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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
Ten After
Non classifié
1 381
Piano & claviers
Piano seul
702
Piano Facile
155
Piano, Voix
154
Instruments en Do
94
Piano, Voix et Guitare
88
Orgue
72
1 Piano, 4 mains
21
Piano Trio: piano, violon, violoncelle
13
Piano Quatuor: piano, violon, alto, violoncelle
8
2 Pianos, 4 mains
8
Accompagnement Piano
7
Piano (partie séparée)
6
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano Quatuor: piano, 2 violons, violoncelle
2
Clavecin
1
Accordéon
1
Clavier
1
1 Piano, 6 mains
1
+ 13 instrumentations
Retracter
Guitares
Guitare
89
Guitare notes et tablatures
57
Guitare (partie séparée)
12
Ligne De Mélodie, (Paroles) et Accords
11
Mandoline
7
Banjo
5
Ukulele
5
2 Guitares (duo)
4
Paroles et Accords
3
Basse electrique
2
Piano, Guitare (duo)
2
Dulcimer
1
Guitare, Violon, Violoncelle (trio)
1
2 Dulcimers (duo)
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
323
Chorale 3 parties
78
Chorale TTBB
45
Chorale 2 parties
35
Chorale SSAA
33
Chorale Unison
23
Voix duo, Piano
14
Voix Soprano, Piano
14
Voix Alto, Piano
13
Voix Baryton, Piano
6
Voix haute
6
Voix Tenor, Piano
6
Voix duo
5
Chorale SSAATTBB
4
Voix seule
4
Chorale SSATB
3
Chorale
2
Voix Soprano
2
Voix Mezzo-Soprano, Piano
2
Voix basse, Piano
2
Voix Tenor
2
Voix Baryton
1
Soli, choeur mixte et accompagnement
1
Chorale SSAB a cappella
1
Voix basse
1
+ 20 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
206
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
145
2 Saxophones (duo)
126
Flûte traversière et Piano
119
Quintette de Saxophone: 5 saxophones
102
Clarinette et Piano
101
Hautbois, Piano (duo)
82
Saxophone Alto et Piano
74
Saxophone Tenor et Piano
68
Saxophone (partie séparée)
63
2 Clarinettes (duo)
62
Saxophone, Clarinette (duo)
53
Quatuor de Clarinettes: 4 clarinettes
50
2 Flûtes traversières (duo)
48
Flûte traversière
47
Saxophone Tenor
47
Flûte, Hautbois, Clarinette, Basson
47
Saxophone Soprano et Piano
45
Saxophone Alto
45
Clarinette
41
Clarinette, Violon (duo)
37
Ensemble de saxophones
33
Saxophone Baryton, Piano
31
Clarinette, Trompette (duo)
30
Quatuor de Flûtes : 4 flûtes
30
Flûte, Clarinette (duo)
30
3 Saxophones (trio)
26
Cor anglais, Piano
25
2 Hautbois (duo)
22
Hautbois
19
Flûte, Saxophone (duo)
19
Hautbois, Clarinette (duo)
19
Ensemble de Clarinettes
19
Hautbois, Basson (duo)
19
Clarinette et Alto
18
Clarinette Basse, Piano
18
Hautbois, Flûte
18
Flûte, Violon
18
Hautbois (partie séparée)
16
Flûte, Alto (duo)
15
Flûte, Trompette (duo)
15
Quintette de Clarinettes: 5 clarinettes
15
2 Flûte à bec (duo)
13
Ensemble de Flûtes
11
3 Clarinettes (trio)
10
Quintette de Flûte : 5 flûtes
9
Flute (partie séparée)
8
Flûte et Guitare
7
Trio de Flûtes: 3 flûtes
6
Clarinette, Basson (duo)
6
Ocarina
6
Flûte à bec Soprano, Piano
5
Quatuor de Flûtes à bec
5
Clarinette, Guitare (duo)
5
Flûte à Bec
5
Flûte, Clarinette et Basson
5
Flûte à bec Alto
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte à bec Soprano
4
Harmonica
4
Ensemble De Flûte à bec
4
Flûte, Violoncelle
3
3 Flûtes à bec (trio)
3
Flûte, Hautbois, Clarinette (trio)
3
Cor anglais, Guitare (duo)
2
Flûte à bec Alto, Piano
2
2 Clarinettes, Piano
2
Saxophone et Guitare
2
Saxophone Soprano
2
2 Saxophones, Piano
2
5 Flûtes à bec
2
Flûte, Clarinette, Piano (trio)
2
Saxophone Baryton
2
Flûte à bec Tenor
2
Clarinette Basse
1
2 Flûtes à bec, Guitare
1
Flûte irlandaise
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Violoncelle (duo)
1
Ensemble de Hautbois
1
Flûte traversière, Orgue (duo)
1
Hautbois, Basson et Piano
1
2 Flûtes traversières, Piano
1
Flûte, Violon et Violoncelle
1
Clarinette, Orgue
1
Clarinette, Harpe (duo)
1
Piccolo, Piano
1
Saxophone
1
Cornemuse
1
Flûte à Bec, Piano
1
2 Clarinettes, Basson
1
Hautbois, Harpe
1
Saxophone et Orgue
1
+ 88 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
161
Trombone et Piano
88
Quatuor de Cuivres : 2 trompettes, trombone, tuba
65
Trompette
62
Trompette, Piano
60
Cor et Piano
59
Trombone
40
Trompette, Saxophone (duo)
39
Ensemble de Trompettes
39
Tuba et Piano
37
Euphonium, Piano (duo)
32
Trombone (partie séparée)
29
Cor
28
Trompette (partie séparée)
27
Quatuor de Cuivres
25
Cor anglais, Piano
25
Tuba
25
2 Trombones (duo)
24
2 Trompettes (duo)
23
Trompette, Trombone (duo)
21
Quatuor de cuivres: 4 trombones
17
Ensemble de Trombones
17
Quatuor de Cuivres: 2 trompettes, Cor, trombone
12
Cor (partie séparée)
8
Tuba (partie séparée)
7
Quatuor de cuivres: 4 cors
6
2 Euphoniums et 2 Tubas
5
2 Cors (duo)
5
Quatuor de cuivres: 4 trompettes
4
3 Trompettes (trio)
3
3 Trombones (trio)
3
Ensemble de Cors
3
4 Tubas
3
Trompette, Cor (duo)
2
Cor anglais, Guitare (duo)
2
Tuba et Orgue
2
2 Tubas (duo)
2
3 Tubas (trio)
1
Trombone basse et Piano
1
2 Cors Anglais Et Pianoforte
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trio de Cuivres
1
Ensemble de Tubas
1
3 Cors (trio)
1
Instruments en Sib
1
Trombone basse
1
+ 41 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
193
Violon et Piano
156
Violoncelle, Piano
81
Alto, Piano
76
Violoncelle
59
Violon
59
Harpe
51
Violon, Violoncelle (duo)
37
2 Violoncelles (duo)
36
Contrebasse, Piano (duo)
34
Quintette à cordes: 2 violons, alto, violoncelle, basse
34
2 Violons (duo)
32
Alto seul
31
Trio à Cordes: violon, alto, violoncelle
29
2 Altos (duo)
28
Contre Basse
26
Violon, Alto (duo)
26
Trio à Cordes: 2 violons, violoncelle
12
Contrebasse (partie séparée)
8
Alto (partie séparée)
6
Ensemble d'Altos
5
Ensemble de Violons
5
Harpe, Flûte (duo)
4
Trio à Cordes: 3 violoncelles
4
4 Violoncelles
4
Violon, Guitare (duo)
4
Harpe, Quatuor à cordes
3
Violoncelle , Guitare (duo)
3
Trio à cordes: 3 altos
3
Harpe, Voix
3
Violon (partie séparée)
3
Quatuor à cordes: 4 violons
3
Trio à cordes: 3 violins
3
Quatuor à cordes : 4 altos
3
2 Contrebasses (duo)
2
2 Harpes (duo)
2
Harpe, Violon (duo)
2
Alto, Violoncelle (duo)
2
2 Altos, Piano
1
Violoncelle, Contrebasse (duo)
1
2 Violons, Piano
1
Violon, Clarinette, Piano (trio)
1
4 Contrebasses
1
3 Harpes
1
Violon, Orgue
1
+ 40 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
427
Orchestre
128
Ensemble Jazz
105
Orchestre à Cordes
77
Ensemble de cuivres
50
Orchestre de chambre
45
Fanfare
37
Jazz combo
23
Cloches
22
Ensemble de Percussions
12
Batterie (partie séparée)
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Batterie
4
Marimba
3
Percussion (partie séparée)
2
Percussion
2
Vibraphone
2
Orchestre, Violon
2
Piano et Orchestre
1
Xylophone, Piano
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
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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
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ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
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COMEDIES MUSICALES -…
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CONTEMPORAIN - NEW A…
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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…
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Vous avez sélectionné:
Ten After
Voix Soprano, Piano
Partitions à imprimer
14 partitions trouvées
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1
Kindertodtenlieder (2020) for soprano and piano
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Kindertodtenlieder
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Thomas Oboe Lee
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.869653 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. 68 pages. Thomas Oboe Lee #5...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.869653 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. 68 pages. Thomas Oboe Lee #5751651. Published by Thomas Oboe Lee (A0.869653). I am not a huge fan of Mahler's music but his Kindertotenlieder is a cultural gem! I inadvertently discovered that the poet Friedrich Rückert who penned Kindertodtenlieder (yes, with a d ... LOL!) wrote 400-plus of these KTL poems after his two youngest children died of scarlet fever. I bought the book @ Amazon. After plowing through 442 of them, I winnowed it down to ten poems for my song cycle. It is scored for soprano and piano. NB: I cannot afford an orchestra, and it would be too much unnecessary work. LOL!!! The entire song cycle has a duration of ca. 35 minutes. It ends like a mechanical music box while the soprano sings a lullaby. Sleep is of course a perfect metaphor for being dead. Enjoy!!!https://thomasoboelee.bandcamp.com/album/kindertodtenlieder-2020
$9.99
After You Hear Me Out from Glory Denied (Downloadable)
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Contemporain
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Tom Cipullo
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After You Hear Me Out from Glo
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and piano - Medium - SKU: MQ.8609D-2E Composed by Tom Cipullo. 21st Century. Secular. 5 pages. E. C. Schirmer Music Company - Digital #860...
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Soprano voice and piano - Medium - SKU: MQ.8609D-2E Composed by Tom Cipullo. 21st Century. Secular. 5 pages. E. C. Schirmer Music Company - Digital #8609D-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8609D-2E). Although these arias are sung by the character Alyce, in the production they represent the younger and older versions of herself and are played by two different singers. Young Alyce sings My Darling Jim, writing a letter to her husband prior to his being taken prisoner during the Vietnam War. The first aria captures emotions through a brief snapshot of everyday life. The second takes place after his return from captivity. Alyce has moved on with her life with another man. The aria is painful and moving as she suggests that, while he can see the kids, he certainly doesn't have to see her face ever again.Contents:1. My Darling Jim2. After You Hear Me Out.
$5.00
A Night-Piece for Mezzo-Soprano and Piano after Wordsworth
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Richard St
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A Night-Piece for Mezzo-Sopran
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Richard St. Clair
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.939663 Composed by Richard St. Clair. 20th Century. 9 pages. Richard St. Clair #3000385. Published by Richa...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.939663 Composed by Richard St. Clair. 20th Century. 9 pages. Richard St. Clair #3000385. Published by Richard St. Clair (A0.939663). A modern-day romantic style setting of William Wordsworth's 1798 poem, A Night-Piece for mezzo-soprano with piano accompaniment. Duration about 5 minutes. The style is mostly tonal but with some nontraditional harmonies. The attached MP3 Audio Clip is computer-generated.Lyrics:A NIGHT-PIECEby William Wordsworth THE sky is overcast With a continuous cloud of texture close, Heavy and wan, all whitened by the Moon, Which through that veil is indistinctly seen, A dull, contracted circle, yielding light So feebly spread, that not a shadow falls, Chequering the ground--from rock, plant, tree, or tower. At length a pleasant instantaneous gleam Startles the pensive traveller while he treads His lonesome path, with unobserving eye 10 Bent earthwards; he looks up--the clouds are split Asunder,--and above his head he sees The clear Moon, and the glory of the heavens. There, in a black-blue vault she sails along, Followed by multitudes of stars, that, small And sharp, and bright, along the dark abyss Drive as she drives: how fast they wheel away, Yet vanish not!--the wind is in the tree, But they are silent;--still they roll along Immeasurably distant; and the vault, 20 Built round by those white clouds, enormous clouds, Still deepens its unfathomable depth. At length the Vision closes; and the mind, Not undisturbed by the delight it feels, Which slowly settles into peaceful calm, Is left to muse upon the solemn scene. 1798.
$10.00
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
When the South Wind Sings: Child Moon (Downloadable)
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Juliana Hall
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When the South Wind Sings: Chi
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and piano - Medium - SKU: MQ.8574-6E Composed by Juliana Hall. Secular, 21st Century, Art Song. 9 pages. E. C. Schirmer Music Company - Di...
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Soprano voice and piano - Medium - SKU: MQ.8574-6E Composed by Juliana Hall. Secular, 21st Century, Art Song. 9 pages. E. C. Schirmer Music Company - Digital #8574-6E. Published by E. C. Schirmer Music Company - Digital (MQ.8574-6E). English.This collection follows a narrative in which the first two poems shine bright light on reality after both a literal and a metaphorical storm, after which that light is amplified and changed into a more mysterious atmosphere by a fog that allows the speaker to feel free to confess his sins. The regular cycles of nature provide the winds that blow away that sin from the speaker, once it is confessed, after which the gentle light of a harvest moon provides the healing softness that allows even Death to whisper as a friend. Purification continues as we are reminded of the innocence of children to look up and stare in awe and wonder at the moon’s light, and finally the daily cycle of nature brings night to the town, where the forgiveness of that confessed sin allows its inhabitants to enjoy perfect peace and sleep.Contents1. Follies2. Mask3. Pearl Fog4. The South Wind Says So5. Under The Harvest Moon6. Child Moon7. Between Two Hills.
$6.00
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
Exile
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Voix Soprano, Piano
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AVANCÉ
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Maria Thompson Corley
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Exile
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Maria Thompson Corley
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.845962 Composed by Maria Thompson Corley. Concert. 10 pages. Maria Thompson Corley #6871039. Published by M...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.845962 Composed by Maria Thompson Corley. Concert. 10 pages. Maria Thompson Corley #6871039. Published by Maria Thompson Corley (A0.845962). Exile is AddieRose Forstman's expression of frustration about the difficulty she experienced trying to become a working classical singer after graduating with degrees from two prestigious schools. The text alternates between cliched phrases meant to be encouraging and her true feelings of being ripped at the seams and wanting to scream. It's a dissonant song, in keeping with the feeling of excruciatingly extended exile from her true craft and calling..
$9.99
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
In principio erat verbum
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Paul Hindemith
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In principio erat verbum
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Schott Music - Digital
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SheetMusicPlus
Soprano voice or tenor voice and piano - intermediate - SKU: S9.Q22576 Motet for Soprano or Tenor and Piano. Composed by Paul Hindemith. This edi...
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Soprano voice or tenor voice and piano - intermediate - SKU: S9.Q22576 Motet for Soprano or Tenor and Piano. Composed by Paul Hindemith. This edition: Sheet music. Downloadable. Duration 5 minutes. Schott Music - Digital #Q22576. Published by Schott Music - Digital (S9.Q22576). Latin.Hindemith composed a total of 14 motets for soprano and piano between 1940 and 1960. It was not until 1958 that Hindemith developed the idea of combining his early motets with the composition of further pieces to create a cycle, setting to music stories from the four gospels for Christmas time from Christmas Eve to the 4th Sunday after Epiphany. The motet “In Principio erat Verbumâ€, dated “24.12.41“ and dedicated to Hindemith’s “dearest colleagueâ€, Gertrud Hindemith, was not included. “In Principio erat Verbum†remained unpublished and unperformed until it was included in the Complete Hindemith Edition. The motet is available as a single piece of sheet music and completes the series of Christmas stories from the gospels with the one of the third mass on 25 December, the famous beginning of the Gospel of John: “In the beginning was the wordâ€.
$11.99
Si yo nunca desapareciera (HIGH VOICE)
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Voix Soprano, Piano
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INTERMÉDIAIRE/AVANCÉ
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Kristian S Rodriguez
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Si yo nunca desapareciera
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Kristian S. Rodriguez
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - SKU: A0.1023335 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez ...
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Soprano voice,Vocal Solo - Level 4 - SKU: A0.1023335 Composed by Kristian S Rodriguez. 20th Century,Contemporary,Latin. 10 pages. Kristian S. Rodriguez #5191597. Published by Kristian S. Rodriguez (A0.1023335). I composed this piece as part of a larger song cycle, Colores mexicanos, which I wrote as part of an undergraduate thesis, Colores mexicanos: The Mexican Art Song and Setting Mexican Texts to Music (2016). This cycle explores various texts from various perspectives throughout Mexican history, culture, and society, while reflecting influences from Mexican folk and academic music within the composition. Si yo nunca... is the second piece in the cycle, and like the first, it features text from the Cantares mexicanos, written by Mexica authors during the beginning of the Spanish viceroyalty period in the 16th century. This text uses vague, abstract language to emphasize the idea that human culture never truly disappears, and it’s fitting for a state freshly defeated by another civilization. The musical setting features the Andulusian cadence, a compositional device frequently used in Latin American music, distorted across various octaves and in various figures, as the singer suggests that there is more after death, a fitting metaphor for an ancient yet very active culture that still pervades Mexican society today.
$3.99
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