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You've selected:
Guest Soloist: Piano Accompaniment
Sheetmusic to print
16 sheet music found
<
1
Guest Soloist: Piano Accompaniment
Guest Soloist: Piano Accompaniment
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Piano Accompaniment
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Instructional
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Richard Meyer
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Guest Soloist: Piano Accompani
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By Richard Meyer. For String Orchestra. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music ...
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By Richard Meyer. For String Orchestra. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$5.99 ≈
5.60€
Christmas Bells for Smart Phone or Tablet: Piano Accompaniment
Christmas Bells for Smart Phone or Tablet: Piano Accompaniment
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Piano Accompaniment
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Christmas
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Bob Phillips
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Christmas Bells for Smart Phon
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
String Orchestra - Digital Download SKU: AX.00-PC-0016341_K Piano Accompaniment. Arranged by Bob Phillips. Instructional. Part. 2 pages. Alfred Mu...
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String Orchestra - Digital Download SKU: AX.00-PC-0016341_K Piano Accompaniment. Arranged by Bob Phillips. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016341_K. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016341_K). UPC: 038081485720.Featuring a guest soloist playing smart phone or tablet, this one is beautiful and fun! Gorgeous string parts interact with the simple bell part. Invite an administrator to play bells and be creative with staging. (2:35) This title is available in SmartMusic.
$5.99 ≈
5.60€
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
#
Classical
#
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
#
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 ≈
8.37€
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
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Soprano voice, Piano
#
ADVANCED
#
Classical
#
Richard Strauss
#
Nicole Elyse DiPaolo
#
Grossmächtige Prinzessin
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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 ≈
8.37€
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
#
Classical
#
Ruggiero Leoncavallo
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Nicole Elyse DiPaolo
#
Qual fiamma...Stridono lassù
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Nicole Elyse DiPaolo
#
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 ≈
8.37€
Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition (Soprano/Piano)
Belle luci, che accendete from La disfatta di Dario - Modern Clef Performing Edition (Soprano/Piano)
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Pasquale Cafaro
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Nicole Elyse DiPaolo
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Belle luci, che accendete from
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Nicole Elyse DiPaolo
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaro’s once enormously popular aria, “Belle luci, che accendete,†from La disfatta di Dario (1756). As noted in Giorgio Sanguinetti’s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for today’s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until they’ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacher’s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual content—it’s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they won’t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozzi’s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who haven’t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5  Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.Sì, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,Nè più brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions: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 ≈
8.37€
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 ≈
8.37€
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
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Classical
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Classical
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implaca
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Nicole Elyse DiPaolo
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SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classi...
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.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 additional courtesy accidentals.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. I’ve also replaced 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 ≈
8.37€
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
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Classical
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Richard Strauss
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Nicole Elyse DiPaolo
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Wie Du warst
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Nicole Elyse DiPaolo
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Pe...
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Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos 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 unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.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 ≈
8.37€
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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 ≈
13.05€
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
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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 ≈
10.25€
Dora PejaÄević "Sieben Lieder (op. 23)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
Dora PejaÄević "Sieben Lieder (op. 23)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
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Dora PejaÄević
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Yuki Hasegawa
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Dora PejaÄević "Sieben
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Edition les bons concerts
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Flute - Level 4 - Digital Download SKU: A0.1033844 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. ...
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Woodwind Ensemble,Woodwind Quartet Alto Flute - Level 4 - Digital Download SKU: A0.1033844 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. 20th Century,Concert,Romantic Period,Standards. 64 pages. Edition les bons concerts #6664631. Published by Edition les bons concerts (A0.1033844). Dora PejaÄević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century.The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The recording/Youtube is by Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).Arranger Yuki Hasegawa, biographyArranger, pianist, conductor and producer.Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.She completed the departments of piano accompaniment, chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crépy and other representative professors in France in terms of composition and arrangement.She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄević, and has also recorded on CD.She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.(As of 20, December 2021)About Edition les bons concertsThe name of the publisher has been given with the wish: Use this sheet music to do good concerts!In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.
$28.70 ≈
26.85€
Dora PejaÄević: "Papillon (op. 6)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
Dora PejaÄević: "Papillon (op. 6)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
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Flute Quartet: 4 flutes
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INTERMEDIATE
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Dora PejaÄević
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Yuki Hasegawa
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Dora PejaÄević: "Papill
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Edition les bons concerts
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1033845 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. Instr...
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1033845 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. Instructional,Romantic Period,Standards,World. 27 pages. Edition les bons concerts #6666767. Published by Edition les bons concerts (A0.1033845). Dora PejaÄević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century (This early work is still quite simple).The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The recording/Youtube is by Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).Arranger Yuki Hasegawa, biographyArranger, pianist, conductor and producer.Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.She completed the departments of piano accompaniment, chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crepy and other representative professors in France in terms of composition and arrangement.She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄević, and has also recorded on CD.She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.(As of 20, December 2021)About Edition les bons concertsThe name of the publisher has been given with the wish: Use this sheet music to do good concerts!In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.
$8.75 ≈
8.19€
Dora PejaÄević: "Méditation (op. 51)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
Dora PejaÄević: "Méditation (op. 51)" Arrangement for 3 flutes and alto flute by Yuki Hasegawa
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Flute Quartet: 4 flutes
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INTERMEDIATE/ADVANCED
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Dora PejaÄević
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Yuki Hasegawa
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Dora PejaÄević: "Médit
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Edition les bons concerts
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Flute - Level 4 - Digital Download SKU: A0.1033846 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. 20th ...
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Woodwind Ensemble,Woodwind Quartet Flute - Level 4 - Digital Download SKU: A0.1033846 Composed by Dora PejaÄević. Arranged by Yuki Hasegawa. 20th Century,Standards. 14 pages. Edition les bons concerts #6667327. Published by Edition les bons concerts (A0.1033846). Dora PejaÄević, born in Budapest in 1885 and died in Munich in 1923, was a composer of the Croatian noble family.This is one of the fascinating collection of her works that allow for deep expression through the use of harmony that sometimes pushes the limits towards her later years, as is typical around the beginning of the 20th century.The arrangement for flute quartet was commissioned by the Japan Croatia Music Society and was completed in July 2021, and premiered in Tokyo on 6 August by the Flute Quartet Tsutsu-uraura. The performers in the recording and Youtube are Ms. Mari Akimoto (Fl.1), Ms. Natsuki Oba (Alto Fl.), Mr. Atsushi Kawasaki (Fl. 3), Ms. Shiho Shirasaki (Fl. 2).Arranger Yuki Hasegawa, biographyArranger, pianist, conductor and producer.Shortly after enrolling in the piano department of Kunitachi College of Music, she was appointed as the official accompanist for the flute public lecture, and since then she has co-starred about 150 works in the flute repertoire. After leaving for study abroad in Paris, she often performed as the official accompanist for flute competitions and masterclasses there also, and won four first prizes in a duo with flute.She completed the departments of piano accompaniment, chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR and others. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crepy and other representative professors in France in terms of composition and arrangement.She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado, and in recent years has been the guest conductor at the Japan Croatia Music Society. She travels to various parts of Croatia to research music, visits music research institutes and composers, and strives for understanding. As a chamber musician, she has also worked on numerous experimental harmony works of the same era as Dora PejaÄević, and has also recorded on CD.She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed for use by representative organisations in each country.Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.(As of 20, December 2021)About Edition les bons concertsThe name of the publisher has been given with the wish: Use this sheet music to do good concerts!In addition to considering the page-turning position, the sheet musics are designed for ease of use in the rehearsal, such as adding the rehearsal numbers of other editions in case the accompanist's score is different from the soloist's.
$10.00 ≈
9.36€
Keyboard Concerto 1 in D
Keyboard Concerto 1 in D
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String Orchestra
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INTERMEDIATE/ADVANCED
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Kevin Bruce Weed
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Kevin Bruce Weed
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Keyboard Concerto 1 in D
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Kevin Bruce Weed
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1042428 By Kevin Bruce Weed. By Kevin Bruce Weed. Arranged by Kevin Bruce Weed. 20th Century,Baroqu...
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String Orchestra - Level 4 - Digital Download SKU: A0.1042428 By Kevin Bruce Weed. By Kevin Bruce Weed. Arranged by Kevin Bruce Weed. 20th Century,Baroque,Classical,Contest,Festival,Traditional. Score and parts. 86 pages. Kevin Bruce Weed #647213. Published by Kevin Bruce Weed (A0.1042428). With a challenging solo, this piece was written to be very easy for a high school orchestra with few rehearsals, though college, community and professional ensembles may find it to be a charming addition to a concert or recording project. It is a piece you could use to include a good pianist, student or adult, as a guest with your string orchestra. Although written for harpsichord, the solo part could be played on any keyboard, piano or organ. The soloist should adjust dynamics, articulations, and tone colors to best compliment the instrument and accompanying orchestra. It is written in three movements, but the intention is to play through the piece with no stops. You may omit the usual listing of movement tempo markings in your printed program. The string parts are quite easy. However, the second movement is primarily a duet between solo violin and harpsichord. Let me know if you buy this. I would love to hear your questions, comments, performance. https://kevinweed.com/harpsichord-concerto/.
$99.99 ≈
93.55€
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Guest Soloist: Piano Accompaniment
