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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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VIOLONCELLE
XYLOPHONE
SCALES FOR CELLO
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Piano Trio: piano, violon, violoncelle
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CLOCHES
COR
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CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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HAUTBOIS
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LUTH
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OCARINA
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ORGUE
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PIANO
SAXOPHONE
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Vous avez sélectionné:
SCALES FOR CELLO
SheetMusicPlus
Partitions à imprimer
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SCALES FOR CELLO
Trio à Cordes: violon, alto, violoncelle
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1442070 Com…
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String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1442070 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 137 pages. Suomi Music #1022066. Published by Suomi Music (A0.1442070). LET’S PLAY SCALES AS DUETS FOR CELLOLet’s Play Scales as Duets for Cello is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of violin instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets for Cello offers a curated selection of scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets for Cello provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827)Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Number of Scales: 75Printable pages: 138.
$19.90
18.31 €
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Trio à Cordes: violon, alto, violoncelle
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Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
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Violin Friends
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SCALES FOR CELLO
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Suomi Music
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SheetMusicPlus
Basic Scales for Cello in First Position
Violoncelle
Cello Solo - Level 1 - Digital Download SKU: A0.1039894 Composed by Charles Asch. C…
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Cello Solo - Level 1 - Digital Download SKU: A0.1039894 Composed by Charles Asch. Classical. Individual part. 1 pages. Charles Asch #644763. Published by Charles Asch (A0.1039894). Basic Scales for Cello in First Position for mastering the basics on cello. These scales are practical and will enable you to play in multiple tonalities, while remaining in first position.
$1.99
1.83 €
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Violoncelle
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Charles Asch
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Basic Scales for Cello in First Position
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Charles Asch
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SheetMusicPlus
SCALES FOR VIOLIN
Trio à Cordes: violon, alto, violoncelle
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1435938 Com…
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String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1435938 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Traditional. Educational Exercises. 138 pages. Suomi Music #1016106. Published by Suomi Music (A0.1435938). Let's Play Scales for String Ensemble and School OrchestraLET’S PLAY SCALES AS DUETS is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France,Germany, Italy and Belgium.Explore the time-honored tradition of violin instruction with this comprehensive assortment of scales, sourced from esteemed violin method books in European violin pedagogy. Let’s Play Scales as Duets offers a curated selection of scale exercises presented in a collaborative duet format.Derived from prominent violin method books of France, Germany, Italy, and Belgium, this book provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) SCALES AS DUETS by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99
18.4 €
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Trio à Cordes: violon, alto, violoncelle
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Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
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Violin Friends
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SCALES FOR VIOLIN
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Suomi Music
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SheetMusicPlus
An Elegy for Hopes and Dreams
Piano Trio: piano, violon, violoncelle
Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1142148 Composed…
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Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148). A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.
$27.99
25.76 €
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Piano Trio: piano, violon, violoncelle
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William Heath
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An Elegy for Hopes and Dreams
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William Heath
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SheetMusicPlus
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Cello Duo
2 Violoncelles (duo)
Cello Duet Cello - Level 2 - Digital Download SKU: A0.612797 Composed by Jean Bapti…
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Cello Duet Cello - Level 2 - Digital Download SKU: A0.612797 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. Score. 59 pages. Jmsgu3 #221991. Published by jmsgu3 (A0.612797). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto – Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - AllegroSonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. GavottSonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.
$74.95
68.98 €
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2 Violoncelles (duo)
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Jean Baptiste Loeillet of Ghent
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James M
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Loeillet: Six Sonatas Op. 5 No. 2 Complete for Cello Duo
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jmsgu3
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SheetMusicPlus
SCALES FOR VIOLA
String Ensemble Cello,Double bass,Viola - Level 1 - Digital Download SKU: A0.1435941
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String Ensemble Cello,Double bass,Viola - Level 1 - Digital Download SKU: A0.1435941 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 138 pages. Suomi Music #1016108. Published by Suomi Music (A0.1435941). Let’s Play Scales as Duets For Viola is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of viola instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets For Viola offers a curated selection of ’ scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets For Viola provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99
18.4 €
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Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
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Violin Friends
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SCALES FOR VIOLA
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Suomi Music
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Cello Quartet
Violoncelle
Cello Solo - Level 3 - Digital Download SKU: A0.784341 Composed by Joshua Hauser. I…
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Cello Solo - Level 3 - Digital Download 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
4.6 €
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Violoncelle
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Cello Quartet
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Slide Ride
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SheetMusicPlus
The Kiss (for Cello and Piano)
Violoncelle, Piano
Cello,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.912560 Composed …
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Cello,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.912560 Composed by Anita Malhotra. 20th Century,Children,Film/TV. Score and individual part. 15 pages. Artsmania #55779. Published by Artsmania (A0.912560). A lyrical, romantic piece for cello and piano. The piece is based on whole tone and pentatonic scales and is intended to evoke the sensuousness of a lover's kiss. It is for intermediate level cellists and pianists.
$1.99
1.83 €
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Violoncelle, Piano
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Anita Malhotra
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The Kiss
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Artsmania
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SheetMusicPlus
The Only Cello Scale Book You Will Ever Need!
Violoncelle
Cello - Digital Download Composed by Yellow Cello Music. Method, Etudes and Exercises…
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Cello - Digital Download Composed by Yellow Cello Music. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Solo Part. 31 pages. Published by Yellow Cello Music
Probably the only scale book you will ever need! Contains all 24 major and melodic minor scales AND arpeggios. Each scale and arpeggio has complete fingerings for one, two, and three octaves. Also includes some separate bowing patterns. Very hard to find books that have one, two, and three octaves scales shown separately!Probably the only scale book you will ever need! Contains all 24 major and melodic minor scales AND arpeggios. Each scale and arpeggio has complete fingerings for one, two, and three octaves. Also includes some separate bowing patterns. Very hard to find books that have one, two, and three octaves scales shown separately!
$8.99
8.27 €
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Violoncelle
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Yellow Cello Music
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The Only Cello Scale Book You Will Ever Need!
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Yellow Cello Music
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SheetMusicPlus
The CelloWay 1 Scales & Exercises
Violoncelle
Cello Solo - Level 1 - Digital Download SKU: A0.1095700 Composed by Julie Munkholm …
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Cello Solo - Level 1 - Digital Download SKU: A0.1095700 Composed by Julie Munkholm Bruun. Classical. Individual part. 28 pages. Julie Munkholm Bruun #699683. Published by Julie Munkholm Bruun (A0.1095700). This book contains a set of exercises and scales that fits with â€The CelloWay 1â€. Scales and arpeggios can shape the technical foundation for playing and it can help create a pathway to make note reading easier. In classical music from Mozart and Beethovens time, a lot of the melodies were build upon a set of scales, thirds and arpeggios, so recognizing these patterns from an early stage will help you tremendously. In both old and new music (in most genres) that are written in normal keys, it can help you to recognize the notes, and make them into music with a better understanding. Practicing scales in different rhythms and tempos will help you target the scales from different angles, and help you develop finger strength, the ability to play more precise and in a faster pace. Working with scales will also help you reach a better intonation on the instrument.
$6.00
5.52 €
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Violoncelle
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Julie Munkholm Bruun
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The CelloWay 1 Scales & Exercises
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Julie Munkholm Bruun
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SheetMusicPlus
...ready For It?
Violoncelle
Cello Solo - Level 1 - Digital Download SKU: A0.900286 By Taylor Swift. By Ali Paya…
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Cello Solo - Level 1 - Digital Download SKU: A0.900286 By Taylor Swift. By Ali Payami, Max Martin, Shellback, and Taylor Swift. Arranged by Liz Lee-Cellomoji. Pop. Individual part. 3 pages. Cellomoji #3535805. Published by Cellomoji (A0.900286). This is the cello transcription for ...Ready for It? by Taylor Swift off of her latest album. It is written in the original key off of the album Reputation. Though there is nothing in the key signature it closely follows e minor/ G Major so these would be good scales to practice. All of it is written in a relatively easy position so even beginners can play this song. I highly recommend playing along with the recording since it is more fun to hear all the parts working together. Get ready to rock out!Instagram: https://www.instagram.com/cellomojiYoutube: https://www.youtube.com/channel/UCS8SDY7dyqUR4P3t3qRPISgQuestions? https://cellomoji.com
$4.99
4.59 €
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Violoncelle
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Taylor Swift
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Liz Lee-Cellomoji
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...ready For It?
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Cellomoji
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SheetMusicPlus
First Lessons Cello
Violoncelle
Cello - Beginning - Digital Download Composed by Craig Duncan. First Lessons. 0. E-bo…
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Cello - Beginning - Digital Download Composed by Craig Duncan. First Lessons. 0. E-book and online audio. 32 pages. Mel Bay Publications - Digital Sheet Music #30661MEB. Published by Mel Bay Publications - Digital Sheet Music (
ISBN 9781619117839.<br> <br> This text presents beginning cello technique and basic music reading fundamentals. There is an emphasis on using melodies and classical pieces to instruct each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of D, G, C and F and bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers.A The book includes access to online audio containing all of the exercises and pieces recorded with solo cello and piano accompaniment. It is useful as a teaching and practice tool as well as a performance accompaniment track.A.ISBN 9781619117839.<br> <br> This text presents beginning cello technique and basic music reading fundamentals. There is an emphasis on using melodies and classical pieces to instruct each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of D, G, C and F and bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers.A The book includes access to online audio containing all of the exercises and pieces recorded with solo cello and piano accompaniment. It is useful as a teaching and practice tool as well as a performance accompaniment track.A.
$9.99
9.19 €
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Violoncelle
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Craig Duncan
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First Lessons Cello
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Double Stop Shifting Challenges for the Cello
Violoncelle
Cello - Advanced Intermediate - Digital Download Composed by Cassia Harvey. Method, E…
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Cello - Advanced Intermediate - Digital Download Composed by Cassia Harvey. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 34 pages. Published by Cassia Harvey
Are you an intermediate or early-advanced cellist who wants to take their technique to the next level?<br> <br> These intensive cello double stop shifting exercises will help improve your intonation and help build your left-hand strength. At the same time, they will raise the intensity level of your practice, making the time you spend on exercises as efficient as possible.<br> <br> Moving through the first seven cello positions, these exercises use double stop sixths, thirds, and occasionally fifths and fourths to build your cello technique.<br> <br> Who this book can help: Cellists who can shift between the first seven positions and want to improve their shifting and finger strength.<br> <br> How to use this book: Work on one exercise each day, after warming up with finger exercises, scales, and shifting exercises.<br> <br> by Cassia Harvey<br> <br> 29 pages<br> <br> Level: Late-Intermediate or Early-Advanced. Uses first through seventh positions on the cello.Are you an intermediate or early-advanced cellist who wants to take their technique to the next level?<br> <br> These intensive cello double stop shifting exercises will help improve your intonation and help build your left-hand strength. At the same time, they will raise the intensity level of your practice, making the time you spend on exercises as efficient as possible.<br> <br> Moving through the first seven cello positions, these exercises use double stop sixths, thirds, and occasionally fifths and fourths to build your cello technique.<br> <br> Who this book can help: Cellists who can shift between the first seven positions and want to improve their shifting and finger strength.<br> <br> How to use this book: Work on one exercise each day, after warming up with finger exercises, scales, and shifting exercises.<br> <br> by Cassia Harvey<br> <br> 29 pages<br> <br> Level: Late-Intermediate or Early-Advanced. Uses first through seventh positions on the cello.
$8.95
8.24 €
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Violoncelle
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Cassia Harvey
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Double Stop Shifting Challenges for the Cello
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SheetMusicPlus
æ„› (Ai, Japanese for Love), Cello Duet
2 Violoncelles (duo)
Cello Duet Cello - Level 3 - Digital Download SKU: A0.590660 Composed by David McKe…
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Cello Duet Cello - Level 3 - Digital Download SKU: A0.590660 Composed by David McKeown. Holiday,Love,Wedding,World. Score. 4 pages. David McKeown #6231085. Published by David McKeown (A0.590660). 愛(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for two Cellos, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. 愛(Ai) aims to capture the spirit of this emotionally charged music. 愛(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. 愛(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.67 €
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2 Violoncelles (duo)
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David McKeown
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æ„›
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David McKeown
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.08 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Scales Handbook for the cello – Volume 1
Violoncelle
Cello - Level 1 - Digital Download SKU: A0.841340 Composed by Johann Justus Friedri…
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Cello - Level 1 - Digital Download SKU: A0.841340 Composed by Johann Justus Friedrich Dotzauer. Arranged by Michele Galvagno. Instructional. Educational Method. 46 pages. Artistic Score Engraving di Galvagno Michele #4808943. Published by Artistic Score Engraving di Galvagno Michele (A0.841340). This is the first book in a hopefully long series of publications dedicated to the works of Dotzauer for the cello. This first volume encompasses to the scales a beginner student will encounter from the beginning of her studies up to just before leaving the first position. Every scale is enriched with suggestions and challenges to motivate the student to improve. At the end of the book a scale compendium summarises the material worked upon.
$15.00
13.8 €
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Violoncelle
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Johann Justus Friedrich Dotzauer
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Michele Galvagno
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Scales Handbook for the cello – Volume 1
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Progressive Scale Studies for Cello
Violoncelle
Composed by John Bauer. For Cello. All Styles. Beginning-Intermediate. E-book. 100 pages. …
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Composed by John Bauer. For Cello. All Styles. Beginning-Intermediate. E-book. 100 pages. Published by Mel Bay Publications, Inc - Digital Sheet Music
ISBN 9781610650762. This progressive scale system coordinates basic concepts from elementary to advanced scales in preparation for the Scale System by Carl Flesch. In some aspects it goes beyond the scope of the Flesch system. One-octave scales are introduced in patterns with emphasis on half steps and finger retention. The two-octave scale patterns are non-shifting. Three-octave scales are offered with traditional and modern fingerings. The double stop scales vary in fingerings in order to teach the basic concepts of double-stops. Harmonics are included beyond the scope of the Flesch system, in a basic form including natural harmonics.ISBN 9781610650762. This progressive scale system coordinates basic concepts from elementary to advanced scales in preparation for the Scale System by Carl Flesch. In some aspects it goes beyond the scope of the Flesch system. One-octave scales are introduced in patterns with emphasis on half steps and finger retention. The two-octave scale patterns are non-shifting. Three-octave scales are offered with traditional and modern fingerings. The double stop scales vary in fingerings in order to teach the basic concepts of double-stops. Harmonics are included beyond the scope of the Flesch system, in a basic form including natural harmonics.
$17.99
16.56 €
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Violoncelle
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John Bauer
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Progressive Scale Studies for Cello
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Mel Bay Publications, Inc - Digital Sheet Music
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SheetMusicPlus
Polka Russe-Czerny-Cello Solo
Violoncelle
Cello Solo - Level 3 - Digital Download SKU: A0.844590 Composed by Charles Czerny. …
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Cello Solo - Level 3 - Digital Download SKU: A0.844590 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. Individual part. 3 pages. Phil Beaman #3928129. Published by Phil Beaman (A0.844590). This fun piece is loosely based on a popular Russian folk polka. In 1853 Charles Czerny took this polka tune and created a piano etude as part of his set Amusement des Juenes Amateurs. I have taken some of his themes and adapted and arranged them for instrumental solo. I have assembled them into a Rondo form: Intro-A-B-A-C-A-D-A-Coda. Â It is an etude (study) to sharpen your playing of scales, arpeggios, melodic interval leaps, and various articulations. But it doesn't at all sound like an exercise because of the playful nature of the polka. This dramatic piece shows your technical accomplishments while delivering a crowd pleasing tune with great flourish.I have marked it as Intermediate in difficulty as a general average. The notes and rhythms are Easy, the quick Tempo makes it Early Intermediate, and the range which is a half step beyond a full 2 octaves makes it Advanced Intermediate for some instruments. Has double stops in the intro and coda.3 pages, 1:45 minutesTemporary piano recording of instrument part
$3.99
3.67 €
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Violoncelle
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Charles Czerny
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Phil Beaman
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Polka Russe-Czerny-Cello Solo
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Phil Beaman
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SheetMusicPlus
THE CELLO COMPASS 2
Violoncelle
Cello Solo - Level 3 - Digital Download SKU: A0.1491885 Composed by Julie Munkholm …
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Cello Solo - Level 3 - Digital Download SKU: A0.1491885 Composed by Julie Munkholm Bruun. Arranged by Julie Munkholm Bruun. 19th Century,20th Century,Classical. Individual part. 52 pages. Julie Munkholm Bruun #1068568. Published by Julie Munkholm Bruun (A0.1491885). Finally it is here! The sequel to The Cello Compass 1: The scale and exercise book for the intermeidiate student who is looking for a book that is easy to follow, helps develop the young student gradually, and at the same time is super versatile. This book contains all major and minor scales and arpeggios up to 5 flats and 5 sharps in 3 octaves. It also contains bow exercises, third scales, scales with special turn-patterns and 1 octave scales and arpeggios in the thumb position.
$15.99
14.72 €
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Violoncelle
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Julie Munkholm Bruun
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Julie Munkholm Bruun
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THE CELLO COMPASS 2
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Julie Munkholm Bruun
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SheetMusicPlus
æ„› (Ai, Japanese for Love), Violin and Cello Duet
Violon, Violoncelle (duo)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.5…
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.590663 Composed by David McKeown. Holiday,Love,Wedding,World. Score and parts. 4 pages. David McKeown #6231091. Published by David McKeown (A0.590663). 愛(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Violin and one Cello, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. 愛(Ai) aims to capture the spirit of this emotionally charged music. 愛(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. 愛(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.67 €
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Violon, Violoncelle (duo)
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David McKeown
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æ„›
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David McKeown
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SheetMusicPlus
THE CELLO COMPASS 1
Violoncelle
Cello Solo - Level 2 - Digital Download SKU: A0.1353375 Composed by Julie Munkholm …
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Cello Solo - Level 2 - Digital Download SKU: A0.1353375 Composed by Julie Munkholm Bruun. Classical,Instructional. Individual part. 34 pages. Julie Munkholm Bruun #938136. Published by Julie Munkholm Bruun (A0.1353375). Finally it is here: The scale and exercise book for the young student that is looking for a book that is easy to follow, helps develop the young student gradually, and at the same time is super versatile. This book contains all major and minor scales and arpeggios up to 4 flats and 4 sharps in 2 octaves. It also contains bow exercises, third scales, scales with special turn-patterns and target-note practice - my very own way of simplifying and practicing position shifts.
$9.99
9.19 €
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Violoncelle
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Julie Munkholm Bruun
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THE CELLO COMPASS 1
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Julie Munkholm Bruun
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SheetMusicPlus
In The Land of Wonder-Wander for Piano Quartet
Piano Quatuor: piano, violon, alto, violoncelle
Piano Quartet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU…
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Piano Quartet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.755009 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 49 pages. Sy Brandon #3239669. Published by Sy Brandon (A0.755009). In The Land of Wonder-Wander attempts to capture the essence of both Maxfield Parrish’s illustration and Eugene Fields’ poem The Dinkey-Bird. Both the painting and the poem create the feeling of a magical place where beauty, joy and pleasure abound. It is a mysterious place, perhaps as occurring in a dream, yet a place where one does not wish to leave. In The Land of Wonder-Wander begins quietly with vague tonality and sparse instrumentation as it transports the listener into this mystical land. As the tempo becomes stricter and the instrumentation fuller, the beauty of this place is apparent. A change to a triple meter and a faster tempo creates a joyous and wondrous section as there are many sweet treats growing to satisfy the soul. Children scampering and playing are represented by an allegro section with playful melodies and slight dissonance. The Dinkey Bird becomes the focus of the next section, which uses a staccato motif surrounded by rapid scales and arpeggios. These ideas build in intensity, expressing the wonder and beauty of this far away land, until they begin to fade away as the land recedes into the sea. A last flourish occurs as if one is trying to hold on to the experience before one wakes up from this marvelous dream.
$9.99
9.19 €
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Piano Quatuor: piano, violon, alto, violoncelle
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Sy Brandon
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In The Land of Wonder-Wander for Piano Quartet
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Sy Brandon
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SheetMusicPlus
A Pleasant Morning-cello solo
Violoncelle
Cello Solo - Level 2 - Digital Download SKU: A0.844732 Composed by Phil Beaman. Cla…
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Cello Solo - Level 2 - Digital Download SKU: A0.844732 Composed by Phil Beaman. Classical,Concert,Instructional. Individual part. 2 pages. Phil Beaman #5325517. Published by Phil Beaman (A0.844732). This playful etude will show off your instrumental technique. Its unaccompanied melody is mostly scales and scalar patterns with a few broken triads. I have added many markings such as articulation, phrasing, and dynamics to provide a true test of your basic skills. An easy etude that provides a classroom or lesson challenge, yet has enough beauty and flourish that it can be used for performances.
$3.99
3.67 €
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Violoncelle
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Phil Beaman
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A Pleasant Morning-cello solo
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Phil Beaman
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SheetMusicPlus
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