Mozart - Batti, batti, o bel Masetto (Zerlina) from Don Giovanni
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$5.00
$5.00
per item
7 pages. Includes recitative and full aria.
The first of its kind, and the fourth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Batti, batti, o bel Masetto," Zerlina's aria from Mozart's famous opera Don Giovanni. Young 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 (often just as young) pianist may have to sight-read the fast-moving left-hand cello lines. Pianists with limited practice time may now enjoy playing this aria comfortably, without having to sacrifice the cello's textural contribution or engage in cross-hand acrobatics to play it cleanly.
As in any Baroque or Classic-era Accessible Accompaniment, the recitative features the traditional appoggiaturas on an ossia staff so that young singers and pianists may easily reference them. Most of the troublesome cello scale passages have been moved up an octave so that the pianist's right hand, which usually has more dexterity, can play them instead.
The first of its kind, and the fourth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Batti, batti, o bel Masetto," Zerlina's aria from Mozart's famous opera Don Giovanni. Young 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 (often just as young) pianist may have to sight-read the fast-moving left-hand cello lines. Pianists with limited practice time may now enjoy playing this aria comfortably, without having to sacrifice the cello's textural contribution or engage in cross-hand acrobatics to play it cleanly.
As in any Baroque or Classic-era Accessible Accompaniment, the recitative features the traditional appoggiaturas on an ossia staff so that young singers and pianists may easily reference them. Most of the troublesome cello scale passages have been moved up an octave so that the pianist's right hand, which usually has more dexterity, can play them instead.
