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Now The Day Is Over
Not classified
472
Piano & keyboards
Big Note Piano
3,297
Organ
1,542
Piano solo
205
Easy Piano
148
Piano, Voice
63
Keyboard
59
Piano, Vocal and Guitar
39
C Instruments
16
1 Piano, 4 hands
6
Piano Trio: piano, violin, cello
5
Piano Quartet: piano, 2 violins, cello
3
Piano Quartet: piano, violin, viola, cello
3
Harpsichord
2
Piano Quintet: piano, 2 violins, viola, cello
1
Piano Accompaniment
1
2 Pianos, 4 hands
1
+ 11 instrumentations
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Guitars
Guitar notes and tablatures
16
Guitar
15
Ukulele
8
Melody line, (Lyrics) and Chords
5
2 Guitars (duet)
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2 Ukuleles
4
Piano, Guitar (duet)
3
Mandolin
3
3 Guitars (trio)
3
4 Guitars (Quartet)
3
Bass guitar
2
+ 6 instrumentations
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Voice
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95
Choral Unison
26
Choral 3-part
22
Choral 2-part
15
Choral TTBB
11
Choral SSAA
10
Alto voice, Piano
5
Baritone voice, Piano
3
Choral
1
Soli, Mixted choir and accompaniment
1
Voice solo
1
Tenor voice, Piano
1
Vocal duet, Piano
1
Tenor voice
1
+ 9 instrumentations
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Woodwind
2 Saxophones (duet)
104
Clarinet and Piano
80
Flute and Piano
74
Oboe, Piano (duet)
69
Clarinet
51
Alto Saxophone and Piano
46
Flute
38
2 Flutes (duet)
35
2 Recorders (duet)
34
Saxophone Quartet: 4 saxophones
33
Tenor Saxophone and Piano
29
2 Clarinets (duet)
28
Soprano Saxophone and Piano
26
Oboe (band part)
23
Flute, Oboe, Clarinet, Bassoon
21
Baritone Saxophone, Piano
20
Oboe
20
Alto Saxophone
18
2 Oboes (duet)
17
Saxophone Quintet: 5 Saxophones
16
Flute ensemble
16
3 Saxophones (trio)
15
Clarinet Ensemble
13
Saxophone ensemble
13
Saxophone, Clarinet (duet)
13
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
13
Tenor Saxophone
12
Saxophone (band part)
12
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12
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11
Clarinet, Violin (duet)
9
Flute Quartet: 4 flutes
8
Descant (Soprano) Recorder
8
3 Clarinets (trio)
8
Flute Trio: 3 flutes
8
English horn, Piano
8
Soprano Saxophone
7
Oboe, Bassoon (duet)
7
Oboe, Clarinet (duet)
7
Baritone Saxophone
6
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6
Recorder
6
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6
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5
Clarinet and Viola
5
Flute, Viola (duet)
5
Tenor Recorder
5
Recorder Ensemble
4
Oboe, Flute
4
Treble (Alto) Recorder
4
3 Recorders (trio)
4
Recorder Quartet
3
Flute, Oboe, Bassoon
3
Flute, Trumpet (duet)
3
Flute, Clarinet and Bassoon.
3
Clarinet Quintet: 5 clarinets
3
Flute, Violin and Violoncello
3
Flute, Oboe (duet)
3
Flute, Violin
3
Clarinet, Harp (duet)
2
4 Oboes
2
Treble (Alto) Recorder, Piano
2
Clarinet, Cello, Piano (trio)
2
Clarinet, Guitar (duet)
2
Flute Quintet : 5 flutes
2
Flute, Saxophone (duet)
2
Bass Clarinet, Piano
2
Flute, trombone and piano
2
2 Clarinets, Piano
1
Clarinette, Viola and Piano (trio)
1
Flute and Guitar
1
Flute, Bassoon, and Piano
1
Oboe, Violin (duet)
1
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1
Saxophone and Organ
1
Oboe, Harp
1
Flute, Clarinet, Piano (trio)
1
English horn, Harp (duet)
1
+ 73 instrumentations
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Woodbrass
Trumpet, Piano
57
French Horn and Piano
55
Trombone and Piano
51
Tuba
43
Trombone
30
Brass Quintet: 2 trumpets, horn, trombone, tuba
30
French horn
29
Trumpet
28
Tuba and Piano
25
2 Trombones (duet)
22
Brass Quartet: 2 trumpets, horn, trombone
19
2 French horns (duet)
18
2 Trumpets (duet)
17
Trumpet, Trombone (duet)
16
Brass quartet : 2 trumpets, trombone, tuba
12
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11
Brass Quartet: 4 trombones
10
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9
English horn, Piano
8
2 Tubas (duet)
7
Trumpet, Horn (duert)
6
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5
Brass Quartet
5
Trombone ensemble
4
3 Trumpets (trio)
3
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3
Brass Quartet: 4 trumpets
3
3 Trombones (trio)
2
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2
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2
Trumpet (band part)
2
Trumpet, Tuba (duet)
2
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2
Tuba ensemble
1
Trumpet ensemble
1
Tuba and Organ
1
3 Tubas (trio)
1
2 Euphoniums (duet)
1
3 French horns (trio)
1
English horn, Harp (duet)
1
+ 35 instrumentations
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Retract
Strings
Viola, Piano
76
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75
String Quartet: 2 violins, viola, cello
71
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56
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41
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30
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28
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27
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26
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22
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19
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19
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18
String Trio: violin, viola, cello
16
Harp
13
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11
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8
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6
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5
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4
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4
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4
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4
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4
String trio
3
4 Cellos
3
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3
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2
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2
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2
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2
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2
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1
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1
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1
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1
Cello, Guitar (duet)
1
2 Harps (duet)
1
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1
Violin, Clarinet, Piano (trio)
1
Harp, Voice
1
+ 37 instrumentations
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Now The Day Is Over
Baritone voice, Piano
Sheetmusic to print
3 sheet music found
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1
Shall I Compare Thee To A Summer's Day? - Baritone Solo
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Baritone voice, Piano
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INTERMEDIATE
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Phil Rawle
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Shall I Compare Thee To A Summ
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Phillip Rawle
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.824563 Composed by Phil Rawle. Concert,Contemporary. 4 pages. Phillip Rawle #47308...
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.824563 Composed by Phil Rawle. Concert,Contemporary. 4 pages. Phillip Rawle #4730843. Published by Phillip Rawle (A0.824563). Shall I Compare Thee To A Summer's Day? Sonnet No. 18 by William Shakespeare.Sonnet 18 is perhaps the best known of all sonnets. ... Their depth and range set Shakespeare apart from all other sonneteers. His sonnet 18 focuses on the loveliness of a friend or lover, the speaker initially asking a rhetorical question comparing them to a summer's day.
$3.00
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Baritone voice, Piano
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ADVANCED
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Cent...
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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,†the show-stopping first aria from Gioachino Rossini’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 reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’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 “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
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Baritone voice, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs
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Musik Fabrik Music Publishing
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabri...
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Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
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