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Arias Nos. 1 6
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You've selected:
Arias Nos. 1 6
Sheetmusic to print
15 sheet music found
<
1
Arias Nos. 1-6
Arias Nos. 1-6
#
Euphonium, Piano (duet)
#
Georg Philipp Telemann
#
Robert Madeson
#
Arias Nos. 1-6
#
Cimarron Music Press
#
SheetMusicPlus
By Georg Philipp Telemann (1681-1767). Arranged by Robert Madeson. For Euphonium Solo with Piano. Solo music. Solo part and piano score. Published by Cimarron M...
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By Georg Philipp Telemann (1681-1767). Arranged by Robert Madeson. For Euphonium Solo with Piano. Solo music. Solo part and piano score. Published by Cimarron Music Press
$18.00 ≈
£14.02
Divertimento 6 / Divertissement 6 / Entertainment 6
Divertimento 6 / Divertissement 6 / Entertainment 6
#
Soprano voice, Piano
#
INTERMEDIATE
#
Rudesindo Soutelo
#
Divertimento 6 / Divertissemen
#
Publisher by Rudesindo Soutelo
#
SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1256745 Composed by Rudesindo Soutelo. 21st Century,Classical,Contemporary,Singer/Songwrite...
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Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1256745 Composed by Rudesindo Soutelo. 21st Century,Classical,Contemporary,Singer/Songwriter. 4 pages. Publisher by Rudesindo Soutelo #850105. Published by Publisher by Rudesindo Soutelo (A0.1256745). To Keri Lee PiersonRudesindo SouteloDivertimento 6 / Divertissement 6 / Entertainment 6 for Solo Voice (Soprano) [ca. 1']Lorem ipsum is an anonymous text that since the 15th century has been used by typographers to show the size and make of typefaces. The text distorts the original font found in Cicero’s De Finibus Bonorum et Malorum (1.10.32-33). There are various versions of the text, some comic, others absurd or even devoid of verbal sense. In that sense it is used here so as not to disturb the musical entertainment. It functions, therefore, as vocables without any message other than the purely musical.The complex {4 [2, 2], 3 [2, 1]}, taken from the dedicatory’s name, organizes the whole work.---oOo---Lorem ipsum é um texto anónimo que desde o século XV vem sendo utilizado pelos tipógrafos para mostrar o tamanho e feitura dos tipos de letra. O texto distorce a fonte original que se encontra no De Finibus Bonorum et Malorum (1.10.32–33) de CÃcero. Existem varias versões do texto, algumas cómicas, outras absurdas ou mesmo carentes de significado verbal. Nesse sentido é utilizado aqui para não perturbar o divertimento musical. Funciona, pois, como vocábulos sem qualquer mensagem para além da puramente musical.O complexo {4 [2, 2], 3 [2, 1]} retirado do nome da dedicatária, organiza toda a obra.ISWC: T-315.926.601-6ISMN: 979-0-707704-09-7 Lyric/Texto:Lorem ipsum dolor sit amet,  consectetur adipisci elit,  sed eiusmod tempor incidunt ut labore et dolore magna aliqua. Ut enim ad minim veniam,  quis nostrum exercitationem  ullam corporis suscipit laboriosam,  nisi ut aliquid ex ea commodi consequatur. Quis aute iure reprehenderit  in voluptate velit  esse cillum dolore  eu fugiat nulla pariatur. Excepteur sint obcaecat  cupiditat non proident,  sunt in culpa qui officia deserunt  mollit anim id est laborum.(Anonymous and fictitious text from the printing industry of the 15th century.)(Texto anónimo e fictÃcio da industria tipográfica do século XV.).
$3.00 ≈
£2.34
Songbook - 50 Melodias com Cifra - Livro 5
Songbook - 50 Melodias com Cifra - Livro 5
#
Christmas
#
Diversos
#
Israel Pessoa
#
Songbook - 50 Melodias com Cif
#
Israel Pessoa
#
SheetMusicPlus
C Instrument,Electric Guitar,Fiddle,Instrumental Solo,Keyboard,Piano,Soprano Flute - Level 2 - Digital Download SKU: A0.1353297 By Diversos. By Diversos....
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C Instrument,Electric Guitar,Fiddle,Instrumental Solo,Keyboard,Piano,Soprano Flute - Level 2 - Digital Download SKU: A0.1353297 By Diversos. By Diversos. Arranged by Israel Pessoa. 21st Century,Christian,Christmas,Classical,Multicultural,World. Score and individual part. 72 pages. Israel Pessoa #938063. Published by Israel Pessoa (A0.1353297). Livro com 50 partituras. Melodias com cifra das principais musicas tocadas nos eventos em geral. Para você que quer começar ou expandir seu repertório. Todas as partituras foram escritas e revisadas com extremo cuidado para que você possar baixar e tocar.1 A Pele que há em Mim - Márcia e JP Simões2 A Tua Mesa Cura - Thamires Garcia3 Always - Bon Jovi4 Anjos de Deus - Pe. Marcelo Rossi5 Baianidade Nago - Banda Mel6 Bate o Sino - Tradicional Natalina7 Bem-Vindo - Irmão Urso8 Boas Festas - Assis Valente9 Carinhoso - Pixinguinha10 Chega De Saudade - Tom Jobim11 Colo de Mãe - Frei Gilson12 Conquistando o ImpossÃvel - Jamilly13 Dindi - Tom Jobim14 Divertissement - Saint Preux15 Dust The Wind - Kansas16 Eles Se Amam - Vocal Livre17 Então é Natal - Simone18 Flowers - Miley Cyrus19 Fogo Abrasador - Maikel Marques20 Glória - Surgem Anjos - Tradicional Natalina21 Goodness Of God - Bethel Music22 IF I AINT'T GOT YOU - Alicia Keys23 I'll Be There - Jackson 524 ImpossÃvel de Esquecer - Eyshila25 Jesus Alegria Dos Homens - J.S. Bach26 Marcha Nupcial + Ai que Saudade D'ocê27 Marcha Nupcial + Pode Morar Aqui28 Minha Raiz - Fluminense29 Natal Branco - Tradicional Natalina30 O Amor Do Nosso Deus - Diante do Trono31 O Dono da Seara - Anderson Freire32 O Grande Pintor - Hino Avulso CCB33 O Rosto de Cristo - Sarah Farias34 Ousado Amor - Isaias Saad35 Pai De Menina - Ferrugem36 Panis Angelicus - Cesar Frank37 Pelos Prados E Campinas - Frei Fabretti38 Raridade - Anderson Freire39 Samba de Verão - Marcos Valle40 Save A Prayer - Duran Duran41 Será assim abençoado - Salmo42 Shine Jesus, Shine43 Sorriso Resplandescente - Dragon Ball GT44 Tá Chorando Por Quê - Preto No Branco45 The Legend Of Zelda - Kõji Kondõ46 Último Romance - Los Hermanos47 Valsa Brasileira - Chico Buarque48 We Wish You A Merry Christmas - Tradicional Natalina49 You And Me - Soja50 You're The Inspiration - Chicago.
$10.00 ≈
£7.79
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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 ≈
£10.87
Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Acc
Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Acc
#
Soprano voice, Piano
#
Classical
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
#
Nicole Elyse DiPaolo
#
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 ≈
£8.53
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
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 ≈
£6.97
Quatre Poemes De Guillaume Apollinaire
Quatre Poemes De Guillaume Apollinaire
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Piano, Voice
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ADVANCED
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Contemporary
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Francis Poulenc and Guillaume
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Nicole Elyse DiPaolo
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Quatre Poemes De Guillaume Apo
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Nicole Elyse DiPaolo
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 2...
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461). The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. 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 devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists. This collectionâ??s reductions boast several unique features: 1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ? 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??sink or swimâ? 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, when possible, 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. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â? with â??ssâ? in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.
$8.95 ≈
£6.97
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
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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 ≈
£6.97
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
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 ≈
£6.97
O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
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 ≈
£6.97
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Cent...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations. About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
£6.97
Concerto No. 4 - Orchestra Parts (First Edition)
Concerto No. 4 - Orchestra Parts (First Edition)
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Classical
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Alexander Peskanov
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Concerto No. 4 - Orchestra Par
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Classical Video Concepts, Inc.
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SheetMusicPlus
Large Ensemble Cello,Flute,Oboe,Viola,Violin - Level 1 - Digital Download SKU: A0.864647 Composed by Alexander Peskanov. Classical. Score and parts. 36 p...
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Large Ensemble Cello,Flute,Oboe,Viola,Violin - Level 1 - Digital Download SKU: A0.864647 Composed by Alexander Peskanov. Classical. Score and parts. 36 pages. Classical Video Concepts, Inc. #2014519. Published by Classical Video Concepts, Inc. (A0.864647). The package includes: FLUTE - 1 Copy OBOE - 1 Copy VIOLIN I - 6 Copies VIOLIN II - 6 Copies VIOLA - 4 Copies CELLO/BASS - 4 Copies Concerto No. 4 for Piano and Orchestra is written in classical style. The first movement is reminiscent of Haydn's Symphonies. The music is light and humorous. The second movement reminds of arias from Gluck's operas. The music is filled with nostalgia and sorrow. The third movement is written in rondo form. It's filled with vigor and joy.
$50.00 ≈
£38.95
Pescador de Hombres
Pescador de Hombres
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Choral SATB
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INTERMEDIATE
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Sacred music
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Cesareo Gabarain
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Antonio Rmz
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Pescador de Hombres
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Hope Ram
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.922030 Composed by Cesareo Gabarain. Arranged by Antonio Rmz. Christian,Praise & Worship,Sacred,...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.922030 Composed by Cesareo Gabarain. Arranged by Antonio Rmz. Christian,Praise & Worship,Sacred,Spiritual. Octavo. 3 pages. Hope Ram #3626507. Published by Hope Ram (A0.922030). Arreglo para coros con partes para solista y duetos soprano/alto y soprano/tenor.Acordes incluidos para acompanamiento de piano/teclado. Para misas y celebraciones cristianas.Ideal para coros de Iglesia, y coros de escuelas secundarias, preparatorias y universidades.Tiempo de practica: 2 horas. Preferentemente divididas en 2 sesiones.Sugerencias para ensayos:  - Selecciona solista y duetos primero. - Aprender cada voz por separado. Asegurate que cada nota es cantada correctamente para asi el ensamble es mas   facil de juntar.  - Las armonias son clave para que esta pieza pueda crear el objetivo de sensibilizacion para ambos coro y publico. - Despues de que cada parte este dominada, continua con sopranos y altos juntos, y luego tenor y bajos juntos.  - Termina practica con todas las voces al mismo tiempo.  - Practica con la solista y los duetos por separado.  - Acomoda a los integrantes del coro en forma de media luna. En la primera fila, sopranos, luego altos, tenores y bajos.   Luego una segunda fila de las misma forma. Y asi sucesivamente. Las sopranos tienen que estar viendo a los bajos   de frente. De esta manera, todos los integrantes pueden escuchar y disfrutar de la armonia. Duracion de la pieza: 3:18 a velocidad 80 (6/8). Cualquier pregunta o peticion para algun otro arreglo, por favor no dudes en contactarme a mi email: al42609@hotmail.comChoral Arrangement with soloist, soprano/alto duet, and soprano/tenor duet.Chords provided for piano/keyboard accompaniment.For Christian services.Ideal for Church choirs and middle/high school, and college choirs.Practice time: 2 hours. Preferably 2 1-hour practices.Performance practice suggestions: - Select soloist and duets first. - Learn each part separately. Make sure all notes are sung correctly so it's easier to practice ensemble.  - Harmonies are key to make this hymn uplifting for both performers and audience. - Continue learning sopranos and altos together, and then tenor and basses together. - Finish with all parts together. - Practice soloist and duets separately. - Arrange choir in a half moon with sopranos, altos, tenor and basses in the first line. Then second line the same way.   Sopranos should be facing basses. This way, everybody can listen and enjoy the harmony.Duration of work: 3:18 at tempo 80 (6/8). Any question or arrangement request, please don't hesitate to contact me at email: al42609@hotmail.com
$1.99 ≈
£1.55
From a Window [10 piano pieces]
From a Window [10 piano pieces]
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Piano solo
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INTERMEDIATE
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Juan MarÃa Solare
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#
From a Window [10 piano pieces
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.596553 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary,Latin,Standards. Score. 32 pag...
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Piano Solo - Level 3 - Digital Download SKU: A0.596553 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary,Latin,Standards. Score. 32 pages. Juan Maria Solare #4602713. Published by Juan Maria Solare (A0.596553). Juan MarÃa Solare From a Window 10 piano pieces 1 - Juan Has a New Piano 02:29 2 - Gazing 04:37 3 - Cross That Bridge When You Come to It 03:45 4 - Premonición 03:26 5 - La tocaya 03:33 6 - Seul, pendant un instant 04:25 7 - Predictions of the Velvet Gentleman 04:39 8 - The Antarctic Also Exists 02:00 9 - An Old Cottage in Arun 02:26 10 - New Harry Pottery House 05:30From a Window - Juan MarÃa Solare The pieces of this piano album have been composed between 2011 to 2018. All of them belong to the aesthetic of neo-classical music, in some cases with a salt of tango flavour (clear in Premonición). The fingerings in the scores are only suggestions - albeit meaningful ones. Be sure that they have been tested in practice. Those are the fingerings that I actually use. Listen to this album in Spotify and similar streaming platforms:https://open.spotify.com/album/3L4VfFsqSb4iax62Wl3FOd https://juanmariasolare.bandcamp.com/album/from-a-window All the pieces were performed by the composer, Juan MarÃa Solare, and recorded at the Studio Onix II, Cervelló / Barcelona, Spain, in January 2018. Recording Engineer: Bruno Sanfilippo (brunosanfilippo.bandcamp.com) Digital release: 8 March 2019, label Double J Music (Bristol, UK)Physical release: label Janus Music & Sound (Bremen, Germany) Artwork: Juan MarÃa Solare. Fractal image created with the JWildfire software designed by Andreas Maschke (jwildfire.org). Trivia: Actually, this particular fractal image was what inspired the title of the album. Stats: in the first month after its release (on 8 March 2019) the focus track, La tocaya, reached 90.000 streams on Spotify. ***
$7.00 ≈
£5.45
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1
Arias Nos. 1 6
