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16
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10
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9
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6
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19
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Donut Etudes vol. 3: Don’t Step in the Holes! – Cello Quartet
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Violoncelle
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.784341 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288685. Published by Slide Ride ...
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Cello Solo - Level 3 - SKU: A0.784341 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288685. Published by Slide Ride (A0.784341). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
Canções e sambinhas (1996) for cello and piano
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Canções e sambin
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Thomas Oboe Lee
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.869211 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Individual part. With Sambinha ...
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Cello Solo - Level 4 - SKU: A0.869211 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Individual part. With Sambinha bachiana ... III. 36 pages. Thomas Oboe Lee #30911. Published by Thomas Oboe Lee (A0.869211). Program note: Canções e Sambinhas is the third of a triptych of compositions written for my friend, the enormously gifted cellist, Andrés DÃaz. The first was Eurydice, a tone poem on the Orpheus myth for cello and orchestra, and the second was La Chimera Fantastica for the DÃaz Trio. Canções e Sambinhas is in four movements. I. Canção de amor ... II. Sambinha bachiana ... III. Valsa lenta ... IV. Mais uma vêz ... Having lived in Brazil during my teen-age years, I inevitably continue to return to the wonderful music of that country for inspiration: the chôros of Ernesto Nazareth, Jacob do Bandolim, Pixinginha, and Heitor Villa-Lobos. The first movement begins with a slow, dark introduction before the love song emerges .... The second movement is a lively samba. As the title indicates, it is a little samba infused with Bach-like counterpoint, although a bit crazier. Villa-Lobos might find this amusing .... The third movement is a slow meditation for the cello on a passacaglia-like theme in the piano. The last movement, Mais uma vêz (meaning One Mo' Time in English), is a samba like the second movement, but it is set more homophonically, more dance-like in character .... The work is dedicated to my wife, Kris, who is an inspiration to my life and work.Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/can-es-e-sambinhas-1996-for-cello-and-pianoVideo link: https://youtu.be/X2gFRiypqTA
$9.99
Dean Martin: That's Amore (That's Love) - cello solo
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Violoncelle
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INTERMÉDIAIRE
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Jazz
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Dean Martin
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Virtualsheetmusic
Instantly printable sheet music by Dean Martin for cello solo of MEDIUM skill level. / jazz,love,standards
Instantly printable sheet music by Dean Martin for cello solo of MEDIUM skill level. / jazz,love,standards
$3.97
Blue Shades and Red Planet Selections for Cello
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Violoncelle
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FACILE
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Philip Nicholas
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Blue Shades and Red Planet Sel
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Philip Nicholas
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SheetMusicPlus
Cello Solo - Level 2 - SKU: A0.947110 Composed by Philip Nicholas. Contemporary,Instructional,Jazz. Individual part. 25 pages. Philip Nicholas #3042469....
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Cello Solo - Level 2 - SKU: A0.947110 Composed by Philip Nicholas. Contemporary,Instructional,Jazz. Individual part. 25 pages. Philip Nicholas #3042469. Published by Philip Nicholas (A0.947110). A collection of 13 studies. The Blue ones are a bit Jazzy and feature the development of Dominant 7ths or Diminished 7ths, and more, while the music of Martian origins has a tendency to explore some fringe areas in terms of harmony or notation though some are more conventional. The studies are aimed at a student ready to explore 3rd position and beyond. Each study uses all the strings of the cello and all the left hand fingers. In general the individual studies are varied, including the bowing, and don't have that typical study look. The final work is older and is called Winter Solstice.
$4.95
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