In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Major Scales in 2 3 and 4 octaves ascending and descending with the same fingering.Melodic Minor Scales in 2 3 and 4 octaves.Harmonic Minor Scales in 2 3 and 4 octaves ascending and descending with the same fingering.Arpeggios of the major and minor common chords in 2 3 and 4 octaves with the same fingering for both major and minor.Arpeggios on the Chor of the Dominant Seventh with their resolutions in 2 3 and 4 octaves after the same fingering as the common chord arpeggio.Arpeggios on the Chord of the Diminished Seventh with their resolutions ascending and descending with the same fngering.Chromatic Scales.Major Scales inSixths in 2 and 3 octaves.Melodic Minor Scales in Sixths in 2 and 3 octaves.Harmonic Minor Scales in Sixths in 2 and 3 octaves.Major Scales in Thirds in 2 and 3 octaves ascending and descending with the same fingering.Melodic Minor Scales in Thirds in 2 and 3 octaves.Harmonic Minor Scales in Thirds in 2 and 3 octaves ascending and descending with the same fingering.