Gounod: Mab, la reine des mensonges from Roméo et Juliette
$5.00 USD
7 pages
The first of its kind, and the fifth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mab, la reine des mensonges," Mercutio's aria from Charles Gounod's 1867 opera Roméo et Juliette. Baritones 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 not be able to cope with the blazingly fast 16th-note passages, which render standard reductions of this aria as difficult as (or more so than) the thorniest etudes in the standard piano repertoire. Pianists with limited practice time (and most accompanists are rather limited in practice time!) may now enjoy playing this aria comfortably.
In this particular reduction, the blazingly fast flute 16ths (which are not terribly audible in the orchestral score) have been removed, leaving more supportive downbeat chords to anchor the singer's rhythmic foundation. Slight chord voicing adjustments have also been made in order to better reflect the notes actually heard in the orchestral score.
The first of its kind, and the fifth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mab, la reine des mensonges," Mercutio's aria from Charles Gounod's 1867 opera Roméo et Juliette. Baritones 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 not be able to cope with the blazingly fast 16th-note passages, which render standard reductions of this aria as difficult as (or more so than) the thorniest etudes in the standard piano repertoire. Pianists with limited practice time (and most accompanists are rather limited in practice time!) may now enjoy playing this aria comfortably.
In this particular reduction, the blazingly fast flute 16ths (which are not terribly audible in the orchestral score) have been removed, leaving more supportive downbeat chords to anchor the singer's rhythmic foundation. Slight chord voicing adjustments have also been made in order to better reflect the notes actually heard in the orchestral score.