelle
2
2 Pianos, 4 mains
2
Accordéon, Voix
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Piano (duo)
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 15 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
530
Guitare
146
Guitare notes et tablatures
114
Ukulele
66
Paroles et Accords
46
Guitare (partie séparée)
35
Basse electrique
9
Mandoline
3
Ensemble de Ukulélés
1
Partitions De Groupes
1
3 Dulcimers (trio)
1
2 Guitares (duo)
1
Guitare Pedal Steel
1
Dulcimer
1
4 Guitares (Quatuor)
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
262
Chorale 3 parties
137
Chorale TTBB
115
Chorale SSAA
61
Voix seule
52
Chorale 2 parties
49
Pack Instrumental pour Chorale
43
Chorale
32
Voix duo, Piano
22
Chorale Unison
20
Voix Soprano, Piano
14
Voix haute
6
Voix duo
3
Voix Baryton, Piano
2
Chorale SSATB
2
Voix Alto, Piano
2
Voix basse, Piano
1
Chorale SSATTB
1
Voix, Guitare
1
Voix moyenne, Piano
1
Chorale SSAATTBB
1
Chorale SSAB a cappella
1
Soli, choeur mixte et accompagnement
1
+ 18 instrumentations
Retracter
Vents
Saxophone
168
Saxophone (partie séparée)
138
Flûte traversière
106
Saxophone et Guitare
99
Clarinette
94
Saxophone Tenor
80
Saxophone Alto
68
Flûte traversière et Piano
46
2 Saxophones (duo)
39
Quatuor de Saxophones: 4 saxophones
37
Saxophone Alto et Piano
36
Saxophone Tenor et Piano
35
3 Saxophones (trio)
31
Instruments en Mib
31
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
26
Saxophone Soprano et Piano
24
Clarinette et Piano
24
Flûte, Hautbois, Clarinette, Basson
23
Hautbois, Piano (duo)
21
Flûte à bec, Guitare (duo)
19
3 Clarinettes (trio)
19
2 Clarinettes (duo)
16
Clarinette (partie séparée)
16
Piccolo, Piano
14
Hautbois (partie séparée)
14
2 Flûtes traversières (duo)
14
Saxophone, Clarinette (duo)
12
Flûte et Guitare
12
Quatuor de Clarinettes: 4 clarinettes
12
Saxophone Baryton, Piano
11
Clarinette, Violon (duo)
11
Flûte à bec Soprano, Piano
10
Flûte à Bec, Piano
10
Flute (partie séparée)
10
Flûte à bec Tenor
9
Clarinette, Trompette (duo)
9
Clarinette Basse, Piano
9
Ensemble de Flûtes
8
Flûte à bec Alto, Piano
8
Flûte, Violon
7
Hautbois, Basson (duo)
7
Quintette de Saxophone: 5 saxophones
6
Ensemble de Clarinettes
6
Cor anglais, Piano
6
Quatuor de Flûtes : 4 flûtes
6
Clarinette, Guitare (duo)
6
Hautbois, Flûte
5
Trio de Flûtes: 3 flûtes
5
2 Hautbois (duo)
5
Clarinette et Alto
5
Hautbois, Clarinette (duo)
5
Flûte, Saxophone (duo)
4
Flûte, Trompette (duo)
4
Flûte, Clarinette (duo)
4
Hautbois
4
Flûte, Hautbois, Clarinette (trio)
4
2 Saxophones, Piano
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Basson et Piano
3
Flûte, Alto (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
3 Hautbois
2
Clarinette Basse
2
Flûte, Violoncelle
2
Saxophone Soprano
2
Flûte, Hautbois, Basson
2
Ocarina
2
Hautbois, Guitare (duo)
2
Clarinette, Violoncelle (duo)
1
Flûte, Alto et Piano
1
2 Flûte à bec (duo)
1
2 Flûtes traversières, Piano
1
Hautbois, Violoncelle
1
Flûte, Hautbois, Piano (trio)
1
Harmonica
1
Flûte, Violon, Piano
1
Clarinette, Basson (duo)
1
Flûte à bec Alto
1
Flûte à bec Soprano
1
Flûte à Bec
1
Flûte, Clarinette et Basson
1
Flûte, Violoncelle, Piano (trio)
1
Flûte irlandaise
1
Hautbois, Basson et Piano
1
+ 79 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
118
Trompette (partie séparée)
109
Trompette
96
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
82
Trombone
59
Bass Clef Instruments
55
Instruments en Sib
29
Cor
29
Ensemble de Trompettes
26
Trombone et Piano
25
Trompette et Guitare
19
3 Trombones (trio)
17
Tuba (partie séparée)
17
Cor (partie séparée)
17
Trompette, Piano
16
Cor et Piano
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Trompette, Saxophone (duo)
11
2 Trompettes (duo)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
2 Trombones (duo)
9
Euphonium, Piano (duo)
9
Tuba et Piano
8
Trombone basse et Piano
6
Cor anglais, Piano
6
Tuba
5
Ensemble de Cors
5
Ensemble de Trombones
5
Euphonium
4
Trompette, Trombone (duo)
3
Quatuor de cuivres: 4 trombones
3
Quatuor de cuivres: 4 cors
3
2 Euphoniums et 2 Tubas
2
2 Cors (duo)
2
3 Trompettes (trio)
2
Quatuor de Cuivres
2
Tuba ou Euphonium ou Saxhorn
2
Instruments en Fa
1
Trio de Cuivres
1
2 Trombones, Piano
1
4 Tubas
1
Quatuor de cuivres: 4 trompettes
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
156
Violon
92
Violon et Piano
86
Alto, Piano
52
Violoncelle, Piano
47
Violoncelle
45
Contrebasse (partie séparée)
35
Alto seul
34
Violoncelle , Guitare (duo)
28
Violon, Violoncelle (duo)
24
Violon (partie séparée)
23
Harpe
23
Trio à Cordes: violon, alto, violoncelle
21
Violon, Guitare (duo)
19
2 Violons (duo)
19
2 Violoncelles (duo)
13
Alto (partie séparée)
13
Violon, Alto (duo)
11
Contrebasse, Piano (duo)
11
Trio à Cordes: 2 violons, violoncelle
9
2 Altos (duo)
7
Trio à cordes
6
Piano Trio: Violon, Alto, Piano
6
4 Violoncelles
5
Trio à cordes: 3 violins
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Violoncelle (partie séparée)
4
Contre Basse
4
Trio à Cordes: 2 violons, alto
3
Trio à Cordes: 3 violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à cordes: 3 altos
2
Alto, Violoncelle (duo)
2
Quatuor à cordes: 4 violons
1
Violon, Clarinette, Piano (trio)
1
Quatuor à cordes : 4 altos
1
+ 31 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
192
Orchestre
80
Orchestre à Cordes
64
Orchestre d'harmonie
57
Fanfare
54
Batterie
45
Ensemble de cuivres
34
Orchestre de chambre
25
Batterie (partie séparée)
25
Jazz combo
21
Ensemble d'École
18
Percussion (partie séparée)
10
Cloches
9
Ensemble de Percussions
5
Percussion
5
Timbales
2
Vibraphone
1
Timbales (partie séparée)
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
Achats pour Musiciens
Partitions Numériques
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Matériel de musique
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TRI ET FILTRES
TRI ET FILTRES
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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)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
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…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Cole
Voix Soprano, Piano
Partitions à imprimer
14 partitions trouvées
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1
VIVALDI Antonio: Sento con qual diletto, aria from the opera "Ercole su'l Termodonte", arranged for
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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: Sento con qua
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868683 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868683 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4368198. Published by Really Good Music, LLC. (A0.868683). Sento con qual diletto is an aria from the opera Ercole su'l Termodonte (1723) by Antonio VIVALDI (1678 – 1741). It has been realized 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 F major (F4 – A5) for high voice. .
$5.95
Je dis que rien ne m'épouvante (Micaela's Aria) from Carmen - Accessible Accompaniments Edition
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Voix Soprano, Piano
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Classique
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Georges Bizet
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Nicole Elyse DiPaolo
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Je dis que rien ne m'épouva
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Nicole Elyse DiPaolo
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SheetMusicPlus
Composed by Georges Bizet (1838-1875). Arranged by Nicole Elyse DiPaolo. Romantic Period, Opera. Piano Reduction. 7 pages. Published by Nicole Elyse DiPaolo (S0...
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Composed by Georges Bizet (1838-1875). Arranged by Nicole Elyse DiPaolo. Romantic Period, Opera. Piano Reduction. 7 pages. Published by Nicole Elyse DiPaolo (S0.180819). - Piano Reduction - Romantic Period,Opera - Nicole Elyse DiPaolo
$8.95
Du bist der Lenz (Sieglinde's Aria) from Die Walküre - Accessible Accompaniments Edition
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Voix Soprano, Piano
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Classique
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Richard Wagner
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Nicole Elyse DiPaolo
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Du bist der Lenz
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Nicole Elyse DiPaolo
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SheetMusicPlus
Composed by Richard Wagner (1813-1883). Arranged by Nicole Elyse DiPaolo. Romantic Period. Piano Reduction. 4 pages. Published by Nicole Elyse DiPaolo (S0.32118...
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Composed by Richard Wagner (1813-1883). Arranged by Nicole Elyse DiPaolo. Romantic Period. Piano Reduction. 4 pages. Published by Nicole Elyse DiPaolo (S0.321181). - Piano Reduction - Romantic Period - Nicole Elyse DiPaolo
$8.95
Batti, batti, o bel Masetto (Zerlina) from Don Giovanni - Accessible Accompaniments Edition
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Voix Soprano, Piano
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Classique
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Batti, batti, o bel Masetto
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Nicole Elyse DiPaolo
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SheetMusicPlus
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Nicole Elyse DiPaolo. Classical Period. Piano Reduction. 7 pages. Published by Nicole Elyse DiPaolo...
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Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Nicole Elyse DiPaolo. Classical Period. Piano Reduction. 7 pages. Published by Nicole Elyse DiPaolo (S0.193447). - Piano Reduction - Classical Period - Nicole Elyse DiPaolo
$8.95
Muffin Man
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Voix Soprano, Piano
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DÉBUTANT
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Unknown
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R
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Muffin Man
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Prestige Guitar Instruction
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 1 - SKU: A0.931719 Composed by Unknown. Arranged by R. Cole Porter. Children,Instructional. 1 pages. Prestige Guitar In...
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Soprano voice,Vocal Solo - Level 1 - SKU: A0.931719 Composed by Unknown. Arranged by R. Cole Porter. Children,Instructional. 1 pages. Prestige Guitar Instruction #4760533. Published by Prestige Guitar Instruction (A0.931719). Muffin Man childrens song for soprano and piano (easy arrangement).
$1.99
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 page...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$13.95
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
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #5022033. Published by Nicole Elyse DiPaolo (A0.799615). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from So war es mit Pagliazzo and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at Noch glaub' ich is also available. To see previews of that section within the aria and a preview of the complete aria, please visit their respective SheetMusicPlus pages.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
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
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Voix Soprano, Piano
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AVANCÉ
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Gioachino Rossini
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Nicole Elyse DiPaolo
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En proie à la tristesse
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619). The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
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
Ah! Douce enfant (La Fée's aria) from Cendrillon - La Fée-Only Audition Cut
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Voix Soprano, Piano
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AVANCÉ
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Film Walt Disney
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Jules Massenet
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Nicole Elyse DiPaolo
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Ah! Douce enfant
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SheetMusicPlus
Composed by Jules Massenet (1842-1912). Arranged by Nicole Elyse DiPaolo. Romantic Period, Opera. Piano Reduction. 5 pages. Published by Nicole Elyse ...
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Composed by Jules Massenet (1842-1912). Arranged by Nicole Elyse DiPaolo. Romantic Period, Opera. Piano Reduction. 5 pages. Published by Nicole Elyse DiPaolo
$8.95
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