Product Description
The first of its kind, this is a genuinely playable piano/vocal reduction of "Largo al factotum, the show-stopping first aria from Gioachino Rossinis 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 reductionwhich was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing dayspianists may now enjoy playing this aria comfortably, without risking strain/injury. However, itll 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 Ive provided.
2. Ive 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 composers 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, Ive noted alternate cuts that singers might like to take within certain arias.
6. In some cases Ive 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. Ive 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 .
This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.