You can use freely these accompaniments for either private or public rehearshal or concert performance (with the singer). You can use them for for radio broadcast if you mention that all accompaniments are by Xavier Palacios. For Tv broadcast you will need to ask a written permission to Xavier Palacios (The artist and Producer).
Xavier Palacios studied at the Ecole Normale de Musique de Paris de Paris with Antonio Ruiz Pipo, a pupil of Alfred Cortot, and Billy Eidi, a renowed accompanist of French song. He also studied Musical analysis with Ginette keller, a pupil of Nadia Boulanger. He has given many recitals in France and has been the assistant and accompanist of Laurence Russel Albert (Pushkin Prize, Metropolitan Opera) for a few years.
This second volume of Schubert Lieder (Vol.2) Piano Accompaniments for High Voice with transpositions contains 15 Schubert ieder with various transpositions to suit your voice perfectly. It has been carefully worked out. Particular care has been given to phrasing, breathing , as well as rendering the atmosphere of the song, allowing the singer to sing freely, but also putting him on "the right track" for phrasing, tempo and musical content. We also recommend that the singer rehearshes without the accompaniment as well. But these backing tracks (or Karaoke, a term that should not apply to classical music) will give him the necessary tools to give a consistent interpretation of Schubert Lieder, that he should be able to convey to another accompanist.
The keys used for the transpositions are determined by usage of renowned recording artists, and by usage of authoritative editions. The classification High-Medium-Low favoured by these editions varies sometimes : the key chosen for ,a transposition for, say, "Medium Voice" in a given edition can be different from the key in another "Medium Voice" edition. We try to provide as many transpositions as the authoritative Editions do. However the "High" Voice key chart is the same for almost all authoritative Editions : Mandyczevski (reprinted by Dover), Peters Friedlaender, IMC, and Bärenreiter notably.
The most common Medium Key chart, and the one we use here is the Peters Friedlaender Medium Key chart. Some "Medium" Editions like Bärenreiter use sometimesa lower key than Peters for some Lieder,, and sometimes the key will be identical.. You will find this lower key anyway in the album "Schubert Lieder Vol 2 Piano Accompaniments for Low Voice with Transpositions.
In some instances, we give an alternative key first : Medium-High : this is a transposed key a half tone or a tone Higher than the Medium key used by authoritative editions. , that can be useful for the singer for practise, or to suit his voice precisely. But the pianist will have to transpose.
The "High" Key we give first is the most common key used in Authoritative Editions. In second place , we give another alternative High Key used by other editions. For instance, "Der Wanderer" is in the key of Dm in the Bärenreiter edition, while the original key is C#m)
But remember, Vocal range is only one aspect of Voice classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and follow the advice of your teacher.
Interpretative tempi : In some instances (Nacht und Träume, Der Wanderer, Das Wandern, and Rastlose Liebe), We use different tempi for the same song for interpretative reasons, mainly. In Nacht und Träume or Der wanderer, powerful Tenors or Sopranos need a slower tempo and more power in the accompaniment; "Der Wanderer" is a case in point. In this work of Genius, interpretation can turn this piece into an introvert miniature, or a powerful symphonic poem, the question remains open.
The High, Medium and Low range match Authoritative Editions Key charts. The Medium-High and Medium- Low (Except when they appear in the Original Key) are transpositions. You won't find in the authoritative Editions. The pianist will have to transpose to play in that key. But it can be very useful to the Singer.
How do the Editions choose the key charts for their Editions ?
In our collection of accompaniments, we select key charts according to the top notes which are comfortable for the singer. As a matter of fact, it is in accordance by the usage of authoritative recording artists, and most Music Publishers.
The classification that follows explains this, but there are many exceptions, because Vocal Range is only one aspect of Voice Classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and the advice of your teacher.
We use 5 vocal ranges instead of 3 : High, Medium-High, Medium, Medium-Low, and Low.
The "Medium Low" and "Low" albums apply to "True low Voices" , Mezzos, Baritones, Contraltos and Bass-Baritones. The High, Medium-High and Medium apply to sopranos -From Coloratura to Dramatic Sopranos-, to light Mezzos (Mezzo Leggero), and from Tenors to Light Baritones. Our "Medium Voice " classification can sometimes suit young Baritones, or Young Mezzos,, and even Young Sopranos, they should in that case follow the advice of their teacher.
For Male Voices : High Voice : Top note(s) G4 or higher
Medium High : Top note(s) F#4
Medium : Top note(s) F4
Medium-Low : Top note(s) E4
Low : Top note(s) Eb4 or Lower.
For Female Voices : High Voice : Top note(s) G5 or higher
Medium High : Top note(s) F#5
Medium : Top note(s) F5
Medium-Low : Top note E5
Low : Top note(s) Eb5 or Lower.
Of course this classification applies to the notes found in the music. To secure singing these notes properly, the singer should be able to sing one tone or one tone and a half Higher, and one tone or one tone and a half lower for the lowest notes.