Cello-Bass-Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts.Several players may be used on each part. Whenever possible every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The piecesmaybe performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the piano accompaniment is notnecessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas Inc. Free piano accompaniment ANDensemble score downloads are available for use with this title.

New Directions For Strings:-New Directions for Strings - Cello Book 2 emphasises the expansion of students' musical horizons through the reinforcement of the US National Standards for Musical Education. Specific activities include theory improvisation and composition as well as singing. History and culture notes throughout the book increase students' knowledge of various composers and musical styles.New Directions for Strings represents the first method ever written by a team of pedagogues representing each of the four stringed instruments. With more than 100 years of combined teaching experience the authors of New Directions® for Strings explore many newdirections including equal integration of all the instruments a tetrachord-based approach to support proper development of the left hand and ensemble opportunities that occur throughout the book.Based on more than 100 years of combined teaching experienceWritten by a team of pedagogues representing each of the four stringed instrumentsSupplemental music by Soon Hee Newbold and Elliot Del BorgoIncludes 2 Play-Along CDs with each student book and the Teacher's Manual

Graded solos for players of all standards. The pieces are complete in themselves and require no accompaniment. Includes If I Were A Rich Man Basin Street Blues Paper Roses and Yesterday.

Instrumentalists will love this jam-packed collection of 101 timeless pop hits and favorite standards: The Boxer · City of Stars · Daughters · Every Breath You Take · Gabriel's Oboe · Have I Told You Lately · Just Give Me a Reason · Love Me Tender · Michelle · Never Enough · Perfect · River Flows in You · She's Always a Woman · Strangers in the Night · Three Times a Lady · What a Wonderful World · Your Song · and more.

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