Partitions Numériques de Long As I Can See the Light pour Voix Soprano, Piano

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Long As I Can See the Light
Non classifié 18

Piano & claviers
Piano seul 15
Piano, Voix et Guitare 10
Piano, Voix 6
Piano Facile 3
Piano Trio: piano, violon, violoncelle 1

1 Piano, 4 mains 1

+ 1 instrumentations

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Guitares
Guitare notes et tablatures 3
Ukulele 2
Paroles et Accords 2
Basse electrique 1

Voix
Chorale SATB 9
Chorale 3 parties 3
Voix Soprano, Piano 3

Chorale TTBB 2
Chorale 2 parties 1

Vents
Quatuor de Clarinettes: 4 clarinettes 1

Cuivres
Trombone 2
2 Tubas (duo) 1
Trombone et Piano 1

Cordes
Violon, Guitare (duo) 3
Quatuor à cordes: 2 violons, alto, violoncelle 2
Trio à Cordes: violon, alto, violoncelle 1
Violon et Piano 1
Harpe 1

Alto, Piano 1
Violon 1
Trio à Cordes: 2 violons, violoncelle 1

+ 3 instrumentations

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Percussions & orchestre
Orchestre à Cordes 2
Piano et Orchestre 1
Orchestre de chambre 1

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Long As I Can See the Light

Voix Soprano, Piano

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3 partitions trouvées

Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments

Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments #Voix Soprano, Piano #AVANCÉ #Opera #Classique #Maurice Ravel #Nicole Elyse DiPaolo #Arrière! Je réch #Nicole Elyse DiPaolo #SheetMusicPlus

Soprano voice,Vocal Solo - Level 5 - SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse...(+)

Soprano voice,Vocal Solo - Level 5 - 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 ArriÃ¨re! Je rÃ©chauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilÃ¨ges (1925)â€‹. 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 â€œfudgedâ€ with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ€™ve provided.2. Iâ€™ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â€œsink or swimâ€ accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.Â 3. In addition to the composerâ€™s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible.Â 5. When known, Iâ€™ve noted alternate cuts that singers might like to take within certain arias.Â 6. In some cases Iâ€™ve modernized spelling conventions for easier readability (for example, by replacing â€œÃŸâ€ with â€œssâ€ in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. Iâ€™ve also replaced some text â€œcresc.â€ and â€œdim.â€ markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula.Â For more information, please visit http://ndipaolo.musicaneo.com .

$8.95 ≈ 8.26€

Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition

Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition #Voix Soprano, Piano #AVANCÉ #Classique #Ruggiero Leoncavallo #Nicole Elyse DiPaolo #Qual fiamma...Stridono lass&ug #Nicole Elyse DiPaolo #SheetMusicPlus

Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole...(+)

Soprano voice,Vocal Solo - Level 5 - 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 AccompanimentsÂ series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassÃ¹, 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 theÂ chaotic,Â poorlyÂ notated, andÂ technicallyÂ demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to playÂ the harpÂ lines that nobody canÂ hearÂ anyway!All Accessible Accompaniments, including this one,Â 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 Iâ€™ve provided.2. Iâ€™ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a 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 composerâ€™s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ€™ve included the next downbeatâ€™s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, Iâ€™ve noted alternate cuts that singers might like to take within certain arias.6. In some cases Iâ€™ve modernized spelling conventions for easier readability (for example, by replacing ÃŸ with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger:Â Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula.Â For more information, please visit http://ndipaolo.musicaneo.com .

$8.95 ≈ 8.26€

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