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Pop Rounds - 3 And 4 Part (SCHMITZ MANFRED)
Cello
AMA Verlag
3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same ti...
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3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violoncelle
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Miloslav Kabelác: Sonate: Cello: Instrumental Work
Cello
Barenreiter
für Violoncello und Klavier-With this composition Editio Baerenreiter Praha la...
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für Violoncello und Klavier-With this composition Editio Baerenreiter Praha launched the Complete Critical Edition of Works by Miloslav Kabelac a prominent Czech composer who lived from 1908 to 1979. The editor of this complete edition is a musicologist and a noted expert on Kabelac's work Dr. Zdenek Nouza. The outline of the edition is as follows: I. Orchestral and Concert compositions II. compositions for solo Voice or a Chorus with Orchestra or Instrumental Ensemble III. songs with Piano Choruses Children's Choruses IV. Chamber compositions V. compositions for Piano and Organ.Sonata Op.9 for Cello and Piano which came into existence betweenyears 1941-42 has never been published before. Therefore as part of the Complete Edition this composition appears in print for the first time. Its edition is based on an authograph present in the Museum of Czech Music in Prague. The prominent Czech cello player Daniel Veis who also premiered the complete four-movement version has revised the cello part of this edition.
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Cello Canto: Cello: Instrumental Album
Cello
-
Intermediate
Fentone Music
Six Songs and Arias-This volume contains a selection of music intended to show o...
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Six Songs and Arias-This volume contains a selection of music intended to show off the beautiful cantabile qualities of the Cello. The works chosen were all originally written for voice. The six pieces are carefully chosen from the various sources and will provide the cellist with some different and enjoyable melodic music. The pieces in the book are: Flotow 'M'Appari' from Marta Schubert 'To Music' Tchaikovsky 'A Legend' Mozart 'Serenade' Paisello 'Nel Cor Piu Non Mi Sento' Verdi 'Ai Nostri Monti'.
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Morganstern Daniel - Practice For Performance - Cello
Cello
[Book]
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Easy
Mel Bay
Media Type : Book Level : Beginning-Intermediate Musical Genre : All Styles Numb...
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Media Type : Book Level : Beginning-Intermediate Musical Genre : All Styles Number of pages : 40 Practice for Performance provides a rare and intimate view into a very thoughtful and successful performer's personal toolkit. Set in the context of his own personal history of growth as a performer, cellist Daniel Morganstern (principal cellist for the Lyric Opera of Chicago and the American Ballet Theatre at the Metropolitan Opera House in New York) displays rare honesty in discussing the problems that faced him at various point of his career, and the ways to solve them. The discoveries sensibly unfold in a fascinating account of experiences with many notable artists whose comments and examples shaped the author's thinking. These ideas are not to be found in any other treatise on the subject of musical preparation. The examples in this book, both musical and non-musical, offer a foundation to help evoke instinctive musical responses in the mechanical processes of playing the cello, and have been advantageously applied to other instruments as well, including voice.
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Karsten Fundal: Figure and Ground Study I: Cello: Score
Cello
[Partitions]
Wilhelm Hansen
The image and concept of this piece is easiest to describe by using the visual i...
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The image and concept of this piece is easiest to describe by using the visual images of the Dutch artist M. C. Escher. He made many woodcuts where the whole surface of the picture has a figurative function often just in black and white. For example a row of white ducks 'transversing' the painting which are described by black ducks transversing in the opposite direction. In this way the two figures describe each other so to speak.In this piece melody has been approached in a similar way: a melody is used which can be framed in rhythmically different groupings - in groups of fours or fives etc- thus creating new hierarchical melodies which grow more and moreobvious to the ear. The initial melody then becomes background to the new melody until disappearing and a new rhythmical pattern is imposed on the second melody and so forth. Later the different 'rhythm melodies' are woven together creating a new perceptual image one that is at the same time actually a 'holographic' reproduction of the initial melody. The latter situation is similar to the way Bach makes hidden 3- or 4-part counterpoints in his Cello suites by intersecting the parts successively into beautifully interwoven patterns.The very static sections of the piece are chiefly inspired by the powerful singing of the buddhist-monks of Tibet who are able to relax their vocal chords to such an extent that they create an overpowering deep note not normally thought to be produced by a human voice. Figure and Ground Study I was first performed by Mats Olofson at the Numus Festival 1995.
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Sonata (LARCHER THOMAS)
Cello
Schott
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voi...
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for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle
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Daniel Morganstern: Practice For Performance: Reference
Cello
Mel Bay
Practice For Performance provides a rare and intimate view into a very thoughtfu...
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Practice For Performance provides a rare and intimate view into a very thoughtful and successful performer's personal toolkit.Set in the context of his own personal history of growth as a performer cellist Daniel Morganstern (principal cellist for the Lyric Opera of Chicago and the American Ballet Theatre at the Metropolitan Opera House in New York) displays rare honesty in discussing the problems that faced him at variouspoint of his career and the ways to solve them.The discoveries sensibly unfold in a fascinating account of experiences with many notable artists whose comments and examples shaped the author's thinking. These ideas are notto be found in any other treatise on the subject of musical preparation. The examples in this book both musical and non-musical offer a foundation to help evoke instinctive musical responses in the mechanical processes ofplaying the Cello and have been advantageously applied to other instruments as well including Voice.
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Motet II
Cello
Boosey and Hawkes
Extended instrumental solo taken from MacMillan's 70-90-minute 'Since it was the...
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Extended instrumental solo taken from MacMillan's 70-90-minute 'Since it was the day of Preparation ? ' for voices and ensemble, commissioned by the Hebrides Ensemble, Edinburgh International Festival, Soli Deo Gloria and Kings Place, and first performed by the Hebrides Ensemble at the 2012 Edinburgh Festival.The parent work sets the Resurrection narratives from St John's Gospel. Five instrumental solos for different instruments (theorbo, cello, clarinet, harp, horn) are reproduced unabridged. They serve as prologue and interludes at respective points of the work. / Violoncelle
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Sheila Mary Nelson: The Essential String Method Vol. 1: Cello: Instrumental
Cello
[Score]
Boosey and Hawkes
This award winning series of books offers an exciting advance in the teaching of...
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This award winning series of books offers an exciting advance in the teaching of stringed instruments intergrating musical awareness creativity and technical development from the outset. Making their way through the series pupils encounter an attractive selection of new tunes and arrangements on which to build their repertoire. The material is presented as a logical progression of musical activities involving both the instrument and the voice. These make learning fun and are easily incorporated into instrumental lessons simultaneously developing the pupil's technical and musical abilities while re-inforcing aspects of the school music curriculum.
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11 Oblique Strategies
Cello
Bote and Bock
The composer states:'The term 'oblique strategies? was coined jointly by British...
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The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle
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Suzuki Cello School Cd, Vol.1 And 2
Cello
Alfred Publishing
Accompagnement de CD pour Suzuki Cello School Volume 1 and 2. / Violoncelle
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Ernest Bloch: Voice in the Wilderness: Cello and Accomp.: Instrumental Work
Cello
Schirmer
Version for Cello and Piano.
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Harold Arlen: The Wizard Of Oz - 70th Anniversary: Cello: Instrumental Album
Cello
[Sheet music + CD]
Alfred Publishing
This celebratory 70th Anniversary instrumental edition of one of the most famous...
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This celebratory 70th Anniversary instrumental edition of one of the most famous MGM movie musicals features an historical essay and colour and black and white movie photos.Included are classic titles Over the Rainbow We're Off to See the Wizard as well as the song deleted from the movie The Jitterbug and more all arranged and edited for the Level 2-3 instrumental player.Also included is a CD which features live demonstration performances of the instrument tracks.
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