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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 “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 .
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Voix Baryton, Piano

$8.95 8.52 € Voix Baryton, Piano PDF SheetMusicPlus

2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) double bass and orchestra - Digital Download SKU: S9.Q6372 Farewell to St. Petersburg. Composed by Gavin Bryars. This edition: piano reduction with solo part. Downloadable, piano reduction with solo part. Duration 28 minutes. Schott Music - Digital #Q6372. Published by Schott Music - Digital (S9.Q6372). Written for Duncan McTier, this concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinka’s song cycle Farewell to St Petersburg. Bryars writes ‘The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).’ (Gavin Bryars).
Double Bass Concerto

$25.99 24.74 € PDF SheetMusicPlus

1 (auch Picc.) · 1 (auch Engl. Hr.) · 1 (auch Bassklar.) · 1 - 1 · 1 · 1 · 0 - P. S. (Glsp. · Trgl. · gr. u. kl. Beck. · kl. Tr. · gr. Tr. · Xyl.) (3 Spieler) - Hfe. · Cemb. · Str. (1 · 1 · 1 · 1 · 1) - Hinter der Bühne: Trp. - Digital Download SKU: S9.Q2546 Oper auf ein Intermezzo von Miguel de Cervantes. Composed by Hans Werner Henze. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 45 minutes. Schott Music - Digital #Q2546. Published by Schott Music - Digital (S9.Q2546). German • English.The earliest and now obsolete version of this piece (first performed in Heidelberg, 1949) was scored for actors and orchestra. This revised version of 1964 has recast the actors' parts into roles for singers. In addition, a scaled-down orchestration was made to suit performances in small theatres. The Magic Theatre is suitable as one part of a triptych, of which A Country Doctor forms the centre and The End of a World the third part. The Magic Theatre can still be performed with actors: for a production given at the Schiller Theatre in Berlin, on 30 September 1965 at the Berlin Festwochen, Henning Brauel made a version for a small ensemble designed to be performed in small theatres. This version ensures that the actors' voices are not drowned out by the instruments. - Hans Werner Henze.
The Miracle Theater

$34.99 33.3 € PDF SheetMusicPlus






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