Page d'accueil
Parcourir Librairie Musicale
--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
Next Level
Sheetmusicplus
Non classifié
797
Piano & claviers
Piano seul
324
Piano Facile
108
Instruments en Do
97
Piano, Voix
81
Piano, Voix et Guitare
42
Accompagnement Piano
23
Orgue
18
1 Piano, 4 mains
14
Piano Trio: piano, violon, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
4
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
2
2 Pianos, 8 mains
2
Accordéon
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
34
Guitare
28
Ukulele
19
Ligne De Mélodie, (Paroles) et Accords
9
Basse electrique
5
Mandoline
4
Dulcimer
3
2 Guitares (duo)
2
Paroles et Accords
2
2 Ukuleles
1
Ukulele Baryton
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
143
Chorale 3 parties
46
Chorale TTBB
31
Chorale 2 parties
27
Chorale SSAA
23
Chorale Unison
11
Voix haute
10
Voix Soprano, Piano
5
Voix Soprano
5
Voix duo, Piano
5
Voix Alto, Piano
4
Voix Baryton, Piano
3
Voix duo
2
Voix Tenor, Piano
1
+ 9 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
69
Quatuor de Flûtes : 4 flûtes
59
Quatuor de Clarinettes: 4 clarinettes
45
2 Saxophones (duo)
42
2 Flûtes traversières (duo)
38
Flûte traversière et Piano
37
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
36
Clarinette et Piano
36
Quintette de Saxophone: 5 saxophones
35
Flûte, Hautbois, Clarinette, Basson
34
Clarinette
33
Saxophone Alto et Piano
31
Hautbois, Piano (duo)
26
Saxophone Soprano et Piano
25
2 Clarinettes (duo)
24
Saxophone Tenor et Piano
22
Flûte traversière
20
3 Saxophones (trio)
19
Quintette de Flûte : 5 flûtes
17
Quintette de Clarinettes: 5 clarinettes
16
Saxophone Alto
15
Saxophone Tenor
14
3 Clarinettes (trio)
12
Saxophone Baryton, Piano
12
Saxophone (partie séparée)
12
Ensemble de Clarinettes
11
Ensemble de saxophones
10
Hautbois
10
Trio de Flûtes: 3 flûtes
9
Flûte, Clarinette (duo)
9
Hautbois, Clarinette, Basson (trio d'anches)
9
Ensemble de Flûtes
7
2 Hautbois (duo)
7
Hautbois (partie séparée)
7
Flûte, Hautbois, Clarinette (trio)
6
Saxophone Baryton
5
2 Flûte à bec (duo)
4
Saxophone Soprano
4
Flûte à bec Alto
4
Flûte à bec Soprano
3
Clarinette (partie séparée)
3
Hautbois, Basson (duo)
3
5 Flûtes à bec
3
Hautbois, Clarinette (duo)
3
Clarinette, Violon (duo)
2
Cor anglais, Piano
2
Clarinette, Guitare (duo)
2
Clarinette, Trompette (duo)
2
Flûte et Guitare
2
Saxophone
2
Clarinette Basse, Piano
2
Flûte, Trompette (duo)
1
Hautbois, Harpe
1
Hautbois, violon (duo)
1
Clarinette et Alto
1
Quatuor de Flûtes à bec
1
Flûte, Violon
1
Flûte, Alto (duo)
1
Clarinette, Basson (duo)
1
Cor Anglais
1
Saxophone, Clarinette (duo)
1
3 Flûtes à bec (trio)
1
Flûte, Violon, Piano
1
Flûte, Saxophone (duo)
1
Flûte, Hautbois (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Violoncelle
1
Saxophone et Harpe
1
Flûte à Bec
1
+ 64 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
47
Trompette, Piano
38
Trompette
30
Trombone et Piano
25
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
Cor et Piano
22
Quatuor de Cuivres : 2 trompettes, trombone, tuba
21
Trombone
15
Cor
15
Tuba et Piano
14
Ensemble de Trompettes
12
Tuba
12
Quatuor de Cuivres
11
Quatuor de cuivres: 4 cors
8
Ensemble de Trombones
8
2 Trompettes (duo)
7
Quatuor de cuivres: 4 trombones
7
Trompette, Trombone (duo)
6
2 Trombones (duo)
6
2 Cors (duo)
5
Ensemble de Cors
5
2 Tubas (duo)
4
Euphonium
2
Trombone (partie séparée)
2
2 Euphoniums et 2 Tubas
2
Cor anglais, Piano
2
Euphonium, Piano (duo)
2
3 Euphoniums
1
Tuba (partie séparée)
1
3 Cors (trio)
1
Cor et Harpe
1
Bass Clef Instruments
1
Clarinette, Cor (duo)
1
Cor Anglais
1
Trompette, Euphonium (duo)
1
Trompette, Harpe
1
Trompette, Saxophone (duo)
1
+ 32 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
155
Violon et Piano
73
Violon
42
Alto, Piano
33
Violoncelle, Piano
28
Trio à Cordes: violon, alto, violoncelle
26
Alto seul
20
Quintette à cordes: 2 violons, alto, violoncelle, basse
20
Violoncelle
20
Violon, Violoncelle (duo)
18
Harpe
18
Trio à Cordes: 2 violons, violoncelle
18
2 Violons (duo)
17
Contrebasse, Piano (duo)
13
Violon, Alto (duo)
11
2 Violoncelles (duo)
10
Contre Basse
9
2 Harpes (duo)
8
2 Altos (duo)
8
Trio à Cordes: 2 violons, alto
7
Contrebasse (partie séparée)
3
4 Violoncelles
3
Alto, Violoncelle (duo)
3
Alto (partie séparée)
3
Harpe, Violon (duo)
2
Harpe, Flûte (duo)
2
Harpe, Violoncelle (duo)
2
Trio à cordes: 3 violins
2
Quatuor à cordes: 4 violons
1
Quatuor à cordes : 4 altos
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 3 violoncelles
1
Alto, Guitare (duo)
1
Violon, Guitare (duo)
1
Alto et Harpe
1
Trio à cordes: 3 altos
1
+ 31 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
228
Orchestre à Cordes
74
Ensemble Jazz
72
Ensemble de cuivres
65
Cloches
47
Orchestre
46
Batterie
29
Orchestre de chambre
19
Fanfare
16
Jazz combo
9
Ensemble de Percussions
6
2 Xylophones
4
Percussion (partie séparée)
2
Xylophone, Piano
1
Percussion
1
Timbales (partie séparée)
1
Batterie-Fanfare
1
Vibraphone
1
Marimba
1
Piano et Orchestre
1
+ 15 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
Instrumentations
Editeurs
Artistes
Formation Musicale
Idées Cadeaux Partitions
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
0
Partitions Numériques
5
Librairie Musicale
0
Matériel de Musique
1
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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 :
Next Level
SheetMusicPlus
Partitions à imprimer
5 partitions trouvées
<
1
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
#
Voix Soprano, Piano
#
AVANCÉ
#
Classique
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
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...
(+)
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$13.95
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
#
Voix Soprano, Piano
#
AVANCÉ
#
Classique
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages...
(+)
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
#
Voix Soprano, Piano
#
AVANCÉ
#
Classique
#
Ruggiero Leoncavallo
#
Nicole Elyse DiPaolo
#
Qual fiamma...Stridono lass&ug
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole...
(+)
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
Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Acc
#
Voix Soprano, Piano
#
Classique
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 12 pages. Nicole ...
(+)
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
#
Voix Soprano, Piano
#
AVANCÉ
#
Richard Wagner
#
Nicole Elyse DiPaolo
#
O Sachs! Mein Freund!
#
Nicole Elyse DiPaolo
#
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...
(+)
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
<
1
Next Level
