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AUTOHARP
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CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
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HANDBELLS
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TROMBONE
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5,695
Piano & keyboards
Piano solo
1,996
Easy Piano
1,438
Piano, Voice
1,180
Piano, Vocal and Guitar
1,150
Piano Accompaniment
182
1 Piano, 4 hands
127
Organ
116
Piano Trio: piano, violin, cello
40
Piano Quintet: piano, 2 violins, viola, cello
21
2 Pianos, 4 hands
17
Organ, Trumpet (duet)
15
Organ, Piano (duet)
9
Piano Quartet: piano, violin, viola, cello
9
C Instruments
8
2 Pianos, 8 hands
5
Harpsichord
5
Piano Quartet: piano, 2 violins, cello
5
Piano (band part)
2
Accordion
2
1 Piano, 6 hands
2
Fake Book
1
Keyboard
1
+ 17 instrumentations
-
Retract
Guitars
Ukulele
97
Guitar notes and tablatures
90
Piano, Guitar (duet)
81
Bass guitar
72
Guitar
58
2 Guitars (duet)
36
4 Guitars (Quartet)
24
3 Guitars (trio)
11
Mandolin
10
Guitar Ensemble
9
Guitar (band part)
6
Banjo
4
2 Ukuleles
3
Dulcimer
3
Melody line, (Lyrics) and Chords
2
2 Mandolins (duet)
2
2 Dulcimers (duet)
1
Lyrics and Chords
1
+ 13 instrumentations
-
Retract
Voice
Choral SATB
451
Choral 3-part
197
Choral Unison
141
Choral 2-part
135
Choral TTBB
37
Choral
27
Choral SSAA
17
Soprano voice, Piano
12
Vocal duet
12
Vocal duet, Piano
9
High voice
4
Alto voice, Piano
3
Tenor voice
2
Baritone voice, Piano
2
Tenor voice, Piano
2
Choral SSAATTBB
2
Choral SSAB, Piano
1
Soprano voice
1
Medium voice, Piano
1
+ 14 instrumentations
-
Retract
Woodwind
Flute and Piano
629
Clarinet and Piano
458
Alto Saxophone and Piano
323
Oboe, Piano (duet)
305
Ocarina
264
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
218
Tenor Saxophone and Piano
198
Saxophone Quintet: 5 Saxophones
196
Flute, Oboe, Clarinet, Bassoon
186
Saxophone Quartet: 4 saxophones
177
2 Flutes (duet)
169
2 Saxophones (duet)
150
2 Clarinets (duet)
138
Clarinet Quartet: 4 clarinets
137
Soprano Saxophone and Piano
109
Saxophone ensemble
104
Baritone Saxophone, Piano
87
Flute, Clarinet (duet)
84
Flute Quartet: 4 flutes
74
Clarinet Ensemble
71
Flute, Violin
67
Clarinet, Violin (duet)
58
Clarinet
55
3 Saxophones (trio)
55
Flute ensemble
53
Flute Trio: 3 flutes
47
Flute and Guitar
40
Saxophone (band part)
38
3 Clarinets (trio)
35
Flute
32
Flute Quintet : 5 flutes
30
English horn, Piano
28
2 Oboes (duet)
26
Oboe (band part)
25
2 Recorders (duet)
23
Oboe, Flute
23
Bass Clarinet, Piano
21
Clarinet Quintet: 5 clarinets
21
Saxophone, Clarinet (duet)
20
Recorder Quartet
17
Oboe, Bassoon (duet)
16
Flute, Violin, Piano
15
Flute, Clarinet and Bassoon.
15
Alto Saxophone
15
Oboe, Clarinet (duet)
14
Tenor Saxophone
14
Clarinet (band part)
12
Flute, Saxophone (duet)
12
Oboe
10
English Horn
10
Clarinet, Bassoon (duet)
10
Flute (band part)
10
Clarinet, Trumpet (duet)
9
Flute, Oboe (duet)
8
Clarinet, Harp (duet)
8
Flute, Violin and Violoncello
8
Flute, Trombone (duet)
7
Flute, Oboe, Bassoon
7
Recorder
7
Clarinet and Viola
7
Oboe, Clarinet, Bassoon (trio)
7
Flute, Viola (duet)
6
Flute, Trumpet (duet)
6
Flute, harp and violin
6
Descant (Soprano) Recorder
6
Flute, Clarinet, Piano (trio)
5
Flute, Cello, Piano (trio)
5
Treble (Alto) Recorder
5
2 Clarinets, Piano
5
2 Saxophones, Piano
4
Flute, Oboe, Piano (trio)
4
Flute, Violoncello
4
Flute, Bassoon, and Piano
4
3 Recorders (trio)
4
Clarinet Quintet: Clarinet, String Quartet
4
2 Clarinets, Bassoon
3
Wind ensemble
3
Flute, Oboe, Clarinet (trio)
3
Oboe, Harp
3
2 Flutes, Piano
3
Recorder Ensemble
2
Flute, Organ (duet)
2
Oboe, Bassoon and Piano
2
Flute, Viola and Piano
2
Descent (Soprano) Recorder, Piano
2
Saxophone and Organ
2
Tenor Recorder
2
Flute, Violin, Violoncello and Piano
1
Clarinet, Guitar (duet)
1
Clarinet, Cello, Piano (trio)
1
4 Oboes
1
2 English horns and Pianoforte
1
Flute, French horn (duet)
1
Oboe, Guitar (duet)
1
Recorder, Piano
1
Treble (Alto) Recorder, Piano
1
Saxophone and Harp
1
Clarinet, Bassoon, Piano (trio)
1
Clarinet, Cello (duet)
1
5 Recorders
1
Clarinet, Organ
1
2 Oboes, Piano
1
Saxophone and Piano
1
Oboe, Clarinet and Piano (Trio)
1
+ 99 instrumentations
-
Retract
Woodbrass
Brass quartet : 2 trumpets, trombone, tuba
357
Brass Quintet: 2 trumpets, horn, trombone, tuba
348
Trumpet, Piano
299
Trombone and Piano
223
French Horn and Piano
197
Trumpet ensemble
96
Brass Quartet: 2 trumpets, horn, trombone
76
Trumpet
75
Brass Trio
74
Tuba and Piano
71
2 Trumpets (duet)
70
2 Trombones (duet)
60
Trombone ensemble
53
Brass Quartet: 4 trombones
49
Euphonium, Piano (duet)
44
Brass Quartet
32
Trombone
32
Trumpet, Trombone (duet)
32
English horn, Piano
28
Tuba
26
3 Trombones (trio)
26
2 French horns (duet)
23
French horn
22
Trumpet, Saxophone (duet)
20
Trombone (band part)
17
Trumpet (band part)
17
3 Trumpets (trio)
16
Trumpet, Horn (duert)
14
Brass Quartet: 4 horns
14
Euphonium, Tuba (duet)
12
English Horn
10
French horn (band part)
9
2 Tubas (duet)
9
Trombone, Organ
8
Horn Ensemble
8
Tuba (band part)
7
Trombone, Horn (duet)
7
Trombone, Tuba (duet)
6
Brass Quartet: 4 trumpets
6
Horn, Tuba (duet)
5
Euphonium
5
3 French horns (trio)
5
French Horn and Harp
4
Trumpet, Tuba (duet)
4
Brass Quintet: 2 trumpets, horn, 2 trombones
3
French horn and Basson (duet)
3
4 Tubas
3
2 Euphoniums (duet)
2
Trumpet, Harp
2
Clarinet, Horn (duet)
2
Trumpet, Euphonium (duet)
2
Tuba ensemble
2
Bass Trombone
1
2 English horns and Pianoforte
1
Trumpet, Trombone, Piano
1
Brass Quartet: 2 trumpets, 2 trombones
1
Bass Trombone and Piano
1
3 Euphoniums
1
Trumpet, Cello, Piano
1
Horn, Trumpet, Trombone (trio)
1
Bass Clef Instruments
1
+ 56 instrumentations
-
Retract
Strings
String Quartet: 2 violins, viola, cello
732
Violin and Piano
541
Cello, Piano
461
Viola, Piano
360
String Trio: violin, viola, cello
262
2 Violins (duet)
146
Violin, Cello (duet)
143
Harp
142
String Quintet: 2 violins, viola, cello, bass
85
Violin, Viola (duet)
84
2 Cellos (duet)
80
Double bass, Piano (duet)
69
2 Violas (duet)
62
Violin
59
Violin, Guitar (duet)
49
Cello
46
String Trio: 2 violins, cello
44
Viola, Cello (duet)
39
String Trio: 3 violins
37
Violin ensemble
30
Viola ensemble
28
Viola
27
Harp, Flute (duet)
26
Double Bass
25
2 Harps (duet)
25
4 Cellos
24
2 Double basses (duet)
15
String Trio: 2 violins, viola
15
String Quartet : 4 violas
14
String quartet: 4 violins
13
String Trio: 3 cellos
13
Cello, String Bass (duet)
12
Viola (band part)
12
Harp, Violin (duet)
11
Violin (band part)
10
Piano Trio: Violin, Viola, Piano
10
2 Violins, Piano
7
Doublebass (band part)
7
Harp, Voice
5
String Quintet: 2 violins, 2 violas, cello
5
Viola and Harp
4
Cello Ensemble
3
Cello, Guitar (duet)
3
String Trio: 3 violas
2
Violin, Organ
2
2 Cellos, Piano
2
Harp, Trombone (duet)
1
String trio
1
Viola and Bassoon
1
Harp, Violin, Violoncello
1
Harp and Piano
1
2 Violas, Piano
1
Viola, Guitar (duet)
1
Viola, Organ
1
String Quintet: 2 violins, viola, 2 cellos
1
Cello, Organ
1
3 Harps
1
Violin, Clarinet, Piano (trio)
1
4 Double Basses
1
Harp, Cello (duet)
1
+ 55 instrumentations
-
Retract
Orchestra & Percussion
Concert band
600
Jazz Ensemble
429
Brass ensemble
402
String Orchestra
392
Orchestra
375
Handbells
235
Chamber Orchestra
167
Jazz combo
127
Marching band
78
Percussion Ensemble
54
Drums
16
School Ensemble
6
Percussion (band part)
6
Vibraphone
3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
2
Flexible Instrumentation
1
Drum (band part)
1
Vibraphone and Marimba
1
Xylophone, Piano
1
Percussion
1
2 Marimbas
1
+ 16 instrumentations
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Retract
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Soprano voice, Piano
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12 sheet music found
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1
Halevi Songs (piano/vocal score only)
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Soprano voice, Piano
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ADVANCED
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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
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.938913 Composed by Elissa Brill Pashkin. Concert,Contemporary. 23 pages. Elissa Brill Pashk...
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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
"Three Songs" - for Soprano and Piano [Performance Score]
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Soprano voice, Piano
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INTERMEDIATE
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Lior Navok
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"Three Songs" - for Soprano an
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Lior Navok Music
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.976033 Composed by Lior Navok. 20th Century,Contemporary,World. 14 pages. Lior Navok Music ...
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.976033 Composed by Lior Navok. 20th Century,Contemporary,World. 14 pages. Lior Navok Music #4719281. Published by Lior Navok Music (A0.976033). THREE SONGS - for Soprano and Piano (1995) DURATION: 10 minutes POEMS BY: Leah Goldberg LANGUAGE: Hebrew POEMS INCLUDED: 1. In the Evening 2. Song Without a Name 3. And Again. . . PROGRAM NOTES: The composer writes about his work: Leah Goldberg is one of my favorite Israeli poets. The three songs were not written in sequence, and were collected to a short song cycle which is dealing with the inner thoughts and despairs that run in the head of a lonely woman. Nevertheless, the three songs share many similar motives, descriptions and common words that in some cases have double meaning. TEXT is available in Latin Characters. INFO: Item: Full Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages:14 Ink: Black & White Paper Size:DIN A4 / Letter.
$14.00
Crying Oceans (Full Score/Score Only)
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Cody Weinmann
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Crying Oceans
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Cody Weinmann
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835143 Composed by Cody Weinmann. 20th Century,Contemporary. 30 pages. Cody Weinmann #53768...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.835143 Composed by Cody Weinmann. 20th Century,Contemporary. 30 pages. Cody Weinmann #5376883. Published by Cody Weinmann (A0.835143). This is Crying Oceans, the original first version of one of the weirdest pieces I've composed for soprano voice, 2 violins, cello and piano accompaniment. This piece is a good chamber piece for concerts and recitals. It has a post-modern flair to it. Included is the full score only. Parts are for now sold separately. If you need a piece under 15 minutes, this would be a great choice!
$19.50
Huit Études Latines (2022) piano vocal score
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Soprano voice, Piano
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Huit Études Latines
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Thomas Oboe Lee
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869877 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 32 pages. Thomas Oboe Lee #6...
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.869877 Composed by Thomas Oboe Lee. 20th Century,Contemporary. 32 pages. Thomas Oboe Lee #6744419. Published by Thomas Oboe Lee (A0.869877). I recently discovered Reynaldo Hahn via the superb soprano Veronique Gens' album Néère. She included in her album selections from Reynaldo Hahn's song setting of poems by Charles Marie René Leconte de Lisle called Études Latines. There are eighteen of these very enigmatic and fanciful poems about Greek or Latin gods and goddesses: Apollo, Venus, Lydia, Bacchus, Diane, Phoebe, Phyllis, Glycère, Naiads, Pyrrha, etc. Hahn set ten of these poems in an array of vocal settings: choral, solo male or female voices. For my song cycle I chose the remaining eight that Hahn did not use. I. Licymnie II. Glycère III. Hymne 01 IV. (sans titre) V. Hymne 02 VI. Pyrrha VII. Lydia VIII. Envoi.
$9.99
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
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Soprano voice, Piano
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ADVANCED
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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 - 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
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Soprano voice, Piano
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ADVANCED
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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 - 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
O Jesus, I Have Promised
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Soprano voice, Piano
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EASY
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Sacred music
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Arthur H
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Sandy McIntire
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O Jesus, I Have Promised
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Sandy McIntire
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1413305 Composed by Arthur H. Mann. Arranged by Sandy McIntire. Christian,Instructional,Sac...
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Soprano voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1413305 Composed by Arthur H. Mann. Arranged by Sandy McIntire. Christian,Instructional,Sacred,Traditional. 8 pages. Sandy McIntire #995185. Published by Sandy McIntire (A0.1413305). O Jesus, I Have Promised was published in the mid-19th Century in England. Its lovely lyrics and melody have endeared it to worshipers ever since. This arrangement is an Easy Intermediate Soprano Solo (range D - E) with piano accompaniment suitable for worship services, confirmations, baptisms, and altar calls. A separate sheet for the voice is included with the score.
$4.99
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
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