Partitions Numériques de THIRD pour Voix Alto, Piano

THIRD

Stanco di piu soffrire, HWV 167a #Voix Alto, Piano #Classique #George Frideric Handel #Stanco di piu soffrire, HWV 16 #Oxford University Press Digital #SheetMusicPlus

Alto voice and continuo - SKU: OX.9780193571372 Composed by George Frideric Handel. Edited by Ellen T. Harris. Score. 12 pages. Oxford University Press ...(+)

Alto voice and continuo - SKU: OX.9780193571372 Composed by George Frideric Handel. Edited by Ellen T. Harris. Score. 12 pages. Oxford University Press Digital #9780193571372. Published by Oxford University Press Digital (OX.9780193571372). ISBN 9780193571372.For solo alto and continuo. The earliest surviving source for Stanco di piÃƒÂ¹ soffrire may be the copy in the Santini collection prepared by Angelini, which is a third higher.

Alto Voice,Vocal Solo - Level 5 - SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible AccompanimentsÂ series of aria reductions, this is aÂ genuinely playableÂ and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss'sÂ Der RosenkavalierÂ (1911). Mezzos 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 unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.AllÂ Accessible Accompaniments,Â including this one,Â 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 Iâ€™ve provided.2. Iâ€™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 composerâ€™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, Iâ€™ve included the next downbeatâ€™s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, Iâ€™ve noted alternate cuts that singers might like to take within certain arias.6. In some cases Iâ€™ve modernized spelling conventions for easier readability (for example, by replacing ÃŸ with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger:Â 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.Â For more information, please visit http://ndipaolo.musicaneo.com .

Mahler (arr. Lee): Symphony No. 3 5th movement, Piano Vocal Score (Version D for Alto solo) #Voix Alto, Piano #AVANCÉ #Classique #Gustav Mahler #Yoon Jae Lee #Mahler #Ondine Press #SheetMusicPlus

Alto Voice,Vocal Solo - Level 5 - SKU: A0.866108 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Romantic Period,Sacred. 12 pages. Ondine Press #31...(+)

Alto Voice,Vocal Solo - Level 5 - SKU: A0.866108 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Romantic Period,Sacred. 12 pages. Ondine Press #3114457. Published by Ondine Press (A0.866108). This is the piano vocal score to an arrangement of the 5th movement of Mahler's Third Symphony, Es Sungen Drei Engel from Des Knaben Wunderhorn. This arrangement is one of 4 versions by Yoon Jae Lee, the curator of the Mahler Chamber Project. Version D is solo voice (alto solo). This version omits the boyâ€™s (childrenâ€™s choir) and women's chorus allowing for performances of this work to be sung by only one singer. The vocal is nearly identical to Mahler's original Lieder version but the revisions made to the final symphonic version, both rhythmic and structural, have been incorporated into this arrangement. Given the wide tessitura of the vocal part, it may be a stretch to say that it is ideally suited for alto. A few ossia parts with lower notes are given where the voice goes to a high register. This arrangement can be performed as a stand alone work with piano, or with Yoon Jae Leeâ€™s reduction for chamber orchestra or with Mahlerâ€™s original forces.