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You've selected:
I See You - SSAATTBB
Soprano voice, Piano
Sheetmusic to print
7 sheet music found
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1
I Won't See Him Again
Soprano voice, Piano
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1008220 Composed by M…
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1008220 Composed by Music by Helen MacCulloch. Lyrics by Alastair MacCulloch. Musical/Show,Pop. 6 pages. Optimistic Music Company #5337359. Published by Optimistic Music Company (A0.1008220). I Won't See Him Again is an emotional love ballad from the musical, Amber Avenues, which is set in 1964. The main character, Yvonne, is regretting breaking up with her younger lover, Matthew. This song is suitable for general audiences, including high schools and community theatres.
$3.50
3.16 €
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Soprano voice, Piano
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Music by Helen MacCulloch
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I Won't See Him Again
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Optimistic Music Company
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SheetMusicPlus
HERMIT THRUSH SONG Soprano with Pianoforte
Soprano voice, Piano
Soprano voice,Vocal Solo - Digital Download SKU: A0.903801 Composed by Alan Edgar a…
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Soprano voice,Vocal Solo - Digital Download SKU: A0.903801 Composed by Alan Edgar and Jane Tims. Contemporary. 4 pages. Alan Edgar Ted Moon #6598567. Published by Alan Edgar Ted Moon (A0.903801). I searched for animals singing the harmonic series--this led me to the Hermit Thrush, a native of north America. The singer imitates the bird and sings a setting of a poem about the bird by Jane Tims, who writes: I think your score is as delightful as the bird it is written for. It also helped me see my poetry in a whole different way. Makes me proud to be a poet.
$6.00
5.41 €
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Soprano voice, Piano
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Alan Edgar and Jane Tims
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HERMIT THRUSH SONG Soprano with Pianoforte
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Alan Edgar Ted Moon
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SheetMusicPlus
Fall of Frost Higher Key
Soprano voice, Piano
Soprano voice,Vocal Solo - Digital Download SKU: A0.1024941 Composed by Abigail Gil…
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Soprano voice,Vocal Solo - Digital Download SKU: A0.1024941 Composed by Abigail Gilson. Contemporary. 3 pages. Abigail Gilson #3675487. Published by Abigail Gilson (A0.1024941). I WATCHED her face to see which wayShe took the awful news,Whether she died before she heard-Or in protracted bruiseRemained a few short years with us, Each heavier than the last-A further afternoon to fail,As Flower at fall of Frost.The young girl seeing herself give up on her dreams to fulfill her duty. Disappointed in herself but understanding that its her responsibility to take on the task of mother, and wife
$4.99
4.5 €
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Soprano voice, Piano
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Abigail Gilson
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Fall of Frost Higher Key
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Abigail Gilson
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SheetMusicPlus
The exploding Head
Soprano voice, Piano
Soprano voice and piano - difficult - Digital Download SKU: S9.Q6176 Fragment fr…
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Soprano voice and piano - difficult - Digital Download SKU: S9.Q6176 Fragment from Das Urteil (The Judgement) by Franz Kafka. Composed by Christian Jost. This edition: Sheet music. Downloadable. Duration 7 minutes. Schott Music - Digital #Q6176. Published by Schott Music - Digital (S9.Q6176). German.Kafka's œuvre is interspersed with moments of utter anxiety. Moments in which, induced by adrenalin, the blood pressure rises. Blood vessels which seem to constrict, pump enormous quantities of blood the pressure of which might make one believe that the head is going to explode. In The Judgment, an innocent opening story leads to one of the most unusual showdowns in world literature: The beloved father sentences his son to death by drowning; the son immediately obeys since his life, his existence almost explodes, becomes blurred, dissolves at the moment the judgment is pronounced. For me, the 'self' driving him – I imagine this as a high sound in the inner ear – could only be a soprano. This is why the actual 'fall' has turned out to be clear, almost friendly and why Georg only seems to want to breathe a soft and quiet 'Dear parents, I have always loved you' during the fall while no longer keeping the singing tone, shortly before death, almost casually, takes hold of him. Christian Jost.
$16.99
15.33 €
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Soprano voice, Piano
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Christian Jost
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The exploding Head
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Schott Music - Digital
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SheetMusicPlus
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
Soprano voice, Piano
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799613 Composed by Ri…
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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
12.58 €
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Soprano voice, Piano
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Richard Strauss
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Halevi Songs (piano/vocal score only)
Soprano voice, Piano
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.938913 Composed by El…
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Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashkin #73895. Published by Elissa Brill Pashkin (A0.938913). NOTE: This piano/vocal score is included as part of the full score package of this piece. It is not necessary to purchase it separately if you are buying the score and parts already. Halevi Songs is a 3-movement song cycle, composed in 2002. It is a setting of three poems (in English translation of the original Hebrew) of Judah Halevi, who was a Jewish scholar and poet who lived in Spain in the Middle Ages. The three movements are I. The Mirror, II. Do the Tears Know?, and III. Calm After the Storm. Each is just under three minutes. The total duration of the piece is between 8.5 and 9 minutes. The audio clip is from the third movement, in a performance of the sextet version of this piece. A complete recording is available upon request from the composer at ebrill@hcc.edu. The performers are Dianne Smith (soprano), Janet Polvino (flute), Isabelle Boggs (clarinet), Bob Ferrier (guitar), Craig Bitterman (percussion), and Joyce Crouch (piano). It may be performed with just piano accompaniment as well. Composer's Notes: The translation of the first poem, The Mirror, is by the 19th century American poet Emma Lazarus, most famous for her familiar words engraved on the Statue of Liberty: Give me your tired, your poorâ?¦ There has been some interesting academic discussion concerning this poem. It is generally attributed to Halevi, but some scholars now believe it may have been written by someone else. (I have also seen the translation attributed to someone else.) The second poem, Do the Tears Know? was originally a tombstone inscription for one of Haleviâ??s friends. This setting was written to honor my father, Harold Allan Brill, who passed away in January, 2000. The third poem, Calm After the Storm, is actually the second half of a longer poem about a sea voyage. The three songs are meant to be performed continuously, without a break in between. Licensed by BMI.
$8.99
8.11 €
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Soprano voice, Piano
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Elissa Brill Pashkin
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Halevi Songs
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Elissa Brill Pashkin
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SheetMusicPlus
Pictures at an exHERbition
Soprano voice, Piano
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.873044 Composed by Sa…
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whitwell (A0.873044). If you really pushed me to make a call, Mussorsgky’s Pictures at an Exhibition would be one of my favourite pieces in the classical repertoire. Somewhat outrageously, for a pianist, I prefer the colours and textures of the orchestrated version. I reasonably regularly listen to it, especially in transit. But to be honest, it’s not the kind of music that I perform all that often i.e. music by dead, white, male composers. I mean, it’s 2020 and as the meme says I can’t believe I still have to protest this sh*t. And I feel it too for those in the visual art world. I mean, things are a good deal better over there in contemporary art world, where women are exhibited regularly and everyone seems to embrace it without a fuss. As for women artists from centuries gone by, it’s less good news but they’re working on it. I’m reminded of the situation daily as my older brother, who is excellent at choosing gifts thoughtfully, gave me some Guerrilla Girls merchandise which I use as an iPad cover. Entitled Advantages of Being a Woman Artist, it’s a list of truths that’s pretty relatable for any creative woman. My favourite bit - Being reassured that whatever kind of art you make it will be labeled feminine. Ooft. Too real. And so I conceived of this song cycle as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector. Three songs, inspired by three works by three wonderful Australian women artists of last century. All are depictions of scenes around Sydney Harbour. In-curve is inspired by Grace Cossington Smith’s The Bridge in-curve, a depiction of an unfinished Sydney Harbour Bridge, painted in 1930 The Code is inspired by Thea Proctor’s woodcut print Women with fans. It is thought to be a portrait of two other artists, printmakers Ethel Spowers and Eveline Syme, sitting above Rushcutters Bay. Where would we sail? is inspired by a very different view of the same location Still life and Rushcutters Bay by Margaret Olley.
$10.00
9.02 €
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Soprano voice, Piano
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Sally Whitwell
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Pictures at an exHERbition
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Sally Whitwell
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SheetMusicPlus
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