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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
May It Be
Non classifié
2 164
Piano & claviers
Piano seul
456
Piano, Voix et Guitare
397
Piano, Voix
299
Piano Facile
106
Orgue
70
Instruments en Do
21
Accompagnement Piano
18
1 Piano, 4 mains
17
Clavecin
8
Piano Trio: piano, violon, violoncelle
7
2 Pianos, 4 mains
7
Piano Quatuor: piano, violon, alto, violoncelle
6
Piano (partie séparée)
4
Orgue, Trompette (duo)
2
Orgue, Piano (duo)
2
Piano Quatuor: piano, 2 violons, violoncelle
2
1 Piano, 6 mains
1
Clavier
1
Piano grosses notes
1
+ 14 instrumentations
Retracter
Guitares
Guitare
87
Guitare notes et tablatures
41
Ukulele
13
Banjo
6
4 Guitares (Quatuor)
6
Mandoline
5
Basse electrique
4
Ligne De Mélodie, (Paroles) et Accords
3
3 Guitares (trio)
2
Ensemble de guitares
2
Dulcimer
2
Guitare (partie séparée)
1
Paroles et Accords
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
400
Chorale 3 parties
111
Voix haute
72
Chorale 2 parties
61
Chorale Unison
53
Chorale TTBB
40
Voix Alto, Piano
38
Voix Soprano, Piano
37
Chorale SSAA
29
Voix moyenne, Piano
17
Voix duo
10
Voix seule
6
Voix Tenor, Piano
5
Voix Baryton, Piano
5
Voix duo, Piano
4
Voix basse, Piano
4
Voix Tenor
3
Voix basse
2
Chorale SSATTB
2
Chorale
2
Voix Soprano
1
Voix Mezzo-Soprano, Piano
1
+ 17 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
156
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
109
Ensemble de saxophones
104
Flûte traversière et Piano
88
Quatuor de Clarinettes: 4 clarinettes
78
Quatuor de Saxophones: 4 saxophones
64
Ensemble de Clarinettes
55
Clarinette et Piano
42
2 Flûtes traversières (duo)
36
Hautbois, Piano (duo)
33
Clarinette
33
2 Saxophones (duo)
31
Flûte, Hautbois, Clarinette, Basson
29
Quintette de Flûte : 5 flûtes
28
Flûte traversière
26
Ensemble de Flûtes
24
Saxophone Tenor et Piano
23
Saxophone Alto et Piano
23
Hautbois (partie séparée)
21
Saxophone Soprano et Piano
18
Saxophone (partie séparée)
17
2 Clarinettes (duo)
16
3 Saxophones (trio)
14
Saxophone Alto
13
Saxophone Tenor
13
Cor anglais, Piano
12
Saxophone Baryton, Piano
12
Saxophone
11
Clarinette (partie séparée)
11
Clarinette Basse, Piano
9
Flûte à Bec
8
Quintette de Clarinettes: 5 clarinettes
7
Quatuor de Flûtes : 4 flûtes
7
Saxophone, Clarinette (duo)
7
Hautbois, Flûte
6
Clarinette, Violon (duo)
6
3 Clarinettes (trio)
6
Clarinette, Trompette (duo)
5
Flûte et Guitare
5
Flûte, Clarinette (duo)
5
Trio de Flûtes: 3 flûtes
4
Flûte à bec Soprano
4
Hautbois
3
2 Hautbois (duo)
3
Flûte, Alto (duo)
3
Flûte, Saxophone (duo)
3
2 Flûte à bec (duo)
3
Hautbois, Basson (duo)
3
Flûte, Violon
3
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte à bec Alto, Piano
2
Cor Anglais
2
Saxophone et Orgue
2
Clarinette, Guitare (duo)
2
Flûte, Violon et Violoncelle
2
Clarinette et Alto
2
Quatuor de Flûtes à bec
2
Flûte, Alto et Piano
2
Hautbois, Clarinette (duo)
2
Flûte, Trompette (duo)
2
Flûte à bec Alto
2
Flûte, Clarinette et Basson
2
5 Flûtes à bec
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Clarinette, Piano (trio)
1
Clarinette Basse
1
Clarinette, Basson (duo)
1
Flûte, Hautbois, Basson
1
Flute (partie séparée)
1
Flûte, Violon, Piano
1
Flûte traversière, Orgue (duo)
1
3 Flûtes à bec (trio)
1
2 Saxophones, Piano
1
Flute, harpe et violon
1
Clarinette, Orgue
1
Piccolo
1
Flûte, Hautbois (duo)
1
Cor anglais, Guitare (duo)
1
+ 74 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
129
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
109
Ensemble de Trompettes
59
Quatuor de Cuivres: 2 trompettes, Cor, trombone
43
Ensemble de Trombones
43
Trompette
32
Trombone et Piano
26
Euphonium, Piano (duo)
17
Quatuor de cuivres: 4 trombones
17
Cor et Piano
17
Quatuor de Cuivres
16
Trompette, Piano
15
Trombone
14
Trompette, Trombone (duo)
13
Cor anglais, Piano
12
Tuba
12
Trompette (partie séparée)
12
2 Trompettes (duo)
11
2 Trombones (duo)
10
Trombone (partie séparée)
10
Cor
10
Euphonium
6
Tuba et Piano
6
Ensemble de Cors
6
Trio de Cuivres
5
2 Euphoniums et 2 Tubas
5
Trompette, Saxophone (duo)
5
2 Tubas (duo)
4
Cor (partie séparée)
4
2 Cors (duo)
4
Tuba (partie séparée)
4
Trompette, violon (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor Anglais
2
Quatuor de cuivres: 4 cors
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Orgue
1
Ensemble de Tubas
1
Trombone basse
1
4 Tubas
1
3 Trombones (trio)
1
Cor anglais, Guitare (duo)
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
300
Violon
158
Violon, Violoncelle (duo)
155
Trio à Cordes: violon, alto, violoncelle
151
Harpe
61
Violon et Piano
58
Violoncelle, Piano
32
Quintette à cordes: 2 violons, alto, violoncelle, basse
31
Alto, Piano
30
Ensemble de Violons
29
Ensemble d'Altos
27
Violoncelle
23
Violon, Alto (duo)
22
2 Violoncelles (duo)
20
2 Violons (duo)
18
Alto seul
16
Violon (partie séparée)
12
Trio à Cordes: 2 violons, violoncelle
12
2 Altos (duo)
11
Alto (partie séparée)
10
2 Harpes (duo)
9
4 Violoncelles
8
Violon, Guitare (duo)
6
Violoncelle, Contrebasse (duo)
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Contrebasse (partie séparée)
6
Quatuor à cordes: 4 violons
4
3 Harpes
3
Contrebasse, Piano (duo)
3
2 Contrebasses (duo)
3
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes : 4 altos
3
Contre Basse
3
5 Harpes
2
Harpe, Voix
2
Harpe et Piano
2
Violon, Orgue
2
Trio à Cordes: 2 violons, alto
2
Trio à cordes: 3 violins
1
2 Violons, Piano
1
Alto, Orgue
1
Violoncelle, Orgue
1
Ensemble de Violoncelles
1
Violoncelle , Guitare (duo)
1
Alto, Violoncelle (duo)
1
Violoncelle (partie séparée)
1
Trio à cordes: 3 altos
1
Piano Trio: Violon, Alto, Piano
1
4 Harpes
1
Harpe, Flûte (duo)
1
+ 45 instrumentations
Retracter
Orchestre & Percussions
Cloches
458
Orchestre d'harmonie
179
Orchestre à Cordes
160
Orchestre
90
Ensemble de cuivres
79
Ensemble Jazz
64
Fanfare
32
Orchestre de chambre
32
Jazz combo
22
Ensemble de Percussions
13
Percussion (partie séparée)
6
Batterie
4
Marimba
3
Ensemble d'École
2
Batterie (partie séparée)
1
Orchestre, Violon
1
Timbales (partie séparée)
1
Vibraphone
1
+ 13 instrumentations
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--INSTRUMENTS--
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BASSON
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Vous avez sélectionné:
May It Be
Voix Soprano, Piano
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37 partitions trouvées
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26
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
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
#
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
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
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
Halevi Songs (piano/vocal score only)
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Voix Soprano, Piano
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AVANCÉ
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Elissa Brill Pashkin
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Halevi Songs
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Elissa Brill Pashkin
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Publi...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Published by Elissa Brill Pashkin (A0.938913). NOTE: This piano/vocal score is included as part of the full score package of this piece. It is not necessary to purchase it separately if you are buying the score and parts already. Halevi Songs is a 3-movement song cycle, composed in 2002. It is a setting of three poems (in English translation of the original Hebrew) of Judah Halevi, who was a Jewish scholar and poet who lived in Spain in the Middle Ages. The three movements are I. The Mirror, II. Do the Tears Know?, and III. Calm After the Storm. Each is just under three minutes. The total duration of the piece is between 8.5 and 9 minutes. The audio clip is from the third movement, in a performance of the sextet version of this piece. A complete recording is available upon request from the composer at ebrill@hcc.edu. The performers are Dianne Smith (soprano), Janet Polvino (flute), Isabelle Boggs (clarinet), Bob Ferrier (guitar), Craig Bitterman (percussion), and Joyce Crouch (piano). It may be performed with just piano accompaniment as well. Composer's Notes: The translation of the first poem, The Mirror, is by the 19th century American poet Emma Lazarus, most famous for her familiar words engraved on the Statue of Liberty: Give me your tired, your poorâ?¦ There has been some interesting academic discussion concerning this poem. It is generally attributed to Halevi, but some scholars now believe it may have been written by someone else. (I have also seen the translation attributed to someone else.) The second poem, Do the Tears Know? was originally a tombstone inscription for one of Haleviâ??s friends. This setting was written to honor my father, Harold Allan Brill, who passed away in January, 2000. The third poem, Calm After the Storm, is actually the second half of a longer poem about a sea voyage. The three songs are meant to be performed continuously, without a break in between. Licensed by BMI.
$8.99
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
CALDARA Antonio: Alma del core, aria from the opera "La costanza in amor vince l'inganno", arranged
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Antonio CALDARA
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Sergei PICHUGIN
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CALDARA Antonio: Alma del core
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #4716145. Published by Really Good Music, LLC. (A0.868846). Alma del core is the aria from the opera-pastorale La costanza in amor vince l'inganno (Faithfulness in love conquers treachery), composed in 1710 and revised in 1716 by Antonio CALDARA (1670 – 1736). It was realized for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (G4 – F#5) for high voice.
$5.95
ROSSI Luigi: Mio ben, teco il tormento, lament from the opera "Orfeo", - Voice and Piano
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Luigi ROSSI
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Sergei PICHUGIN
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ROSSI Luigi: Mio ben, teco il
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869025 Composed by Luigi ROSSI (1597 – 1653). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructi...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869025 Composed by Luigi ROSSI (1597 – 1653). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #6400579. Published by Really Good Music, LLC. (A0.869025). Mio ben, teco il tormento is an aria (Euridice's lament) from the opera Orfeo, composed in 1647 by Luigi ROSSI (1597 – 1653), one of the most important Italian composers of the early Baroque. It was carefully realized from the score and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of D minor (D4 – G5) for high voice.
$5.95
VIVALDI Antonio: Nell'orrido albergo, aria from the cantata "Cessate, omai cessate", - Vo
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Nell'orrido a
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #5029047. Published by Really Good Music, LLC. (A0.868940). Nell'orrido albergo is an aria from the cantata for alto solo Cessate, omai cessate by Antonio VIVALDI (1678 – 1741). It has been realized from the score and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (B3 – A5) for high voice.
$5.95
PASQUINI Bernardo: Quanto è folle quell’amante, canzonetta, - Voice and Piano (A major
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Bernardo PASQUINI
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Sergei PICHUGIN
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PASQUINI Bernardo: Quanto &egr
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868701 Composed by Bernardo PASQUINI (1637 –1710). Arranged by Sergei PICHUGIN. Baroque,Concert,Inst...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868701 Composed by Bernardo PASQUINI (1637 –1710). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 3 pages. Really Good Music, LLC. #4404616. Published by Really Good Music, LLC. (A0.868701). The canzonetta Quanto è folle quell’amante was composed by Bernardo PASQUINI (1637 –1710), an eminent Italian composer. It has been arranged by Sergei Pichugin for voice and piano. The canzonetta may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of A major (E4 – A5) for high voice.
$5.95
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
Jacopo MELANI: Bionde chiome, aria from the opera "Il Girello", - Voice and Piano (B mino
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Jacopo MELANI
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Sergei PICHUGIN
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Jacopo MELANI: Bionde chiome,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instruc...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4409121. Published by Really Good Music, LLC. (A0.868735). Bionde chiome is an aria from the opera (dramma musicale burlesco) Il Girello, composed in 1668 by Jacopo MELANI (1623 – 1676). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of B minor (E4 – G5) for high voice.
$5.95
VIVALDI Antonio: Ben conosco, aria from the opera "Arsilda Regina di Ponto", - Voice and
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Ben conosco,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4614779. Published by Really Good Music, LLC. (A0.868836). Ben conosco is an aria from the opera Arsilda Regina di Ponto, composed in 1716 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (D4 – G5) for high voice. .
$5.95
SCARLATTI, Domenico: Consolati, e spera, aria from the opera "Ifigenia in Tauri", - Voice
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Domenico SCARLATTI
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Sergei PICHUGIN
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SCARLATTI, Domenico: Consolati
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Baroque,Concert,In...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4365848. Published by Really Good Music, LLC. (A0.868642). Consolati, e spera is an aria from the opera Ifigenia in Tauri (1713) by Domenico SCARLATTI (1685 – 1757), one of the greatest composers of Italian Baroque. It was arranged for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in B minor (D4 – E5) for high voice. .
$5.95
VIVALDI Antonio: Amato ben, aria from the opera "La verità in cimento", - Voice and Pian
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Amato ben, ar
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4403484. Published by Really Good Music, LLC. (A0.868697). Amato ben is an aria from the opera La verità in cimento (Truth in Contention), composed in 1720 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of C minor (F#4 – Ab5) for high voice. .
$5.95
VIVALDI Antonio: Senza l'amato ben, an aria from the opera "Il Giustino", - Voice and Pia
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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: Senza l'amato
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868969 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868969 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 4 pages. Really Good Music, LLC. #5709675. Published by Really Good Music, LLC. (A0.868969). Senza l'amato ben is an aria from the opera Il Giustino, composed in 1724 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of D minor (E4 – Bb5) for high voice.
$5.95
SCARLATTI Alessandro: Toglietemi la vita ancor, aria from the opera "Il Pompeo", - Voice
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Alessandro SCARLATTI
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Sergei PICHUGIN
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SCARLATTI Alessandro: Togliete
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.868718 Composed by Alessandro SCARLATTI (1660 – 1725). Arranged by Sergei PICHUGIN. Baroque,Concert,...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.868718 Composed by Alessandro SCARLATTI (1660 – 1725). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 4 pages. Really Good Music, LLC. #4405466. Published by Really Good Music, LLC. (A0.868718). Toglietemi la vita ancor is an aria from the opera Il Pompeo (1683) by Alessandro SCARLATTI (1660 – 1725), one of the greatest composers of Italian Baroque. It was arranged for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in C minor (F#4 – Ab5) 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
VIVALDI, Antonio: Armatae face, aria from the oratorio "Juditha triumphans", - Voice and
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI, Antonio: Armatae face
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868665 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868665 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #4368036. Published by Really Good Music, LLC. (A0.868665). Armatae face is known as Altra aria del Vagante from the oratorio Juditha triumphans (1716) by Antonio VIVALDI (1678 – 1741). It has been realized from the score and arranged by Sergei Pichugin for voice and piano. Both Latin and Italian versions of the lyrics are given in present edition. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of C minor (C4 – G5) for high voice.
$5.95
VIVALDI, Antonio: O servi, volate, aria from the oratorio "Juditha triumphans", - Voice a
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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: O servi, vol
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.868677 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instr...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.868677 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 5 pages. Really Good Music, LLC. #4368074. Published by Really Good Music, LLC. (A0.868677). O servi, volate is an Aria del Vagante from the oratorio Juditha triumphans (1716) by Antonio VIVALDI (1678 – 1741). It has been realized from the score and arranged by Sergei Pichugin for voice and piano. Both Latin and Italian versions of the lyrics are given in present edition. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of E major (F#4 – 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
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