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5
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4 Guitares (Quatuor)
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18
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13
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Voix Soprano, Piano
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Chorale TTBB
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Flûte traversière et Piano
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Clarinette
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Clarinette et Piano
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124
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
89
Saxophone Alto et Piano
85
Saxophone (partie séparée)
61
Quatuor de Saxophones: 4 saxophones
56
Saxophone Soprano et Piano
56
Ensemble de Clarinettes
49
Flûte, Hautbois, Clarinette, Basson
46
Hautbois (partie séparée)
43
Clarinette (partie séparée)
42
Flûte à Bec
41
Quatuor de Clarinettes: 4 clarinettes
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Saxophone Tenor et Piano
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2 Flûtes traversières (duo)
40
2 Clarinettes (duo)
38
Quatuor de Flûtes à bec
35
Quintette de Saxophone: 5 saxophones
32
2 Saxophones (duo)
32
Hautbois
29
Saxophone Baryton, Piano
29
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28
Cor anglais, Piano
27
Quatuor de Flûtes : 4 flûtes
27
5 Flûtes à bec
26
Saxophone Alto
25
Ensemble de saxophones
19
Saxophone
18
3 Saxophones (trio)
18
Ensemble à vent
18
Quintette de Clarinettes: 5 clarinettes
18
Flûte traversière, Orchestre
17
Ensemble de Flûtes
17
Piccolo, Piano
16
2 Flûte à bec (duo)
16
2 Hautbois (duo)
15
3 Clarinettes (trio)
13
Flute (partie séparée)
13
Flûte et Guitare
13
Saxophone Tenor
12
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11
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9
Clarinette, Orchestre
9
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9
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7
Flûte et Quatuor à Cordes
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7
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6
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Cor anglais, Piano
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2 Cors (duo)
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2 Trombones (duo)
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CORDES
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Contre Basse
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Harpe
34
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27
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20
Trio à Cordes: 2 violons, violoncelle
18
Violon, Alto (duo)
17
2 Altos (duo)
15
2 Violons, Piano
14
4 Violoncelles
13
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12
Violon, Guitare (duo)
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Harpe, Flûte (duo)
11
Alto, Guitare (duo)
8
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8
Alto et orchestre
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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Alto, Violoncelle (duo)
6
Violoncelle , Guitare (duo)
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Trio à Cordes: 3 violoncelles
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2 Harpes (duo)
5
Ensemble de Violoncelles
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Harpe, Violon (duo)
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Ensemble de Violons
3
Violoncelle, Basse continue
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Ensemble d'Altos
3
Harpe, Violoncelle (duo)
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
2 Violoncelles, Piano
3
Trio à cordes
3
Trio à cordes: 3 altos
2
Piano Trio: Violon, Alto, Piano
2
Quatuor à cordes : 4 altos
2
Harpe, Violon, Violoncelle
2
Violoncelle, Orgue
2
2 Contrebasses (duo)
2
Harpe et Piano
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Alto et Harpe
1
Violoncelle, Contrebasse (duo)
1
Trio à Cordes: 2 violons, alto
1
2 Altos, Piano
1
2 Violons et Basse continue
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
598
Orchestre
551
Orchestre de chambre
441
Orchestre d'harmonie
278
Piano et Orchestre
69
Ensemble de cuivres
37
Orchestre, Violon
32
Ensemble de Percussions
14
Percussion (partie séparée)
10
Timbales (partie séparée)
9
Ensemble Jazz
7
Cloches
7
Fanfare
6
Jazz combo
5
Batterie (partie séparée)
3
Batterie
2
Percussion
2
Marimba, Piano (duo)
1
Marimba et Orgue
1
Instrumentation Flexible
1
Trio à Vent: 3 instruments à vents
1
Vibraphone et Marimba
1
Marimba
1
Quatuor à Vent : 4 instruments à vents
1
Vibraphone (partie séparée)
1
Quintette de Cuivres: autres combinaisons
1
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AUTRES
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Concerto
Voix Soprano, Piano
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Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
Voix Soprano, Piano
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799606 Composed by Ru…
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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 Iâve provided.2. Iâve 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 composerâs 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, Iâve included the next downbeatâs notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, Iâve noted alternate cuts that singers might like to take within certain arias.6. In some cases Iâve modernized spelling conventions for easier readability (for example, by replacing à 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
8.35 €
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Voix Soprano, Piano
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Ruggiero Leoncavallo
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Nicole Elyse DiPaolo
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Qual fiamma...Stridono lassù
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Nicole Elyse DiPaolo
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SheetMusicPlus
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
Voix Soprano, Piano
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799619 Composed by Gi…
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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
8.35 €
#
Voix Soprano, Piano
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Gioachino Rossini
#
Nicole Elyse DiPaolo
#
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Nicole Elyse DiPaolo
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SheetMusicPlus
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