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CHORAL - VOCAL…
CLARINET
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DJ GEAR
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ENGLISH HORN
EUPHONIUM
FLUTE
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GUITAR
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Aria:
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4,248
Piano & keyboards
Piano, Voice
6,003
Piano solo
3,434
Piano, Vocal and Guitar
1,148
Easy Piano
993
C Instruments
422
Organ
407
1 Piano, 4 hands
129
Piano Accompaniment
116
Accordion
90
Piano Trio: piano, violin, cello
73
Big Note Piano
53
2 Pianos, 4 hands
27
Piano Quartet: piano, violin, viola, cello
22
Piano Quintet: piano, 2 violins, viola, cello
21
Piano Quartet: piano, 2 violins, cello
15
Organ, Trumpet (duet)
13
Organ, Piano (duet)
7
Harpsichord
7
2 Accordions
6
Solo instrument and Organ
6
Piano (band part)
6
Organ, Voice
4
1 Piano, 6 hands
4
2 Pianos, 8 hands
3
Accordion ensemble
2
Keyboard
1
+ 21 instrumentations
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Guitars
Guitar notes and tablatures
339
Guitar
317
Melody line, (Lyrics) and Chords
190
Ukulele
130
Bass guitar
90
Lyrics and Chords
55
2 Guitars (duet)
54
Piano, Guitar (duet)
33
Mandolin
19
4 Guitars (Quartet)
18
Banjo
9
3 Guitars (trio)
8
Dulcimer
5
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5
Guitar Ensemble
5
Electric Bass (band part)
2
Mandolin, Piano (duet)
1
Mandolin, Guitar (duet)
1
Baritone Ukulele
1
+ 14 instrumentations
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Retract
Voice
Choral SATB
1,144
Choral 3-part
474
Choral 2-part
326
Soprano voice, Piano
243
Voice solo
224
Choral TTBB
170
Vocal duet, Piano
163
Tenor voice, Piano
153
Choral SSAA
134
Vocal duet
95
High voice
91
Choral Instrumental Pak
88
Alto voice, Piano
87
Baritone voice, Piano
80
Choral
75
Choral Unison
73
Low voice, Piano
52
Mezzo-Soprano voice, Piano
45
Medium voice, Piano
28
Tenor voice
15
Choral SSATB
9
Soprano voice
9
Voice, Basso continuo
8
Choral SSATTB
6
Choral SSAATTBB
5
Low voice
5
Vocal duet, Organ
4
Voice, Guitar
3
High voice, Piano
3
Choral SATBB
2
Choral SATTB
2
Choral SSAB a cappella
2
Medium Voice
2
Soprano voice, Orchestra
1
Baritone voice
1
Choral, Organ
1
Choral SSAATB
1
+ 32 instrumentations
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Retract
Woodwind
Flute and Piano
439
Clarinet and Piano
365
Flute
357
Clarinet
327
Alto Saxophone and Piano
278
Oboe, Piano (duet)
267
Saxophone Quartet: 4 saxophones
264
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
229
Alto Saxophone
204
Tenor Saxophone and Piano
198
2 Saxophones (duet)
184
Saxophone (band part)
183
Clarinet Quartet: 4 clarinets
165
Flute, Oboe, Clarinet, Bassoon
159
Soprano Saxophone and Piano
147
Tenor Saxophone
138
2 Flutes (duet)
128
Oboe (band part)
114
Saxophone
113
2 Clarinets (duet)
112
Flute Quartet: 4 flutes
96
Saxophone Quintet: 5 Saxophones
77
Clarinet (band part)
73
Clarinet Ensemble
73
Recorder
68
Baritone Saxophone, Piano
67
Saxophone ensemble
62
Flute ensemble
57
Flute, Clarinet (duet)
56
3 Saxophones (trio)
56
Flute and Guitar
55
English horn, Piano
49
Recorder Quartet
48
Oboe
35
Clarinet Quintet: 5 clarinets
32
Soprano Saxophone
29
3 Clarinets (trio)
28
3 Recorders (trio)
28
Flute (band part)
26
Bass Clarinet, Piano
26
2 Oboes (duet)
26
Flute, Violin, Piano
24
Clarinet, Violin (duet)
24
Descant (Soprano) Recorder
23
Flute Trio: 3 flutes
23
Saxophone, Clarinet (duet)
20
Oboe, Bassoon (duet)
20
2 Clarinets, Piano
17
Flute, Clarinet, Piano (trio)
17
Flute, Oboe, Clarinet (trio)
16
Flute, Violin
16
2 Recorders (duet)
15
5 Recorders
15
Eb Instruments
14
Treble (Alto) Recorder, Piano
14
Baritone Saxophone
14
2 Saxophones, Piano
13
Flute, Violin and Violoncello
13
Clarinet, Guitar (duet)
13
Flute, Clarinet and Bassoon.
13
Oboe, Clarinet, Bassoon (trio)
12
Piccolo, Piano
12
English Horn
12
Recorder Ensemble
12
Oboe, Clarinet (duet)
11
Clarinet, Trumpet (duet)
11
Tenor Recorder
10
2 Flutes, Piano
10
Flute, Saxophone (duet)
8
Flute, Oboe, Bassoon
8
Flute Quintet : 5 flutes
8
Clarinet, Cello (duet)
8
Flute, Violoncello
8
Flute, trombone and piano
8
Oboe, Flute
8
Clarinet and Viola
7
Clarinet, Cello, Piano (trio)
7
Treble (Alto) Recorder
7
Flute, Oboe, Piano (trio)
7
Recorder, Piano
7
Piccolo
7
Ocarina
7
Saxophone and Guitar
7
Descent (Soprano) Recorder, Piano
6
Saxophone and Organ
6
Flute, Trumpet (duet)
6
Flute, Viola (duet)
6
Clarinet, Bassoon (duet)
6
Clarinet, Harp (duet)
6
Flute, Viola and Piano
5
Flute, Cello, Piano (trio)
5
Flute, Bassoon, and Piano
5
Bass Clarinet
4
Flute, Oboe (duet)
4
Recorder, Guitar (duet)
4
Flute, Violin, Violoncello and Piano
4
Clarinet Quintet: Clarinet, String Quartet
4
Harmonica
3
Oboe, Harp
3
4 Oboes
3
Clarinet, Orchestra
3
Saxophone and Piano
3
Clarinet, Bassoon, Piano (trio)
2
Oboe, Guitar (duet)
2
3 Oboes
2
Clarinet, Trombone (duet)
2
Flute, Cello, Guitar
2
Clarinet, trumpet and piano
2
English Horn, Guitar (duet)
2
Oboe, Cello
2
2 Oboes, Piano
2
Flute, Basso continuo
1
Oboe, Bassoon and Piano
1
Clarinet, Saxophone, Piano
1
Flute and Strings Trio
1
Oboe, Violin, Viola and Violoncello (Quartet)
1
Flute, harp and violin
1
Flute, Organ (duet)
1
Saxophone and cello
1
Clarinet, Organ
1
Saxophone and Harp
1
Flute and String Quartet
1
Clarinet, Double bass (duet)
1
Treble (Alto) Recorder, Basso continuo
1
Recorder, Harp
1
2 Flutes, Basso continuo
1
+ 121 instrumentations
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Retract
Woodbrass
Trumpet
325
Trumpet, Piano
264
Brass Quintet: 2 trumpets, horn, trombone, tuba
222
Trombone
220
Trombone and Piano
217
French Horn and Piano
171
French horn
167
Brass quartet : 2 trumpets, trombone, tuba
121
Tuba and Piano
107
Tuba
89
Trombone (band part)
76
Trumpet (band part)
74
Brass Quartet: 2 trumpets, horn, trombone
72
Euphonium, Piano (duet)
66
2 Trumpets (duet)
63
English horn, Piano
49
Brass Quartet
48
2 Trombones (duet)
45
Brass Quartet: 4 trombones
43
Brass Quartet: 4 horns
42
Trumpet, Trombone (duet)
31
French horn (band part)
25
Tuba (band part)
24
Euphonium
23
Trombone ensemble
19
2 French horns (duet)
19
Trumpet, Saxophone (duet)
18
2 Euphoniums and 2 Tubas
17
Trumpet, Horn (duert)
16
Bb Instruments
14
Brass Quartet: 4 trumpets
13
4 Tubas
13
Horn Ensemble
12
English Horn
12
Trumpet ensemble
9
Brass Trio
9
Bass Clef Instruments
8
3 Trombones (trio)
8
2 Tubas (duet)
6
Bass Trombone and Piano
6
Bass Trombone
4
Trombone, Organ
4
Horn, Cello (duet)
4
Brass Quartet: 2 trumpets, 2 trombones
4
3 Trumpets (trio)
3
Trumpet, Cello (duet)
3
2 Trumpets, Keyboard (piano or organ)
3
Trumpet and Guitar
3
Trombone, Tuba (duet)
3
Horn, Tuba (duet)
2
Trumpet, Cello, Piano
2
Trombone, Horn (duet)
2
English Horn, Guitar (duet)
2
Bass Saxhorn or Euphonium or Tuba and Piano
2
Horn and Organ
2
French Horn and Harp
2
Trumpet, Harp
2
Trombone, cello (duet)
1
Trumpet, Bassoon (duet)
1
2 Trombones, Piano
1
Tuba ensemble
1
F Instruments
1
Trumpet, Tuba (duet)
1
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
1
Tuba and Organ
1
Trumpet, violin (duet)
1
Trumpet, Trombone, Piano
1
2 Euphoniums (duet)
1
French horn and Basson (duet)
1
+ 64 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
925
Violin and Piano
588
Violin
416
Cello, Piano
414
Cello
325
Viola, Piano
319
Viola
201
Harp
186
String Trio: violin, viola, cello
161
Violin, Cello (duet)
156
2 Violins (duet)
119
Violin (band part)
88
Double bass, Piano (duet)
82
Double Bass
79
2 Cellos (duet)
77
Violin, Viola (duet)
59
Viola (band part)
57
2 Violas (duet)
56
4 Cellos
45
String Trio: 2 violins, cello
39
String Quintet: 2 violins, viola, cello, bass
36
Cello, Guitar (duet)
30
String Quintet: 2 violins, 2 violas, cello
29
Violin, Guitar (duet)
28
Cello (band part)
27
Doublebass (band part)
26
Viola, Cello (duet)
25
String quartet: 4 violins
17
String Trio: 3 violins
16
String Trio: 3 cellos
16
String Quartet : 4 violas
14
Piano Trio: Violin, Viola, Piano
14
Viola, Guitar (duet)
14
String trio
12
String Trio: 2 violins, viola
12
Harp, Violin (duet)
11
2 Violins, Piano
10
2 Harps (duet)
10
String Quintet: 2 violins, viola, 2 cellos
9
Cello, String Bass (duet)
7
Harp, Flute (duet)
7
2 Cellos, Piano
6
Violin, Basso continuo
6
Cello, Organ
5
Violin, Organ
4
String Trio: 3 violas
4
2 Violas, Piano
4
Flute, Doublebass (duet)
3
Violin, Bassoon (duet)
3
Violin ensemble
3
Cello, Orchestra
2
Viola ensemble
2
Violin, Clarinet, Piano (trio)
2
Cello Ensemble
2
Harp, Voice
2
2 Double basses (duet)
2
4 Double Basses
2
Harp, Violin, Violoncello
1
Harp and Piano
1
Viola and orchestra
1
3 double basses
1
Harp, String quartet
1
Harp, Cello (duet)
1
Viola and Harp
1
Viola and Bassoon
1
+ 60 instrumentations
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Retract
Orchestra & Percussion
Concert band
717
String Orchestra
368
Orchestra
367
Drums
234
Flexible Instrumentation
233
Chamber Orchestra
177
Brass ensemble
131
Jazz Ensemble
102
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97
Handbells
70
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39
Jazz combo
33
Percussion Ensemble
29
Marimba
19
Drum (band part)
13
Percussion
13
Timpani (band part)
13
Woodwind Quintet
8
Xylophone
5
Piano and Orchestra
4
Vibraphone
4
Xylophone, Piano
3
Vibraphone (band part)
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
2
Woodwind Quartet: any 4 woodwinds
2
Marimba, Piano (duet)
1
Brass Quintet: other combinaisons
1
Big band
1
Marimba and Organ
1
2 Xylophones
1
Voice and Orchestra
1
Timpani
1
Marimba or Xylophone and Piano
1
Snare drums
1
+ 29 instrumentations
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Retract
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Soprano voice, Piano
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226
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
#
Soprano voice, Piano
#
ADVANCED
#
Classical
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic...
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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 So war es) from Ariadne auf Naxos - Accessible Accompani
#
Soprano voice, Piano
#
ADVANCED
#
Classical
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
Nicole Elyse DiPaolo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic...
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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
Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Acc
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Soprano voice, Piano
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Classical
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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 - Digital Download SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 1...
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Soprano voice,Vocal Solo - Digital Download 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
MANCINI Francesco: Ingoiatelo, aria from solo cantata "L'Arianna", - Voice and Piano (F m
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Ingoiatelo,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869009 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Bar...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869009 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #6326645. Published by Really Good Music, LLC. (A0.869009). Ingoiatelo is an Aria 3 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of F major (C4 – A5) for high voice.
$5.95
MANCINI Francesco: Stringa si dolce nodo, aria from solo cantata "L'Arianna", - Voice and
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Stringa si
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869008 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Bar...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869008 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #6326631. Published by Really Good Music, LLC. (A0.869008). Stringa si dolce nodo is an Aria 2 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A minor (E4 – G5) for high voice.
$5.95
MANCINI Francesco: Struggiti, o core, aria from solo cantata "L'Arianna", - Voice and Pia
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Struggiti,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869012 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Bar...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869012 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 5 pages. Really Good Music, LLC. #6326657. Published by Really Good Music, LLC. (A0.869012). Struggiti, o core is an Aria 4 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (D4 – G5) for high voice.
$5.95
MANCINI Francesco: Pur ti stringo, aria from solo cantata "L'Arianna", - Voice and Piano
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Francesco MANCINI
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Sergei PICHUGIN
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MANCINI Francesco: Pur ti stri
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869006 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Bar...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869006 Composed by Francesco MANCINI (1672 – 1737). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #6326623. Published by Really Good Music, LLC. (A0.869006). Pur ti stringo is an Aria 1 from solo cantata L'Arianna, composed by Francesco MANCINI (1672 – 1737). It has been realized from the manuscript of the cantata and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of B flat major (F4 – G5) for high voice.
$5.95
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
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Soprano voice, Piano
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ADVANCED
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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 - Digital Download SKU: A0.1303524 By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Centur...
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
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Soprano voice, Piano
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ADVANCED
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Classical
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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
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period....
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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 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
Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
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Soprano voice, Piano
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ADVANCED
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Opera
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Classical
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Maurice Ravel
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Nicole Elyse DiPaolo
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Arrière! Je réchauffe les bo
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pag...
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Soprano voice,Vocal Solo - Level 5 - Digital Download 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
VIVALDI Antonio: Scherza l'aura lusinghiera, aria from the opera "Il Farnace", - Voice an
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Scherza l'aur
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868943 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868943 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #5033541. Published by Really Good Music, LLC. (A0.868943). Scherza l'aura lusinghiera is an aria from the opera Il Farnace, composed by Antonio VIVALDI (1678 – 1741) in 1727 and revised several times for its following productions. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the score manuscript of the version of the opera from 1731. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (D4 – G5) for high voice.
$5.95
PORPORA Nicola: Già la notte s'avvicina, aria from the cantata, - Voice and Piano (A maj
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Nicola PORPORA
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Sergei PICHUGIN
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PORPORA Nicola: Già la notte
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868703 Composed by Nicola PORPORA (1686–1768). Arranged by Sergei PICHUGIN. Baroque,...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868703 Composed by Nicola PORPORA (1686–1768). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 6 pages. Really Good Music, LLC. #4404620. Published by Really Good Music, LLC. (A0.868703). Già la notte s'avvicina is an aria from Solo cantata VI, written by the eminent Italian composer Nicola PORPORA (1686 – 1768). The cantatas were composed on the poetry of Pietro Metastasio, famous Italian librettist and poet, who once took music lessons from Porpora. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on early publication of the composer’s twelve cantatas (London, 1735). The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A major (E4 – A5) for high voice.
$5.95
VIVALDI Antonio: In bosco romito, aria from the opera "L'Atenaide", - Voice and Piano (G
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: In bosco romi
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869052 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869052 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #6445609. Published by Really Good Music, LLC. (A0.869052). In bosco romito is an aria from the opera L’Atenaide, composed in 1728 by Antonio VIVALDI (1678 – 1741). It has been realized from the score manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The manuscript of the aria also contains alternative text: Mi sento d’intorno Un figlio tradito etc. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G minor (D4 – Bb5) for high voice.
$5.95
VIVALDI Antonio: In bosco romito, aria from the opera "L'Atenaide", - Voice and Piano (F
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: In bosco romi
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869053 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869053 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #6445607. Published by Really Good Music, LLC. (A0.869053). In bosco romito is an aria from the opera L’Atenaide, composed in 1728 by Antonio VIVALDI (1678 – 1741). It has been realized from the score manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The manuscript of the aria also contains alternative text: Mi sento d’intorno Un figlio tradito etc. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of F minor (C4 – Ab5) for high voice.
$5.95
My Grandma: There Never Was a Dearer Friend to Me, Aria for Soprano
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Soprano voice, Piano
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ADVANCED
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James Nathaniel Holland
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My Grandma: There Never Was a
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James Nathaniel Holland
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.730210 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Musical/Show,Oper...
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Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.730210 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Musical/Show,Opera. 7 pages. James Nathaniel Holland #37197. Published by James Nathaniel Holland (A0.730210). There Never Was a Dearer Friend to Me (My Grandma) Aria for Soprano (Coloratura) From the 21st Century, American opera The One Upstairs Music and Libretto by James Nathaniel Holland Website: http://lacoronadelossantos.net/jamesnathanielholland.html YouTube video presentation: https://www.youtube.com/watch?v=mTdPgcQqf90 Entire Opera at: https://www.youtube.com/watch?v=AiZ3kGBkFEA SYNOPSIS: Setting: NYC. An unsuspecting woman moves into a volatile apartment situation with a crazy neighbor above who keeps banging on the floor at the slightest provocation. It's war! Find out who wins and how in the end. In this aria, our protaganist, Loie (soprano), has had enough with her upstairs neighbor. After banging on the neighbor's door, she quiets down to sing this aria.
$3.99
VIVALDI Antonio: Scherza l'aura lusinghiera, aria from the opera "Il Farnace", - Voice an
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Scherza l'aur
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868942 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868942 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #5033539. Published by Really Good Music, LLC. (A0.868942). Scherza l'aura lusinghiera is an aria from the opera Il Farnace, composed by Antonio VIVALDI (1678 – 1741) in 1727 and revised several times for its following productions. The realization of the aria for voice and piano, made by Sergei Pichugin, is based on the score manuscript of the version of the opera from 1731. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of A major (E4 – A5) for high voice.
$5.95
CALDARA Antonio: Alma del core, aria from the opera "La costanza in amor vince l'inganno", arranged
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Soprano voice, Piano
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INTERMEDIATE
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Antonio CALDARA
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Sergei PICHUGIN
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CALDARA Antonio: Alma del core
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868846 Composed by Antonio CALDARA (1670 – 1736). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #4716145. Published by Really Good Music, LLC. (A0.868846). Alma del core is the aria from the opera-pastorale La costanza in amor vince l'inganno (Faithfulness in love conquers treachery), composed in 1710 and revised in 1716 by Antonio CALDARA (1670 – 1736). It was realized for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (G4 – F#5) for high voice.
$5.95
VIVALDI Antonio: Sposa son disprezzata, aria from the opera "Bajazet", - Voice and Piano
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Sposa son dis
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868693 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868693 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4403476. Published by Really Good Music, LLC. (A0.868693). Sposa son disprezzata is an aria, originally composed by Geminiano Giacomelli (1692 – 1740) for his opera La Merope (1734) and borrowed by Antonio VIVALDI (1678 – 1741) for the pasticcio Bajazet, composed – and compiled – in 1735. Most existing publications of voice and piano arrangement of Sposa son disprezzata date back to the version (far enough from the original), first published in the 1880s. On the contrary, the proposed publication has been realized and arranged by Sergei Pichugin for voice and piano directly from the score manuscript of the opera. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of F minor (C4 – G5) for high voice.
$5.95
VIVALDI Antonio: Nell'orrido albergo, aria from the cantata "Cessate, omai cessate", - Vo
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Nell'orrido a
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868940 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Standards. 7 pages. Really Good Music, LLC. #5029047. Published by Really Good Music, LLC. (A0.868940). Nell'orrido albergo is an aria from the cantata for alto solo Cessate, omai cessate by Antonio VIVALDI (1678 – 1741). It has been realized from the score and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of G major (B3 – A5) for high voice.
$5.95
Jacopo MELANI: Bionde chiome, aria from the opera "Il Girello", - Voice and Piano (B mino
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Soprano voice, Piano
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INTERMEDIATE
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Jacopo MELANI
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Sergei PICHUGIN
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Jacopo MELANI: Bionde chiome,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque...
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868735 Composed by Jacopo MELANI (1623 – 1676). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4409121. Published by Really Good Music, LLC. (A0.868735). Bionde chiome is an aria from the opera (dramma musicale burlesco) Il Girello, composed in 1668 by Jacopo MELANI (1623 – 1676). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the key of B minor (E4 – G5) for high voice.
$5.95
VIVALDI Antonio: Ben conosco, aria from the opera "Arsilda Regina di Ponto", - Voice and
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Ben conosco,
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868836 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 6 pages. Really Good Music, LLC. #4614779. Published by Really Good Music, LLC. (A0.868836). Ben conosco is an aria from the opera Arsilda Regina di Ponto, composed in 1716 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (D4 – G5) for high voice. .
$5.95
SCARLATTI, Domenico: Consolati, e spera, aria from the opera "Ifigenia in Tauri", - Voice
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Domenico SCARLATTI
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Sergei PICHUGIN
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SCARLATTI, Domenico: Consolati
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Ba...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868642 Composed by Domenico SCARLATTI (1685 – 1757). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4365848. Published by Really Good Music, LLC. (A0.868642). Consolati, e spera is an aria from the opera Ifigenia in Tauri (1713) by Domenico SCARLATTI (1685 – 1757), one of the greatest composers of Italian Baroque. It was arranged for voice and piano by Sergei Pichugin. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in B minor (D4 – E5) for high voice. .
$5.95
VIVALDI Antonio: Amato ben, aria from the opera "La verità in cimento", - Voice and Pian
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Antonio VIVALDI
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Sergei PICHUGIN
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VIVALDI Antonio: Amato ben, ar
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroq...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.868697 Composed by Antonio VIVALDI (1678 – 1741). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 7 pages. Really Good Music, LLC. #4403484. Published by Really Good Music, LLC. (A0.868697). Amato ben is an aria from the opera La verità in cimento (Truth in Contention), composed in 1720 by Antonio VIVALDI (1678 – 1741). It has been realized from the manuscript of the opera and arranged by Sergei Pichugin for voice and piano. The aria may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of C minor (F#4 – Ab5) for high voice. .
$5.95
BONONCINI Giovanni: Non posso disperar, aria from the opera "Eraclea", - Voice and Piano
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Soprano voice, Piano
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INTERMEDIATE
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Giovanni BONONCINI
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Sergei PICHUGIN
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BONONCINI Giovanni: Non posso
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Really Good Music, LLC.
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868827 Composed by Giovanni BONONCINI (1670 – 1747). Arranged by Sergei PICHUGIN. Ba...
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.868827 Composed by Giovanni BONONCINI (1670 – 1747). Arranged by Sergei PICHUGIN. Baroque,Concert,Instructional,Opera,Standards. 5 pages. Really Good Music, LLC. #4602789. Published by Really Good Music, LLC. (A0.868827). Non posso disperar is the aria from the opera Eraclea (1692), composed by Giovanni BONONCINI (1670 – 1747), although in some publications it was misattributed to Severo De LUCA (1684 – 1734). The aria was realized for voice and piano by Sergei Pichugin. It may be an invaluable addition to the repertoire of vocal teachers and students. It is available in the original key of G minor (F4 – A5) for high voice. .
$5.95
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