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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
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UKULELE
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VIOLON
VIOLONCELLE
XYLOPHONE
bass line
Non classifié
2 792
Piano & claviers
Accordéon
612
Piano seul
576
Piano Facile
292
Piano, Voix
230
Instruments en Do
100
Piano, Voix et Guitare
67
Orgue
16
1 Piano, 4 mains
13
Accompagnement Piano
10
Piano Quatuor: piano, violon, alto, violoncelle
9
2 Pianos, 4 mains
7
Piano (partie séparée)
6
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Orgue, Piano (duo)
2
Piano grosses notes
2
Piano Trio: piano, violon, violoncelle
2
2 Accordéons
1
2 Pianos, 8 mains
1
Orgue, Trompette (duo)
1
+ 14 instrumentations
Retracter
Guitares
Basse electrique
4 838
Ligne De Mélodie, (Paroles) et Accords
350
Guitare notes et tablatures
301
Guitare
172
Mandoline, Piano (duo)
35
Guitare (partie séparée)
15
Mandoline
9
Ukulele
7
4 Guitares (Quatuor)
6
Piano, Guitare (duo)
6
Basse électrique (partie séparée)
6
Ensemble de guitares
6
2 Guitares (duo)
5
Mandoline, Guitare (duo)
4
Banjo
2
Guitare, Violon, Violoncelle (trio)
1
Paroles et Accords
1
2 Mandolines (duo)
1
Dulcimer
1
2 Dulcimers (duo)
1
+ 15 instrumentations
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Voix
Voix seule
498
Chorale SATB
298
Chorale TTBB
98
Chorale 3 parties
98
Chorale SSAA
85
Chorale 2 parties
43
Pack Instrumental pour Chorale
24
Chorale Unison
16
Voix duo, Piano
9
Voix Soprano, Piano
8
Voix basse, Piano
5
Voix Baryton, Piano
4
Chorale
4
Voix duo
3
Voix moyenne, Piano
2
Voix Alto, Piano
2
Voix haute
2
Voix, Guitare
1
Chorale SSATTB
1
+ 14 instrumentations
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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
268
Flûte, Hautbois, Clarinette, Basson
196
Quatuor de Clarinettes: 4 clarinettes
114
Flûte traversière
94
Ensemble de Clarinettes
56
Quatuor de Saxophones: 4 saxophones
53
Ensemble de Flûtes
47
Quintette de Saxophone: 5 saxophones
42
Quintette de Clarinettes: 5 clarinettes
40
Saxophone (partie séparée)
40
2 Clarinettes (duo)
40
Flûte traversière et Piano
38
Hautbois, Basson (duo)
35
Flûte, Clarinette et Basson
29
3 Clarinettes (trio)
27
Clarinette Basse, Piano
24
2 Flûtes traversières (duo)
23
Clarinette et Piano
23
Flûte à Bec
21
2 Saxophones (duo)
20
Saxophone Tenor et Piano
18
Hautbois, Piano (duo)
18
Clarinette (partie séparée)
17
Quatuor de Flûtes : 4 flûtes
17
Clarinette, Basson (duo)
13
3 Saxophones (trio)
12
Trio de Flûtes: 3 flûtes
12
Ensemble de saxophones
12
Saxophone Alto et Piano
12
Quatuor de Flûtes à bec
11
Clarinette
11
Saxophone Alto
10
Flûte, Hautbois, Basson
9
Clarinette Basse
7
Ensemble De Flûte à bec
7
Flûte, Hautbois, Clarinette (trio)
6
Saxophone Tenor
6
Saxophone Soprano et Piano
6
Saxophone Baryton, Piano
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Quintette de Flûte : 5 flûtes
5
2 Hautbois (duo)
5
Flûte, Clarinette (duo)
4
Flûte et Guitare
4
Flute (partie séparée)
4
2 Flûte à bec (duo)
3
Hautbois (partie séparée)
3
Saxophone, Clarinette (duo)
3
Flûte, Violoncelle
3
2 Clarinettes, Basson
3
Clarinette, Violon (duo)
2
5 Flûtes à bec
2
Flûte traversière, Basse continue
2
Clarinette, Trompette (duo)
2
Flûte, Trombone (duo)
2
Clarinette, Trombone (duo)
2
Flûte, Basson et Piano
2
3 Flûtes à bec (trio)
2
Clarinette, Violoncelle (duo)
2
Hautbois, Flûte
1
Clarinette et Alto
1
Flûte, Clarinette, Violon (trio)
1
Ensemble à vent
1
2 Cors Anglais Et Pianoforte
1
Hautbois, Clarinette (duo)
1
Flûte, Violon
1
Flûte, Violon et Violoncelle
1
Flûte, Alto (duo)
1
Harmonica
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Hautbois, Basson et Piano
1
Hautbois, Violoncelle
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte à bec Alto
1
Flûte, Violon, Piano
1
Clarinette, Tuba
1
Flûte, Saxophone (duo)
1
Clarinette, Contrebasse (duo)
1
Flûte, Trompette (duo)
1
+ 74 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
63
Trombone (partie séparée)
57
Quatuor de Cuivres : 2 trompettes, trombone, tuba
29
Trompette (partie séparée)
29
Trombone et Piano
22
Trombone
17
Trompette, Piano
15
Cor et Piano
14
Quatuor de cuivres: 4 trombones
13
Trompette
12
Ensemble de Trombones
12
Bass Clef Instruments
12
Tuba et Piano
10
2 Trombones (duo)
8
Quatuor de cuivres: 4 cors
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Euphonium, Piano (duo)
6
2 Tubas (duo)
5
Tuba (partie séparée)
5
Quatuor de Cuivres
5
2 Cors (duo)
5
3 Trombones (trio)
5
Cor
4
Euphonium, Tuba (duo)
4
2 Trompettes (duo)
4
Cor (partie séparée)
4
Tuba
3
Euphonium
3
Trompette, Trombone (duo)
3
2 Euphoniums et 2 Tubas
3
Trompette, Saxophone (duo)
2
Trombone basse
2
Trompette, Basson (duo)
2
Trio de Cuivres
1
2 Cors Anglais Et Pianoforte
1
Trombone, Tuba (duo)
1
2 Euphoniums (duo)
1
3 Tubas (trio)
1
Trompette et Guitare
1
Trombone basse et Piano
1
Trompette, Euphonium (duo)
1
Cor, Violoncelle (duo)
1
+ 37 instrumentations
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Cordes
Contre Basse
327
Contrebasse (partie séparée)
183
Quatuor à cordes: 2 violons, alto, violoncelle
178
Contrebasse, Piano (duo)
116
Quintette à cordes: 2 violons, alto, violoncelle, basse
71
Violon et Piano
60
Violon, Violoncelle (duo)
47
2 Contrebasses (duo)
43
Trio à Cordes: violon, alto, violoncelle
41
Violoncelle, Contrebasse (duo)
39
Violoncelle, Piano
38
Alto, Piano
33
Harpe
29
2 Violoncelles (duo)
26
Violon
25
Violon, Alto (duo)
20
Trio à Cordes: 2 violons, violoncelle
20
Violoncelle
16
2 Violons (duo)
14
Violon, Contrebasse (duo)
13
Alto, Violoncelle (duo)
9
4 Violoncelles
8
Violon (partie séparée)
8
2 Altos (duo)
7
Trio à cordes: 3 altos
5
Violon, Basson (duo)
5
Alto (partie séparée)
4
Trio à Cordes: 3 violoncelles
4
Violon, Basse continue
4
Alto seul
3
Violoncelle (partie séparée)
3
Trio à Cordes: 2 violons, alto
2
4 Contrebasses
1
Alto et Basson
1
Violoncelle, Orgue
1
2 Harpes (duo)
1
Trio à cordes: 3 violins
1
Violoncelle, Basse continue
1
Flûte, Contrebasse (duo)
1
Violoncelle , Guitare (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
+ 36 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
612
Fanfare
202
Ensemble Jazz
185
Orchestre
180
Orchestre à Cordes
154
Cloches
65
Batterie
58
Ensemble de cuivres
57
Jazz combo
52
Ensemble de Percussions
30
Orchestre de chambre
30
Batterie (partie séparée)
11
Ensemble d'École
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Percussion
3
Instrumentation Flexible
2
Marimba
2
Vibraphone
1
Voix et Orchestre
1
Vibraphone et Marimba
1
Percussion (partie séparée)
1
Xylophone
1
3 Marimbas
1
+ 18 instrumentations
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Autres
Théorie de la musique
4
Formation musicale - Solfège
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
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Voix Soprano, Piano
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1
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
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
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AVANCÉ
#
Classique
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Richard Strauss
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Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 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
#
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
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, 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
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Voix Soprano, Piano
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AVANCÉ
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Gioachino Rossini
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Nicole Elyse DiPaolo
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En proie à la tristesse
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619). The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
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Voix Soprano, Piano
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AVANCÉ
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Richard Wagner
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Nicole Elyse DiPaolo
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O Sachs! Mein Freund!
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Oper...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 5 pages. Nicole Elyse DiPaolo #893099. Published by Nicole Elyse DiPaolo (A0.1303524). The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well. Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
$8.95
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