Download Digital Sheet Music of MEA for Baritone voice, Piano

MEA

Fünf Gedichte von Paul Celan #Baritone voice, Piano #ADVANCED #Aribert Reimann #Fünf Gedichte von Paul Celan #Schott Music - Digital #SheetMusicPlus

Baritone Voice and Piano - advanced to difficult - Digital Download SKU: S9.Q40377 Composed by Aribert Reimann. This edition: Sheet music. Downloadable. ...(+)

Baritone Voice and Piano - advanced to difficult - Digital Download SKU: S9.Q40377 Composed by Aribert Reimann. This edition: Sheet music. Downloadable. Duration 15 minutes. Schott Music - Digital #Q40377. Published by Schott Music - Digital (S9.Q40377). German.Reimann's early musical setting of five poems by Paul Celan has meanwhile become well-established in the competition and concert repertoire. In contrast to many other songs by Reimann, the piano part is not very difficult so that these pieces are of great appeal to many singers and pianists. The dynamic markings and ossia variants in the vocal part of our new edition have been taken from the personal copy of the composer and were thoroughly prepared by Reimann during his concert activities as accompanist of Dietrich Fischer-Dieskau.

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,â€ the show-stopping first aria from Gioachino Rossiniâ€™s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reductionâ€”which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing daysâ€”pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, itâ€™ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.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 â€œfudgedâ€ 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 â€œsink or swimâ€ accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.Â 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.Â 5. When known, Iâ€™ve noted alternate cuts that singers might like to take within certain arias.Â 6. In some cases Iâ€™ve modernized spelling conventions for easier readability (for example, by replacing â€œÃŸâ€ with â€œssâ€ in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. Iâ€™ve also replaced some text â€œcresc.â€ and â€œdim.â€ 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.Â For more information, please visit http://ndipaolo.musicaneo.com .

Fire In My Soul-- In E-flat 1st Version #Baritone voice, Piano #INTERMEDIATE #Cody Weinmann #Fire In My Soul-- In E-flat 1s #Cody Weinmann #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.835113 Composed by Cody Weinmann. Contemporary,Folk. 12 pages. Cody Weinmann #4640627. Published by Cody Weinmann (A0.835113). This song was originally composed in 2008. It was largely based out of depression. I felt like I was going nowhere. So, I wrote this in all my angst and sadness. The song is meant to have almost a happy ending in the second chorus as the singer clings to hope in Jesus. Little did I know that six years later, I would be transformed by a relationship with Christ, the Savior Himself.I hope this song could bring comfort to all those who mourn and are down.