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 .

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1108220 Composed by Sir Arthur Seymour Sullivan and Words by Adelaide Anne Porter. Arranged by Piacere Music Sheets. Instructional,Romantic Period,Standards. Score. 11 pages. Piacere Music Sheets #710835. Published by Piacere Music Sheets (A0.1108220). Opus/Catalog Number: IAS 42Key/Tone: F MajorMovements/Sections: Andante moderatoYear/Date of Composition: 1858/1877Difficulty: Grade 4/12 (Intermediate)Vocal range: C4-F5Obs.: Sir Arthur Sullivan composed this song at the bedside of his brother Fred during Fred's last illness. Fred Sullivan died five days after, on January 18.This song has been recorded by many singers, including Enrico Caruso, who sang it at the Metropolitan Opera House on 29 April 1912 at a benefit concert for families of victims of the Titanic disaster. The Lost Chord is one of Sullivan's best-known songs, and it is still performed nowadays.This is an arrangement for Low Voice and piano.Included: Full score and separated parts for each instrument.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1108226 Composed by Sir Arthur Seymour Sullivan and Words by Adelaide Anne Porter. Arranged by Piacere Music Sheets. Instructional,Romantic Period,Standards. Score. 11 pages. Piacere Music Sheets #710853. Published by Piacere Music Sheets (A0.1108226). Opus/Catalog Number: IAS 42Key/Tone: D MajorMovements/Sections: Andante moderatoYear/Date of Composition: 1858/1877Difficulty: Grade 4/12 (Intermediate)Vocal range: A3-D5Obs.: Sir Arthur Sullivan composed this song at the bedside of his brother Fred during Fred's last illness. Fred Sullivan died five days after, on January 18.This song has been recorded by many singers, including Enrico Caruso, who sang it at the Metropolitan Opera House on 29 April 1912 at a benefit concert for families of victims of the Titanic disaster. The Lost Chord is one of Sullivan's best-known songs, and it is still performed nowadays.This is an arrangement for Low Voice and piano.Included: Full score and separated parts for each instrument.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1108433 Composed by Sir Arthur Seymour Sullivan, Words by Adelaide Anne Porter. Arranged by Piacere Music Sheets. Instructional,Romantic Period,Standards. Score. 11 pages. Piacere Music Sheets #711075. Published by Piacere Music Sheets (A0.1108433). Opus/Catalog Number: IAS 42Key/Tone: G MajorMovements/Sections: Andante moderatoYear/Date of Composition: 1858/1877Difficulty: Grade 4/12 (Intermediate)Vocal range: D4-G5Obs.: Sir Arthur Sullivan composed this song at the bedside of his brother Fred during Fred's last illness. Fred Sullivan died five days after, on January 18.This song has been recorded by many singers, including Enrico Caruso, who sang it at the Metropolitan Opera House on 29 April 1912 at a benefit concert for families of victims of the Titanic disaster. The Lost Chord is one of Sullivan's best-known songs, and it is still performed nowadays.This is an arrangement for High Voice and piano.Included: Full score and individual parts.

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-03E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 7 pages. E. C. Schirmer Music Company - Digital #8491-03E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-03E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.674139 Composed by Giuseppe Verdi. Arranged by MSM. Classical,Romantic Period. Score. 15 pages. Open Cloud #6052081. Published by Open Cloud (A0.674139). This product is a digital sheet music in PDF format. The music was composed by Verdi( Verdi Giuseppe), 1813-1901, for Voice and Piano,published by More Sheet Music Press.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1431831 By Duo Solare - Beidenegl. By Juan Maria Solare. 20th Century,Classical,Contemporary,Latin,Singer/Songwriter. Score. 13 pages. Juan Maria Solare #1012324. Published by Juan Maria Solare (A0.1431831). Canción para voz media/grave y piano.Música de Juan María Solare, texto de Luis Alposta (usado con autorización)A UNA SOMBRA DEL 1500 (la de Benvenuto Cellini)En la ciudad en que la flor del lirioes emblema y el Arno la atraviesa,creo ver una inmensa fortalezaconcebida entre el arte y el delirio.Allí perdió el infierno su secretoy Boccaccio escribió el Decamerón.Y sabe Dios al pie de qué balcónPetrarca a Laura le leyó un soneto.Es en esa ciudad, cuando oscurece,que sobre el Ponte Vecchio me parecever entre sombras la crispada mano.Pero el día me vuelve a la certeza.El buril o el cincel ya no interesay hay un puñal que está aguardando en vano.Luis Alposta - Florencia, 1975Canción compuesta en Worpswede y Bremen en mayo de 2011. El estreno estuvo a cargo de Moxi Beidenegl (mezzosoprano) y Juan María Solare (piano) el viernes 24 de junio de 2011 en la fiesta de apertura del Salon en Hamburgo; y el sábado 25 de junio de 2011 en la festividad 20 aniversario de las Falkenried-Terrassen en Hamburgo. Otras ejecuciones por los mismos intérpretes: 11 de septiembre de 2011 en el Foyer del Teatro Goethe en Bremen, el 3 de noviembre de 2011 en el Festival Eigenarten en Hamburgo (Goldbekhaus) y en multitud de otros escenarios. Grabada por ambos intérpretes en marzo 2014, grabación publicada en el EP Otro lugar, otro tango (2017), Otro lugar, otro tango

Piano Solo, Piano/Vocal/Chords, Voice Duet - Intermediate - Digital Download By Glee Cast. Arranged by Mario Stallbaumer. 7 pages. Published by Mario Stallbaumer

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.928570 Composed by Beethoven's Wig, Richard Perlmutter. Arranged by Clifton J. Noble Jr. Children,Classical,Instructional,Romantic Period,Standards. Score. 52 pages. Beethoven's Wig, Inc. #6383983. Published by Beethoven's Wig, Inc. (A0.928570). Inspired and wildly imaginative, Beethoven's Wig Sing Along Symphonies are zany, stick-in-your-head lyrics set to masterpieces by great composers. The lyrics are filled with fact and fancy about the composers and their music opening a door to serious music that's fun. Each piece is carefully arranged for piano so that it’s fun to play and sing along!GREAT FOR PIANO STUDENTS AND TEACHERSPiano teachers often tell their students they should sing the instrumental pieces they play to improve their performance. This helps students to interpret pieces lyrically. The witty and delightful lyrics in this collection are an entertaining means to that end. They are great to sing along with when playing, and are educational and fun!PRAISE FOR BEETHOVEN'S WIGClassical music was never supposed to be this much fun. Was it?- Baltimore Sun Instrumental music tends not to charm children...and a classical piece like Beethoven's Fifth Symphony. Not a good bet. But what if that work had words?  - New York TimesThe songs are funny... The lyrics are hummable mnemonics, each imparting information about the work or the composer.- Washington PostAn irreverent, witty approach to music appreciation... a laugh out loud that pretty much guarantees listeners will forevermore recognize the classics.-Los Angeles TimesABOUT BEETHOVEN'S WIGBeethoven's Wig is the creation of Richard Perlmutter, who is the lyricist, lead singer and producer of the group's five albums. Beethoven's Wig has toured North America and performed at arts centers and with symphony orchestras. The group's recordings have won 50 awards including including four GRAMMY Nominations. They have also won Parent's Choice Awards, Teacher's Choice Awards and been designated as Notable Recordings by the American Library Association. CONTENTS Beethoven’s Wig (5th Symphony, Beethoven), Sing Verdi Very Loud (La donna é mobile, Verdi), Drip Drip Drip (Pizzicato from Sylvia, Delibes), Bull In A China Shop (Toreador Song from Carmen, Bizet), Haydn’s Great Surprise (Surprise Symphony, Haydn), King and Queens of England (Trumpet Tune in D, Purcell), Stuck In The Saddle Again Light Cavalry Overture, von Suppé), Forever We’re Marching (Washington Post March, Sousa), Tchaikovsky’s Cannonball, Tchaikovsky), Midnight Snack (Habanera from Carmen, Bizet), Can You Can Can? (Can Can, Offenbach), Wow! What A Wedding Cake! (Wedding March, Mendelssohn    

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.958769 Composed by Felipe Pinglo Alva. Arranged by Juan Carlos Cortés A. 20th Century,Concert,Holiday,Love,Standards,World. Score. 3 pages. Juan Carlos Cortés Aguirre #6593915. Published by Juan Carlos Cortés Aguirre (A0.958769). Transcripción para Piano Solo por:JUAN CARLOS CORTÉS A.Basado en la versión fonográfica vocalizada por Rafael Miguel Sciorra, conocido artistíscamente como Juan Carlos Miranda nacido en Chivilcoy, provincia de Buenos Aires, Argentina, el 23 de julio de 1917 y fallecido el 8 de julio de 1999. Acompañado por la orquesta del maestro peruano Jorge Huirse Reyes, nacido en Puno, el 30 de agosto de 1920 y fallecido en Lima, el 11 de diciembre de 1992.Felipe Pinglo Alva es conocido como el Maestro de los Autores y Compositores del Perú. Nació en 1899 y fallece en 1936 a los 35 años. A él le pertenecen la letra y música de los valses peruanos El Plebeyo y El espejo de mi Vida de gran difusión en la Argentina, él no llego a conocer en vida la trascendencia de sus temas.Texto:PASION Y ODIO(Vals peruano) Por: Felipe Pinglo AlvaINTRODUCCIÓN:Ayer la amaba yo, hoy mi pasión es cruel,germinó en mí el deseo, de amar sin querer.En mi memoria están, promesa de infame mujer,que el tiempo ya borró, al lapidar un falso amor.Esos labios que plenos, de pasión he besado,Que llevan el estigma, de un recuerdo angustiado.Las mejillas que un día mis labios colorearon,el polvo del olvido, las ha envuelto en el fango...¡Hoy odio a la mujer, que antes idolatré!¡Hoy odio a la mujer, que antes idolatré!INTERLUDIO:¡Hoy odio a la mujer, que antes idolatré!¡Hoy odio a la mujer…que antes idolatré!Enlaces: Videos en You Tube por Juan Carlos Cortés A.http://www.youtube.com/channel/UCW5way12kaK8-vcW0ww-jRwSoundcloud (Nube de sonido):https://soundcloud.com/juan-carlos-cortes-aguirreURL HISPASONIC + MÚSICA NAVEGANTE:http://www.hispasonic.com/usuarios/navegante/musicaTwitter: https://twitter.com/navegantemusicohttp://www.matrimonio.com.co/musica-matrimonio/conjunto-navegante--e109925Página de Editor Musical en Sheet Music Plus:https://www.sheetmusicplus.com/publishers/publicado-por-juan-carlos-corts-a-sheet-music/3011587?ac=1.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1324262 Composed by Amos Elkana. 21st Century,Contemporary. Score. 10 pages. Amos Elkana #912460. Published by Amos Elkana (A0.1324262). In this composition, we delve into the enigmatic world of Ikkyu Sojun, a 15th-century Zen Buddhist monk renowned for his poetry that defies conventional boundaries. Ikkyu's work often reflects Zen principles, blending deep philosophical insights with a stark, often provocative simplicity. Among his most striking poems is Crow with No Mouth, a piece that captures the essence of Zen’s emphasis on the ineffable nature of reality and the limits of language.Crow With No Mouth Hearing a crow with no mouthCry in the deepDarkness of the night,I feel a longing forMy father before he was born. In these lines, Ikkyu conjures an image that is as perplexing as it is profound. The crow, a traditional symbol of mystery and the unknown, is rendered even more inscrutable by its lack of a mouth - a paradoxical figure that seems to transcend ordinary existence. This poem encapsulates the Zen concept of mu, or the negation of fixed concepts, challenging the listener to embrace the boundless nature of understanding.In my composition, I have strived to translate this philosophical depth into music. The interplay between the piano and the voice is crafted to reflect the paradoxical imagery of the poem. The music moves through moments of tension and release, mirroring the poem’s journey from perplexity to a serene acceptance of the unknown.This piece is an invitation to explore the spaces between notes, between words, where the essence of understanding might lie.The emotional core of this composition is also deeply personal. It resonates with my own longing for my father, who passed away seven years prior to the creation of this work. Just as Ikkyu's poem reflects a yearning for a connection with the past, this music embodies my own journey of grief, memory, and the search for peace in the echoes of loss. The intertwining of my personal narrative with Ikkyu’s profound words aims to offer a universal contemplation on the themes of absence, longing, and the ephemeral nature of existence.In creating this work, my aim has been to offer not just a musical experience, but a doorway into the profound simplicity of Zen thought. Through the synthesis of voice, piano, and Ikkyu's evocative poetry, we embark on a journey that transcends the mere act of listening, inviting contemplation, and perhaps, a glimpse into the boundless sky of our own perception.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1473126 By Daimi Farina. By Yusin Pons. Arranged by Yusin Pons. 20th Century,Christian,Contemporary,Multicultural,Praise & Worship,World. Score. 6 pages. Yusin Pons #1050747. Published by Yusin Pons (A0.1473126). La canción Creo en Dios fue escrita después del paso de dos devastadores huracanes tropicales por la isla de Cuba en el año 2008. Su letra está basada en el libro de Job, capítulos 34-37, que se encuentra en la Biblia.Creo que esta canción ha sido el clamor de muchos creyentes en Cuba y no solo se identifican con ella aquellos que sufrieron los huracanes, sino muchos otros que, en el diario vivir, dependen de su fe y esperanza en el Dios vivo y verdadero para sobrevivir las tribulaciones tan intrínsecamente ligadas a la vida del cubano. Es por eso que podemos cantar: “… porque Él es mi esperanza en medio del dolor; confiado cantaré su grande salvación…” Es Dios quien levanta las tormentas y Él es el único con poder y autoridad para calmarlas, por tanto no hay otro camino que creer en Él, aún cuando todo esté perdido. En medio del sufrimiento, solo la fe nos confirma que Dios siempre es fiel y está cerca de los que le aman porque así lo ha prometido; “solo Él es Dios.”.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1496298 By Armando Oscar Pacheco. By Alfredo Máximo Soler. 19th Century,20th Century,Broadway,Classical,Comedy,Musical/Show. Score. 133 pages. Editorial Copistas Acuario #1072841. Published by Editorial Copistas Acuario (A0.1496298). Esta obra es claro reflejo de las corrientes arti?sticas que impactaban a los escritores, mu?sicos e intelectuales de la Repu?blica Dominicana a principios del siglo pasado. Por un lado, encontraremos la li?rica caracteri?stica del modernismo latinoamericano impregnado en cada letra del libreto. Desde el nombre de la obra nos hace referencia al si?mbolo ma?s claro de este movimiento, el «azul» coloreado por el gran Dari?o que dejari?a entintado todo el continente. Dentro de la tema?tica y el lenguaje se busca decididamente la refinacio?n aristocra?tica mediante la creacio?n de ima?genes cargadas de flores, adornos, joyas y delicadeza. Por otra parte, en la mu?sica, encontraremos a un compositor consumado dominando de manera holgada el estilo de la zarzuela, la cua?l desde los primeros an?os del siglo XX, habi?a realizado su entrada en la palestra cultural dominicana a trave?s de las diferentes compan?i?as que llegaban principalmente de Italia, Espan?a y Estados Unidos.1 Si bien esta obra esta? escrita originalmente para orquesta, las partes de dicho arreglo se encuentran en parte extraviada. Lo que se presenta aqui? es el score vocal conservado, el cua?l contiene las diferentes voces utilizadas en las canciones, y una reduccio?n para piano de la mu?sica. Asi? mismo, debido a la vinculacio?n de esta obra al municipio de San Pedro de Macori?s, hemos decidido, a trave?s de la visio?n creativa de la ilustradora Ana Gerardino, visualizar el escenario de «La Go?ndola Azul» dentro de una imaginacio?n simbo?lica de las costas de esta localidad.

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-33E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 3 pages. E. C. Schirmer Music Company - Digital #8491-33E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-33E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.