One of the most beautiful songs ever written! All of the parts are very interesting, with lots of moving lines in the accompaniment. Cello 1 has the solo.

Cello 1 - tenor and treble clef, into thumb position
Cello 2 - bass clef only, up to fourth position
Cello 3 - bass clef only, up to third position
Cello 4 - bass clef only, first position only. Suitable for an advanced beginner with good counting skills (each part is rhythmically independent from the other parts)

Includes full score and all parts

He beautiful slow theme from Jupiter!

All parts are in bass clef.
Cello 1 goes up to 4th position
Cello 2 goes up to 3rd position
Cello 3 goes up to 2nd position.

A fun, challenging arrangement for four cellos, preferably five if you can find a fifth cellist. Originally for voice and piano, this version also has elements of Berlioz' and Liszt's orchestral adaptations.

Cellos 1-4 each take one of the vocal "parts"
Cello 1: the narrator
Cello 2: the son
Cello 3: the Erlkonig
Cello 4: the father

The accompanying parts are passed around among the players, so nobody is playing endless triplets. Parts 1-4 all get the melody and the opening "horse" theme.

All parts go into treble clef. All parts are difficult, but parts 4 and 5 are easier than the others.

First movement, arranged for four cellos. Difficulty level: advanced. Parts 1 and 2 are more difficult than the original sonata. Parts 3 and 4 are as difficult. All four parts get the melody, which moves around freely between the parts!

Includes 15 pieces for the beginner cellist.Specially created for students using Suzuki and similar methods. For studentswho play in first position only, and for those beginning to learn shifting.
What makes this book special? It includes:
1. Pieces in the low register of the cello. Beginner booksoften focus on the A and D strings.
2. More lyrical pieces, meaning more song-like, more Romanticthan Baroque style.
3. A teacher accompaniment part (teacher edition only). Thestudents find it enjoyable, and it teaches them how important it is to listenand to play in time, in tune, and with dynamics. Can also be used for recitals.
4. Familiar tunes. What is familiar to one person is unknownto others, but I tried to put in pieces that many people would be familiar with.
5. Shifting with familiar tunes. When I was a student, Ifound it easier to learn a shift if the piece was familiar. My ear knew whereto go. I have included a few pieces with two versions: first position andshifting . The student can learn the first position version and then be able tolearn shifting with a familiar tune.
6. There is plenty of empty space on the pages for teachersto add markings.
7. Created by a cello teacher for cellists. Not adaptedfrom another instrument. Tested by real students.

A book of solos for cello. Includes 15 songs (Celtic tunes, classical themes, folk melodies) for the beginner cellist. Created for students using Suzuki and similar methods. For students who play in first position only, and for those beginning to learn shifting.What makes this book special?
It includes:
1. Pieces in the low register of the cello. Beginner books often focus on the A and D strings.
2. More lyrical pieces, meaning more song-like, more Romantic than Baroque style.
3. A teacher accompaniment part. The students find it enjoyable, and it teaches them how important it is to listen and to play in time, in tune, and with dynamics. Can also be used for recitals.
4. Familiar tunes. What is familiar to one person is unknown to others, but I tried to put in pieces that many people would be familiar with.
5. Shifting with familiar tunes. When I was a student, I found it easier to learn a shift if the piece was familiar. My ear knew where to go. I have included a few pieces with two versions: first position and shifting . The student can learn the first position version and then be able to learn shifting with a familiar tune.
6. There is plenty of empty space on the pages for teachers to add markings.