Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.867174 Composed by Julietta Anne Rabens. 20th Century,Concert,Contemporary,Sacred. 43 pages. Juliettamusic #1750223. Published by Juliettamusic (A0.867174). I Heard a Voice Like the Salted Air and other songs for mezzo soprano & piano are a set of pieces inspired by nature themes. These are at an intermediate level, and they are expressive pieces that are ideal for undergraduate voice majors and anyone who loves to sing. Contents include Against the Sky song cycle, The Wild Ashe Deer, Wyoming Songs song cycle, and I Heard a Voice Like the Salted Air.

Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1172580 Composed by Clemencio M. Bascar. Arranged by Andres Montecillo Bascar, Jr. A Cappella,Christian,Country,Folk,Pop. 2 pages. Clem & Jun Bascar #772811. Published by Clem & Jun Bascar (A0.1172580). A song that describes what really love is like. A realistic, true to life piece written by a Filipino composer Mr. Clemencio M. Bascar. A song for the 2023 Valentine season.

Soprano voice,Vocal Solo - Level 3 - Digital Download SKU: A0.732141 Composed by Traditional Scottish Air/ Lyrics by Robert Burns. Arranged by Thomas Quigley. Celtic,Concert,Folk. 4 pages. Thomas Quigley #5044741. Published by Thomas Quigley (A0.732141). A convincing and sensitive arrangement! The piano part is a pleasure to play with its variety of beautiful harmonies and the rippling semiquavers in the second verse. This professionally arranged version is particularly suitable for a concert of Scottish/Celtic music. Highly recommended!

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 “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

Soprano voice and piano - Digital Download SKU: S9.Q40373 After poems by Friedrich Hölderlin. Composed by Detlev Mueller-Siemens. This edition: Sheet music. Downloadable. Duration 12 minutes. Schott Music - Digital #Q40373. Published by Schott Music - Digital (S9.Q40373). German.Two poems of Friedrich Hölderlin bearing almost the same title form the basis of the text for 'Zwei Lieder' (Two Songs): 'Die Aussicht' and 'Aussicht'. Unlike as with common musical settings of poems, Detlev Müller-Siemens has split the vocal part in two levels. On the one hand, Hölderlin's text is recited, on the other hand, fragments of the poems are sung at a lower, contemplative level. 'Like vague memories, ascending from the inside from afar. An idyll that becomes entangled in its own images.'.

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 .

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 .

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 .

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 “ß� with “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 .

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 .

Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.796586 Composed by Gary D. Belshaw (ASCAP). Contemporary,Musical/Show,Opera. 20 pages. DR GARY D BELSHAW #2926491. Published by DR GARY D BELSHAW (A0.796586). Includes Accompanist copy at half price! 20 pages. Duration: 41/2 minutes     Are mezzo sopranos known ONLY for singing the Habanera? Of course not, but it is one of their most requested arias.     So, dispel the misinformation! Clear the air! Defend your mighty status as a Mezzo Soprano with this veritable laugh riot of an aria. When a Mezzo directs an opera is your opportunity to promote the splendor of this wonderful voice type, to take your stand, and assume your place among the most noble, most intellectually stable, and most erudite soprano - well, at least the most likely to survive at the hands of some tenor!     The first aria to be published from Gary Belshaw’s hilarious Two Act Music Comedy, Incident at Burro Java (coming soon to Sheet Music Plus, When a Mezzo will delight your audience during a recital or as part of an Opera Workshop or Opera Scenes program. The role was created in April 2016 by Cloyce Kuhnert, a director of opera herself. Cloyce brought a lot of personal experience to the role in the premiere. The more you know about opera and opera plots, the more often you’ll laugh. But you don’t have to be an aficionado to have a tough time singing some of these lines without snickering or outright bursting with laughter yourself. And we all know what snickering can do to your vocal apparatus, right?!     The audio clip is from the premiere of the music comedy Incident at Burro Java. Cloyce Kuhnert is the mezzo on the recording, and the Plainview Symphony Orchestra was conducted by the composer.

Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1005731 Composed by Paige B. L'Hommedieu. Arranged by Meral Guneyman. Broadway,Christmas,Jazz. 4 pages. Guneyman L'Hommedieu Music #6039565. Published by Guneyman L'Hommedieu Music (A0.1005731). Fans of the Great American Songbook will want to make room for You Are Here--one of four original love songs by Paige B. L'Hommedieu, arranged for piano and voice by celebrated pianist Meral Guneyman. This beautiful waltz captures all of the melodic beauty of a couple in love on a dance floor. The song strikes at the essence of what it means to be in the warm, sparkling, timeless space of a dance at an occasion that glistens with extra magic. .

Soprano voice and piano - advanced to difficult - Digital Download SKU: S9.Q52732 Canti per soprano e pianoforte. Composed by Anno Schreier. This edition: single sheet. Downloadable, Separate edition. Duration 20 minutes. Schott Music - Digital #Q52732. Published by Schott Music - Digital (S9.Q52732). German • Italian.Im Jahr 2010 habe ich als Stipendiat der Villa Massimo in Rom gelebt. Während meiner Zeit dort bin ich auf ein paar Gedichte von Michelangelo gestoßen, die mich sehr berührt haben, und hatte bald den Plan, einige davon zu vertonen. Ich wollte sie aber mit etwas zeitgenössischem kombinieren – so wie ja auch in Rom dauernd das Alte und das Neue aufeinandertreffen. Der Lyriker Marcel Beyer, den ich in Rom kennengelernt habe, hat dann für mich den Gedichtzyklus Die Grillmeisterin geschrieben, der viele Motive aus den Michelangelo-Texten aufgreift (Feuer, Tränen, Verbranntwerden, Einsamkeit etc.). Ich habe dann diesen Gedichtzyklus abwechselnd mit den Michelangelo-Gedichten kombiniert. Die italienischen Lieder haben einen manchmal melancholischen, manchmal dramatischen Charakter, während die deutschen eher bizarr, manchmal sogar humoristisch sind. Trotz dieser Kontraste im Charakter gibt es aber auch viele musikalische Verknüpfungen zwischen den deutschen und den italienischen Liedern. Einzelne Motive und Akkordfolgen kehren manchmal in völlig anderen Zusammenhängen wieder, und zwischen dem ersten und letzten Lied gibt es sogar einen direkten Bezug, indem die selbe Gesangslinie jeweils mit einem völlig anderen Text unterlegt wird. So ensteht ein musikalischer Rahmen, der die sehr heterogene Textauswahl zusammenhält. Anno Schreier.

Soprano voice,Vocal Solo - Digital Download SKU: A0.952256 Composed by Gheorge Costinescu. Contemporary. 21 pages. American Composers Alliance Inc. #4575911. Published by American Composers Alliance Inc. (A0.952256). Nine songs for soprano and piano on texts by the composer. Include: 1. Cricket, 2. Bullfrog, 3. Snail-Likeness, 4. Cheetah-Champ, 5. Fishing-Fish, 6. Butterfly, 7. Sneaky-Snake, 8. Elephant-King, 9. Mockingbird.