EUROPE
1012 articles
USA
1193 articles
DIGITAL
2764 articles (à imprimer)
Partitions Digitales
Partitions à imprimer
2764 partitions trouvées


Bassoon,Clarinet,English Horn,Flute,Oboe - Digital Download

SKU: A0.1066495

Composed by Claude Le jeune. Arranged by Cristiano Vecchi. Renaissance,Sacred. Full Performance. Duration 154. Cristiano Vecchi #6491567. Published by Cristiano Vecchi (A0.1066495).

A mystical fugue in seven voices, with fascinating harmonical nuances, published in 1607.
In his mature work Claude Le Jeune applied classical prosody to obtain a greater intelligibility of the lyrics; in this arrangement phrasing and accents, not present in the original, have been added to mantain this peculiar prosody; also have been added dynamic indications to enhance expression and formal architecture.   
Duration: 2'30.
Score and multiple parts are also available on this website.
My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists

Missa Ad Placitum - Agnus Dei II for Woodwind Septet MP3

$1.99 1.85 € PDF SheetMusicPlus

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 .

Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition

$8.95 8.32 € PDF SheetMusicPlus

Choral Choir (SATB) - Digital Download

SKU: A0.835786

Composed by Paul Burnell. Contemporary. Octavo. 124 pages. Paul Burnell #3405305. Published by Paul Burnell (A0.835786).

Composed 2007, duration 8:30 approx.

The music and text of ‘The Sense of a Place Will Remain’ was inspired by pictures of an early carved stone cross and a tenth-century Viking burial stone on the island of Inchcolm in Scotland.

First performed by Inchcolm New Music Ensemble 29 June 2007, conductor Steve King.

 

Instrumentation is flexible; the following is a guide:

Part 1 - Violin 1, flute 1 (doubling piccolo if possible) oboe 1,

Part 2 - Violin 2, flute 2, oboe 2 (doubling tenor recorder if possible), clarinet 1, trumpet

Part 3 - Viola, clarinet 2, horn in F, Eb horn (2 players doubling harmonicas in C)

Part 4 - Cello, bassoon

Part 5 - Double bass, bass guitar (or Cello 2 - playing as if usual bass clef, but an octave lower where possible)

SATB voices (doubling metal spoons and pitch pipes)

Optional:

Percussion (one player) - claves, glockenspiel (could be a child’s toy instrument such as an ‘Angel’ glockenspiel), mark tree, spring drum (thunder shaker), frame drum, musical jewelry box (or similar clockwork device).Should a glockenspiel not be available, a special part has been created which arranges the glockenspiel for two flutes, together with the other percussion music. This special part is not visible in the score.

Keyboard instrument with sustaining capability - piano sound

 

Instructions:

Wind players can breathe ad lib. during any very long notes. From letter D onwards non-wind players who are not soloists blow across the top of small bottles. The pitches produced are not specified, but they should not be shrill. A soft breathy tone is preferred.

About half of the voices play pairs of metal spoons (share printed part between two singers and anyone not holding the music holds metal spoons). Hold the spoons one in each hand, and strike the larger ends together. Spoons are struck together where shown with a large patterned note head. Strike rapidly where a tremolo sign is given.

Four singers play pitch tuning pipes: 1 Soprano and 1 Alto play viola/cello pitch tuning pipes, 1 Tenor and 1 Bass play violin pitch tuning pipes

Pitch pipe playing is indicated with square note heads - player should breathe ad lib. during very long notes. Where there are very long sung notes, the singers may stagger breathing ad lib. Spoken sounds are indicated with x note heads and with the text in italics.

There are many pauses. These can be of varying duration, but on the whole they should not hold up the momentum of the piece, but be of sufficient duration to establish the solo and pitch pipe notes.

 

Text:

Carve stone

Strike out

Stay at home

Or go far alone.

Blocks of stone are laid

Emblazoned with the signs of great deeds

That signify our memory,

Mem’ries of who we are.

Careful carvings erode through time,

Chiseled grooves smooth away.

Families, they scatter and fade

As generations age

Descendants pass on memory time.

Sense of our allegiance shifts when major faults are found,

Feelings of belonging fall on shaky ground,

But the sense of a place will remain.

The Sense of a Place Will Remain
Chorale SATB

$7.95 7.39 € Chorale SATB PDF SheetMusicPlus

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 .

Arrière! Je réchauffe les bons (Fire Aria) - L'enfant et les sortilèges - Accessible Accompaniments
Voix Soprano, Piano

$8.95 8.32 € Voix Soprano, Piano PDF SheetMusicPlus

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 .

Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
Voix Soprano, Piano

$8.95 8.32 € Voix Soprano, Piano PDF SheetMusicPlus

Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download

SKU: A0.797798

Composed by Ronald Hazlehurst and Ronnie Hazlehurst. Arranged by Derek Hasted. Contemporary. Score and parts. 6 pages. Derek Hasted #6109033. Published by Derek Hasted (A0.797798).

LAST OF THE SUMMER WINE - FLUTE and GUITAR DUET
For Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.

Derek Hasted writes This charming piece has become incredibly well-known in the UK as the theme tune to the TV series of the same name - one of the UK’s longest running comedies.

The music elegantly captures the calm of country life and the simplicity of times gone by, and makes for a refreshing and accessible concert item whether you know the original music or not.

The guitar part is all in first position with just a few straightforward barré chords that are comfortable and easy to reach. The rather scary-looking Gb major chord at the end is enharmonically correct - it’s based on a flattened second to the final key of F. But guitarists will probably prefer to think of it as F# major, which is a familiar chord in guitar repertoire, and there’s no need for a barré for this one either!

This music is set in the key of the original TV soundtrack.

I hope you enjoy playing this piece!
Last Of The Summer Wine Theme Flûte et Guitare

$4.99 4.64 € Flûte et Guitare PDF SheetMusicPlus

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 .

Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
Voix Soprano, Piano

$13.95 12.97 € Voix Soprano, Piano PDF SheetMusicPlus

Jazz Combo - Digital Download

SKU: A0.979629

Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Aldridge (A0.979629).

Pi, Why? is an unconventional blues that uses Pi (3.1415926....) as a sequence of melodic intervals. Do not let that scare you away -- the music swings. The structure of this 18-bar tune is based on 3-bar phrases and there is shifting time in places. The first 32 digits of Pi are used in this tune: 3.1415926535897932384626433832795. Here is how I converted the Pi numbers to melodic intervals: Simply, each number becomes an interval in relation to the root of the chord being used at the time. That is, the relationships change when the chords change. The intervals are natural or altered (b9, #9, #11, etc.) chord tones or higher tensions. For 3 on V7 chords, I use either natural 3 or minor 3 (enharmonically #9). The tune starts with the sequence of 3 (#9), 1, 4 (#11), 1, 5, 9 (b9) played twice with C7 (#9) and then transposed down a half-step for B7 (#9). The next sequence -- 2 (b9), 6, 5, 3 (natural), 5 -- is played with the Bb7 (#9) chord and so on through the rest of the 32-note sequence. While 3 is the first number of Pi, that is not why the tune is structured with 3-bar phrases. Simply, the 3-bar phrases felt natural and swinging to me. This tune has a strong blues flavor; however, it is not a conventional 12-bar blues in its structure or chord progression. The A part is 12 bars. Then, the B part is 6 bars with alternating 4/4 and 3/4 (one can think of it as 7/4). The B part also has a harmonic shift from V7 (#9) chords to V9 sus4 and major 7th chords.

CONTACT:
http://www.rogeraldridge.com/contact.html
PRO: BMI
WEBSITE: http://www.rogeraldridge.com/
DURATION: around 4:00
YEAR OF RELEASE: 1999.

Pi, Why? Jazz combo

$3.00 2.79 € Jazz combo PDF SheetMusicPlus






Partitions Gratuites
Acheter des Partitions Musicales
Acheter des Partitions Digitales à Imprimer
Acheter des Instruments de Musique

© 2000 - 2024

Accueil - Version intégrale