This combined version of the of the PianoAccompaniment and Cello Online String Sampler Cello Sheet Music is a fun and easy way to activelylearn, study and play beautiful cello music from a wide variety of styles anderas. 54 pieces are featured, representing music history periods, cultures andstyles such as Medieval, Renaissance, Baroque, Classical, Romantic, 20thCentury, Fiddle, Klezmer, Gypsy, Chinese, Greek, Carnatic, Arabic, Mariachi,Ragtime and Blues. These arrangements have been simplified for advancedbeginners to intermediate players, and include a representative sampling ofmost major forms of string music such as concertos, symphonies, sonatas,quartets and trios. As an added bonus, sound files of each piece and a studyguide are currently available on the website CelloOnline.com* as a self-guidedclass specifically designed to accompany this music: https://www.celloonline.com/stringclass.html The studyguide explains the history and musical form of the selected pieces, andincludes cello technique tips for each piece of music. Let the music begin!

*No guarantees are made that these sound files and websitewill be available indefinitely.

Pieces include: Columba aspexit by Hildegard of Bingen; Sixth Royal Estampie from Chansonnier du Roy; Helas Madame; Kemp?s Jigg; Fantasia by Lupo; Minuet from The Fiddle New Model?d by Crome; Rondeau by Purcell; Hornpipe from Water Music by Handel; La Folia medley by Marais, Corelli, and Vivaldi; Double Violin Concerto in A Minor, Op. 3, No. 8, 1st movement by Vivaldi; Prelude from Cello Suite I in G Major by Bach; Allegro from Brandenburg Concerto No. 5 by Bach; Kyrie from Messa a 4 con violini by Cazzati; Medley: He Shall Feed His Flock Like a Shepherd and Hallelujah Chorus from Messiah by Handel; Arioso from Cantata No.156 by Bach; Ave Verum Corpus, K. 618 by Mozart; Adagio from Violin Concerto No. 3 in G by Mozart; Andante from String Quartet No. 13 in Am by Schubert; Andante from Emperor Quartet in C major by Haydn; Surprise Symphony No. 94, 2nd movement by Haydn; Pastoral Symphony No. 6, 1st and 5th movements by Beethoven; Hungarian Dance No. 5 by Brahms; The Moldau from Ma Vlast by Smetana; Halling from 25 Norwegian Folksongs and Dances by Grieg; Emperor Waltz by Strauss; Vieille Chanson by Viardot; Andante from Violin Concerto in E Minor by Mendelssohn; Allegro and Adagio from Cello Concerto in B minor by Dvorak; Notturno from String Quartet No. 2 in D major by Borodin; Elegy Op. 44 for Viola and Piano by Glazunov; Barcarolla from Sonata in Bb for Viola and Piano by Vieuxtemps; Ave Maria from a theme by J.S. Bach by Gounod/Bach; Sicilienne Op. 78 for cello and piano by Faur�; Meditation from Tha�s by Massenet; Habanera from Carmen by Bizet; Reed Flutes from The Nutcracker Suite by Tchaikovsky; Overture from Pulcinella Ballet by Stravinsky; Moderato from Sonata No. 1 in G Major by Gallo; Assez vif from String Quartet in F Major by Ravel; Sehr langsam from 4 Pieces, Op. 7 by Webern; Simple Gifts melody by Brackett; Braul from Romanian Folk Dances by Bartok; The Basso-Gypsy Traditional; Odessa Bulgarish-Klezmer Traditional; Varys Hasapikos-Greek Traditional; El Jarabe Tapatio-Mexican Traditional; Jasmine Flower-Chinese Traditional; Sara Sara-Tyāgarāja (Carnatic); Longa Nahawand by Bey (Arabic/Ottoman); Irish Washerwoman-Irish Traditional; Fiddle Medley: Bile Them Cabbage Down, Devil?s Dream and Shuffle-Fiddle Traditional; The Ragtime Violin by Berlin; The Castle Walk by Europe & Dabney; St. Louis Blues by Handy.

English - French - German.

Peter Bowman and Kathryn Bennetts present the third volume in the Renaissance Recorder Anthology series. Featuring well-known and lesser known pieces scored for treble recorder and keyboard instrument from the Renaissance period.

This collection contains sixty easy Renaissance pieces from various European countries, and from works of well known, but also obscure or anonymous composers, transcribed for the classical guitar mainly from lute, vihuela, and bandore sources. The pieces will be published in three volumes, each volume containing twenty pieces.
I have tried to include pieces of varied difficulty in all three volumes and also to keep the upper level of technical difficulty to the contemporary grade IV level of the A.B.R.S.M. which takes the student to the intermediate level (grades IV-VI).
The pieces in each volume are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in doubling the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.
The inclusion of tablatures which shows a preference for open string combinations whenever that is possible, clarifies sufficiently the left hand playing positions without need for additional fingerings.
Having said that, my professional advice to all guitar students is to abandon completely their reliance on tablatures and study seriously through many easy collections of music such as the present one in order to familiarise themselves to all aspects of musical notation. And always have in mind that tablatures were invented and still are in use only for fretted instruments, and only due to commercial (publisher?s) considerations primarily, while other string instrumentalists neither have them available, nor need them in order to study/play music.

Metronome marks are only suggestions that need not be taken too literally and are placed mainly for guiding a score writer programme such as Sibelius for performance and extraction of audio and video files. To this end many other expression and/or technique and tempo marks may have been added to the score and made invisible.

NAVIGATION INDEXES ? External and Internal links

The second page in every volume is an index divided into three columns. The first column has the titles of the pieces as active invisible links which take the user to the relevant tablature page. The header of that page brings the user back to this index.
The second column has visible links (in frames) to live performances of the pieces either by professional guitarists or students, which are only for getting familiar with the music, but not as suggestions that particular performances should be followed for study purposes.
The third column contains active links to information about particular composers, found mainly in Wikipedia, but sometimes also in other external sources.
The third page in every volume contains a thematic index of active links to the decorated (without tablatures) pages of the pieces. The header of every decorated page brings the user back to this index.
Finally, the titles of all decorated and tablature pages are active links of interconnection between these pages.

This product was created by a member of ArrangeMe, Hal Leonard?s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

ISBN 9781513455006.

Intermediate-level guitarists will enjoy playing through this varied collection of pieces, all in one volume. A wide gamut of composers from the Renaissance to the nineteenth century is included, along with a few anonymous contributions. Continuing with the techniques and carefully thought-out fingerings and notation employed in Dr. Afshars previous publication (Beginning Pieces for Classical Guitar), selections like Carcassi Study #3 and Sor Studies Nos. 5 and 6 require the execution of rest stroke technique on their melodies in order to distinguish them clearly from the concurrent free-stroke accompaniment. In the same spirit, Study No. 5 by Fernando Sor has been written out in a way that clearly shows the melody as it appears on beats one and three. The nine-movement suites by Gaspar Sanz and Robert de Visee introduce the student guitarist to Baroque dances and ornamentation.

Song List:

Branle

Allemande

Branle

Quand i?entens le perdu temps

Gaillarde

Tourdion

Bransle De Poictou

Branle

Bransle Haulbaroys

Chi dira mai

Villanesque

Bransle De Poictou

Almande tourn�e

Vous estes la personne

Branle

Pavane

Branle de Bourgogne I

Branle de Bourgogne III

Gaillarde

Almande le Pied de cheval

Branle gay

Le Branle precedent plus diminue

Gaillarde

Gaillarde

Pimontoyse

Lo, what it is to love

Il estoit une fillette en basse-dance

Ma bouche rit

Contreclare

La Seraphine

Prelude I

Prelude Ii

Fantasie V

Fantasia

Fantasie III

Canon

Fantasie I�

Madrigal by Orlando Gibbons arranged for instrumental quintet.
The words of the original are:
The silver swan, who living had no note,
When death approached
Unlocked her silent throat
Leaning her breast against the reedy shore,
Thus sang her first and last and sang no more
Farewell all joys, o Death, come close mine eyes:
More geese than swans now live, more fools than wise. 

The pdf file contains score and parts.
The sound sample is an electronic preview.

Madrigal by Orlando Gibbons arranged for instrumental quintet.The words of the original are:The silver swan, who living had no note,When death approachedUnlocked her silent throatLeaning her breast against the reedy shore,Thus sang her first and last and sang no moreFarewell all joys, o Death, come close mine eyes:More geese than swans now life, more fools than wise.The pdf file contains score and parts.The sound sample is an electronic preview.

Instrumental arrangement of a motet by Adrian Batten
Lord, we beseech thee,
give ear unto our prayers,
and by thy gracious visitation
lighten the darkness of our hearts,
by our Lord Jesus Christ.
Amen.

The pdf file contains score and parts.
The sound sample is an electronic preview.

Index of the 1st Volume
ANONIMO ............................................................. Versi ..........................................................pag. 7
ANONIMO .............................................................. Sonata .......................................................... ? 73
ANONIMO ............................................................. Toccata ........................................................ ? 101
ANONIMO ............................................................. Toccata per l?Offertorio .............................. ? 104
ARRESTI Floriano Maria .................................. Ricercare ....................................................... ? 98
BANCHIERI Adriano ........................................... Suonata prima ............................................. ? 95
BERG George ........................................................ Cornet Voluntary ......................................... ? 70
BO�LY Alexandre ................................................ Preludio ........................................................ ? 96
BO�LY Alexandre ................................................ Preludio ........................................................ ? 97
CARISSIMI Giacomo ........................................... Versetti .......................................................... ? 20
CHARPENTIER Jean Jacques Beauvarlet ......... Kyrie ............................................................. ? 54
CHARPENTIER Jean Jacques Beauvarlet ......... O Filii ............................................................ ? 55
CHARPENTIER Jean Jacques Beauvarlet ......... Quartetto ....................................................... ? 60
CORDANS Bartolomeo ........................................ Pezzo fugato ................................................. ? 64
DIRUTA Girolamo ................................................ Ricercari ....................................................... ? 30
FISCHER Johann Caspar Ferdinand ............... Fuga .............................................................. ? 89
FRANCK C�sar ..................................................... Chant de la Creuse ...................................... ? 14
FRANCK C�sar .................................................... Andantino .................................................... ? 15
FRANCK C�sar ..................................................... Andantino poco allegretto .......................... ? 16
FRANCK C�sar ..................................................... Poco allegretto ............................................. ? 17
FRANCK C�sar ..................................................... Pr�lude pour l?Ave Maris Stella ................. ? 18
FRANCK C�sar ..................................................... Moderato con moto ..................................... ? 19
GALUPPI Baldassare ........................................... Andante ........................................................ ? 31
GALUPPI Baldassare ........................................... Allegro .......................................................... ? 32
GREENE Maurice ............................................... Voluntary ..................................................... ? 91
KAUFFMANN Georg Friedrich ........................ Herzlich lieb hab ich dich, o Herr .............. ? 52
LUCCHESI Andrea ............................................. Sonata seconda ............................................ ? 68
MARTINI Giambattista ....................................... Versetti .......................................................... ? 11
MARTINI Giambattista ....................................... Toccata prima .............................................. ? 12
MOZART W. Amadeus ...................................... Adagio ........................................................... ? 100
PACHELBEL Johann ......................................... Fuga .............................................................. ? 82
PACHELBEL Johann ......................................... Wo Gott zum Haus nicht gibt sein Gunst .. ? 83
PACHELBEL Johann ......................................... Herr Gott, dich loben alle wir ..................... ? 84
PACHELBEL Johann ......................................... Ach Herr, mich armen S�nder .................. ? 86
PACHELBEL Johann ......................................... Wenn wir in h�chsten N�ten sein .............. ? 88
RHEINBERGER Joseph Gabriel ....................... Trio ............................................................... ? 80
RINCK Johann Christian ................................... Trii ................................................................ ? 76
RINCK Johann Christian ................................... Preludio ........................................................ ? 79
SANCTA MARIA Tomas de ............................. Fantasie ........................................................ ? 66
SCHEIDT Samuel ............................................... O lux beata Trinitas ..................................... ? 90
REMBT Johann Ernst ......................................... Fughetta ....................................................... ? 53
TELEMANN Georg Philipp ............................... Vater unser im Himmelreich (bicinium)...... ? 25
TELEMANN Georg Philipp ............................... Vater unser im Himmelreich ...................... ? 26
TELEMANN Georg Philipp ............................... Fughetta ....................................................... ? 28
TRAVERS John .................................................... Trumpet Voluntary ..................................... ? 34
TRAVERS John .................................................... Trumpet Voluntary ..................................... ? 36
ZIPOLI Domenico ................................................ Versetti .......................................................... ? 38
ZIPOLI Domenico ............................................... Canzona in re minore ................................. ? 43
ZIPOLI Domenico ............................................... All?Offertorio................................................. ? 46
ZIPOLI Domenico ............................................... All?Elevaziome ............................................. ? 48
ZIPOLI Domenico ............................................... Al Post Comunio ......................................... ? 50