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Ho Hey
VIOLONCELLO - CELLO
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kammersymphonie Op, 9 (SCHOENBERG ARNOLD)
Chamber Orchestra
[Study Score / Miniature]
Universal Edition
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different ex...
(+)
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre
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Cello Recital Album Volume 1: Cello: Instrumental Album
Cello, Piano
-
Easy
Barenreiter
18 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming co...
(+)
18 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming collections of easy pieces in first position. Each Cello part is supported by a Piano accompaniment for student performances. Alternately a second Cello part allows duo playing with the teacher during lessons. This early introduction to chamber music brings joy and satisfaction to the young cellist and teaches the student to hear the music as a whole. The two volumes are designed as companion publications to the Early Start on the Cello method. However they work equally well as a supplement to any other Cello method. A variety of rarely published works by well-known cellists and pedagogues such as Wilhelm Fitzenhagen HugoSchlemüller and August Nölck make these publications attractive to teachers and students. The Cello Recital Album Volume 1 can be used as a supplement to the Early Start on the Cello method Volumes 1 and 2 (BA 8996 and BA 8997). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound. The Cello Recital Album Volume 2 can be used as a supplement to the Early Start on the Cello method Volumes 2 and 3 (BA 8997 and BA 8998). The 12 pieces in Volume 2 are structured to follow the same progression of finger patterns introduced in the Early Start method Volumes 2 and 3. The later repertoire in this volume includes a careful introduction of downward and upward extensions.
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Applebaum Samuel - Beautiful Music Book 1 - Cello
2 Cellos (duet)
Alfred Publishing
The study of string instruments should include ensemble playing at the earliest ...
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The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.
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Applebaum Samuel - Beautiful Music Book 3 - Cello
2 Cellos (duet)
Alfred Publishing
The study of string instruments should include ensemble playing at the earliest ...
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The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.
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Applebaum Samuel - Beautiful Music Book 2 - Cello
2 Cellos (duet)
Alfred Publishing
The study of string instruments should include ensemble playing at the earliest ...
(+)
The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.
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Brian Wicklund Faith Farr: The American Fiddle Method Volume 1 - Cello: Cello:
Cello
Mel Bay
This companion to Mel Bay's popular American Fiddle Method opens up the world of...
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This companion to Mel Bay's popular American Fiddle Method opens up the world of fiddling to cellists at a beginner-intermediate level. Unlike many books for Violas and Cellos which simply transpose thetunes the authors of this method Brian Wicklund and Faith Farr have gone to considerable effort arranging the tunes to be both playable and true to the original melody and key. Variations to the tunes areincluded illustrating how they can serve as a basis for improvisation. Finally fiddlers violists and cellists can jam together! In this book ensemble skills are taught with chords and lyrics basic music theory anddemonstrations of such skills as backup and lead playing. This playfully-illustrated book also includes access to high quality multi-instrumental online audio recordings for listening and play-along.
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Simon Holt: Piano Trio - Los Ojos: Chamber Ensemble: Score and Parts
Piano Trio: piano, violin, cello
Chester
Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cell...
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Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cello.Piano Trio: Los Ojos was first performed on 25th November 2013 in the Amaryllis Fleming ConcertHall at the Royal College of Music London by Johannes Marm?n (Violin) Zo? Saubat (Cello) and Gwenaelle Rouger (Piano).I finished writing Piano trio: Los Ojos in early May 2007. It is approximately13 minutes long and has a three-movement structure of essentially two slow movements separated by a central fast section. The final slow movement is a variation of the opening movement ending with a ?toy? defined by ThomasMace(a contemporary of William Lawes) in his 1676 book Musicke?s Monument as ?a light-Squibbish Thing only fit for Fantastical and Easie-Light-Headed People; and are of any sort of Time?.The Machado poem behindthe piece Los Ojos (the eyes) is about a widower who has locked himself away but after a year begins to wonder about the colour of his beloved?s eyes. He is horrified that he can?t remember. One spring day he leaves the houseand just happens to glimpse a flash of eyes through a window and instantly recalls the colour; ??Como esos!?; ?Like those!?. The three movements have the titles: 1] su memoria y el espejo ?his memory and the mirror?; 2] ?Comoeran? ?How were they??; and 3] ?Como esos! ?Like those!?. - Simon Holt
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Chanson de matin: String Quartet
String Quartet: 2 violins, viola, cello
Schott
8 Twentieth-Century Pieces-Having touched on the romantic era in 'To a Wild Rose...
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8 Twentieth-Century Pieces-Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik' Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of thesearrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.
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Chanson de nuit: String Quartet
String Quartet: 2 violins, viola, cello
Schott
8 Twentieth-Century Pieces-Having touched on the romantic era in 'To a Wild Rose...
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8 Twentieth-Century Pieces-Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik' Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of thesearrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.
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101 Hit Songs: Cello Solo: Instrumental Album
Cello
[Sheet music]
Hal Leonard
This massive collection will keep instrumentalists busy with 101 pop hits to lea...
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This massive collection will keep instrumentalists busy with 101 pop hits to learn and play! Songs include All About That Bass All of Me Brave Breakaway Call Me Maybe Clocks Fields of Gold Firework Hello Hey Soul Sister Ho Hey I Gotta Feeling I Will Remember You Jar of Hearts Love Story 100 Years Roar Rolling in the Deep Royals Say Something Shake It Off Smells like Teen Spirit Uptown Funk When You Say Nothing at All and more.
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Orchestra
Peters
Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edi...
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Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.'
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Piano
Peters
Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Redisc...
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Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Rediscovered. In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.?
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Concerto no (AHO KALEVI)
Cello, Piano
Fennica Gehrman
Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2...
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Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement. Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra. This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample”. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl)2-2200-bar-02-str and the orchestral material is available for hire from the publisher. / Date parution : 2022-05-31/ Répertoire / Violoncelle et Piano
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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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Passings (LIEBMAN DAVID)
Advance Music
Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAV...
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Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAVID. It is natural as we age to contemplate the finality of passing on, if not personally, then certainly as an effect from others around you whom have left this space. Having to endure the passing of family and friends is of course very trying. This is especially true when the perception is that someone 'passed before their time” though there are those of us who believe in fate implying that the Force works in its own mysterious way. In some ways I can subscribe to that concept, but for me when someone passes early, say in their fifth or sixth decade of life, it is 'before their time.” Composers often commemorate passings with music as a means to mourn and as well to celebrate the life of an individual who meant something to them. Such is the nature of this piece. Movement 1 - Past uses as source material themes I wrote for my mother Frances and father Leo when they passed - movement 2 - Present centers around a choral ('Prayer for Mike”) I wrote for my dear friend, saxophonist Michael Brecker when he passed a few years ago. This same period also saw the passing of other friends and associates whom I had known for years, all way too premature, beginning with JF Jenny Clarke and Bob Berg, Hans Gruber, Thomas Stowsand, David Baker, James Williams, Dennis Irwin, John Stubblefield. The final movement - Future is a requiem of sorts for all of us still here. With its improvisational character, it is meant to suggest the positive implications of living life to its fullest./ Recueil / Hautbois, Saxophone Soprano, Alto et Violoncelle
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String Quartet No. 4 (LERDAHL FRED)
String Quartet: 2 violins, viola, cello
[Score and Parts]
Schott
Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissione...
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Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes
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Jazz Blues Favorites: Cello Solo: Instrumental Album
Cello
[Sheet music + Audio access]
-
Intermediate
Hal Leonard
Instrumental Play-Along-Solo arrangements of a dozen jazz blues tunes are featur...
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Instrumental Play-Along-Solo arrangements of a dozen jazz blues tunes are featured in this collection for beginning to intermediate instrumentalists.It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound and so you can sound great while playing along with the backing tracks!Songs include Basin Street Blues C-Jam Blues Freddie Freeloader Night Train One for Daddy-O The Swingin' Shepherd Blues Tenor Madness and more.The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK a multi-functional audio player thatallows you to slow down audio without changing pitch set loop points change keys and pan left or right.
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Resolutio Op. 74 (AMANTI LUCIO)
String Quartet: 2 violins, viola, cello
[Score and Parts]
-
Advanced
Schott
Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals ...
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Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle
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Cello Recital Album Volume 2: Cello: Instrumental Album
Cello, Piano
-
Easy
Barenreiter
12 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming co...
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12 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming collections of easy pieces in first position. Each Cello part is supported by a Piano accompaniment for student performances. Alternately a second Cello part allows duo playing with the teacher during lessons. This early introduction to chamber music brings joy and satisfaction to the young cellist and teaches the student to hear the music as a whole. The two volumes are designed as companion publications to the Early Start on the Cello method. However they work equally well as a supplement to any other Cello method. A variety of rarely published works by well-known cellists and pedagogues such as Wilhelm Fitzenhagen HugoSchlemüller and August Nölck make these publications attractive to teachers and students. The Cello Recital Album Volume 1 can be used as a supplement to the Early Start on the Cello method Volumes 1 and 2 (BA 8996 and BA 8997). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound. The Cello Recital Album Volume 2 can be used as a supplement to the Early Start on the Cello method Volumes 2 and 3 (BA 8997 and BA 8998). The 12 pieces in Volume 2 are structured to follow the same progression of finger patterns introduced in the Early Start method Volumes 2 and 3. The later repertoire in this volume includes a careful introduction of downward and upward extensions.
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Simple Songs: Cello Solo: Instrumental Album
Cello
[Sheet music + Audio access]
-
Easy
Hal Leonard
Instrumental Play-Along-Solo arrangements of 14 well-known melodies are featured...
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Instrumental Play-Along-Solo arrangements of 14 well-known melodies are featured in this collection for beginning instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound and so you can sound great while playing along with the backing tracks! Songs include: All of Me ? Evermore ? Hallelujah ? Happy ? I Gotta Feeling ? I'm Yours ? Lava ? Rolling in the Deep ? Viva la Vida ? You Raise Me Up and more. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK amulti-functional audio player that allows you to slow down audio without changing pitch set loop points change keys and pan left or right.
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Camille Saint-Saëns: Romances - Horn And Piano: Cello: Instrumental Work
Cello, Piano
G. Henle
Version for Violoncello-Camille Saint-Saëns composed his two Romances for Horn ...
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Version for Violoncello-Camille Saint-Saëns composed his two Romances for Horn for two of the most respected French horn players of the time: Opus 67 in E major from 1866 is dedicated to Henri Chaussier; Opus 36 in F major from 1874 waswritten for Henri Garigue. Despite the illustrious recipients they are not virtuosic showpieces but as the term Romance suggests short ?Songs without words?. Alongside the orchestral version Saint-Saëns also prepareda piano accompaniment for chamber music performances. The first editions even also had an alternative part for Violoncello on which?this edition is based.
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The Beatles - Instrumental Play-Along: Cello Solo: Artist Songbook
Cello
[Sheet music + Audio access]
-
Intermediate
Hal Leonard
Instrumental Play-Along-15 solo arrangements of huge hits by the Lads from Liver...
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Instrumental Play-Along-15 solo arrangements of huge hits by the Lads from Liverpool are included in this collection perfect for budding instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound. Songs include: All You Need Is Love Blackbird Day Tripper Eleanor Rigby Get Back Here There and Everywhere Hey Jude I Will Let It Be Lucy in the Sky with Diamonds Ob-La-Di Ob-La-Da Penny Lane Something Ticket to Ride Yesterday.
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Quartetstart Level 2 (COHEN MARY / SPEARING ROBERT)
String Trio: violin, viola, cello
[Sheet music]
Faber Music Limited
Par COHEN MARY / SPEARING ROBERT. Masterful duo Mary Cohen and Robert Spearing t...
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Par COHEN MARY / SPEARING ROBERT. Masterful duo Mary Cohen and Robert Spearing team up once again in this wonderful collection of original pieces for established beginner string quartet. Quartetstart Level 2 is full of stimulating and enjoyable repertoire which has been carefully devised for string players of around ABRSM Grade 2?3. Building on the skills and ideas first introduced in Quartetstart Level 1, this truly original collection explores a wide range of musical styles as well as many interesting string effects (including simple harmonics, collegno, pizzicato and tremolo). Containing invaluable rehearsal tips throughout, these imaginative pieces will give string players the opportunity to discover the joys of ensemble playing right from the early stages of learning. A violin 3 alternative to the viola part is provided. / Ensemble Music, Methods
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Popular Hits - Cello: Cello Solo: Instrumental Album
Cello
[Sheet music + Audio access]
-
Easy
Hal Leonard
Instrumental Play-Along-Solo instrumentalists will love this collection of 15 of...
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Instrumental Play-Along-Solo instrumentalists will love this collection of 15 of today's hottest hits! The full-accompaniment play-along tracks feature tempo adjustment software so you can change the tempo without changing pitch.
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Two Nocturnes (DAVIES PETER MAXWELL)
Piano Quartet: piano, violin, viola, cello
[Score and Parts]
Schott
for piano quartet. Par DAVIES PETER MAXWELL. The two nocturnes were composed imm...
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for piano quartet. Par DAVIES PETER MAXWELL. The two nocturnes were composed immediately after major surgery, against a deadline, and, despite the music sounding unlike anything I have written before, I decided to keep them exactly as they turned out. 2010 is a Chopin year, and I made this pair of nocturnes into a little tribute, after playing through and listening to most of his output. Never before had I composed under these drugged conditions – the musical dimensions were enormously exaggerated, with each interval and each phrase being elongated out of all proportion, and the whole few minutes filling the whole of time and space. The orchestration, for piano quartet, was influenced by the very neo-classical feel of the chamber version of the concertos, and the harmonic language very much the result of pondering Chopin’s very individual take on J.S Bach. They are dedicated to James MacMillan and Amelia Freedman respectively. Sir Peter Maxwell Davies (2010)/ Répertoire / Piano, Violon, Alto et Violoncelle
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Bernhard Cossmann: Violoncello Studien: Cello
Cello
[Sheet music]
Schott
The Violoncello Studies by Bernhard Cossmann (1822-1910) provide specific exerci...
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The Violoncello Studies by Bernhard Cossmann (1822-1910) provide specific exercises for the development of the left hand such as double stop trill studies finger dexterity exercises chord scale and thumb position studies which intensively include the use of the fourth finger in particular. This is what gives these studies their special value and make them indispensable to the training as a cellist. They are aimed at the advanced pupil and student but also at the professionally trained cellist who wants to improve and maintain the dexterity and velocity of the left-hand fingers by means of short exercises.
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Christine Watts: Cello Method (Revised And Expanded): Cello: Instrumental Tutor
Cello
Mel Bay
A wonderful new edition of our Cello Method book which teaches the beginning cel...
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A wonderful new edition of our Cello Method book which teaches the beginning cello student everything they need to know. The book starts with Seating and Bow Hold then covers all the details of the Language of Music reading writing and playing. Cello Method follows with Extensive Bowing Exercises and Stretch Position with Thorough Instruction and Material all the way through Shifting to 4th Position. Enchanting New Songs and OldClassics follow and are mixed with Detailed Explanations and Many Bowing Exercises to Create a Beautiful Sound with the Bow. Cello Method has three different levels of bow instruction with bowing variations exclusive to thismethod book only.
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Heroes Among Us (FAGAN GARY)
String Orchestra
[Score and Parts]
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Easy
Alfred Publishing
Par FAGAN GARY. Heroes Among Us by Gary Fagan is an original overture-style work...
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Par FAGAN GARY. Heroes Among Us by Gary Fagan is an original overture-style work for string orchestra that was inspired by the many people who worked tirelessly behind the scenes to make sure many school children who could not go to school received at least two hot meals each day throughout the COVID-19 pandemic. School bus drivers and cafeteria workers put in long hours to prepare meals and deliver them to students who otherwise may have gone hungry during the week. While teachers, nurses, doctors, etc. received accolades during the months when schools were out of session, many adults stepped in to take care of other necessities to ensure the well-being of the students they served. (3:30) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes
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An die Musik: String Quartet: Score and Parts
String Quartet: 2 violins, viola, cello
[Sheet music]
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Intermediate/advanced
Schott
9 Classical Pieces-Thoughtful arrangements of well-known classical pieces by Moz...
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9 Classical Pieces-Thoughtful arrangements of well-known classical pieces by Mozart Haydn Beethoven Schubert and Paradies. This collection providesa perfect introduction to classical music and to string quartetplaying.The Schott String Quartet SeriesWith the first books in the series focusing on baroque classical and romantic styles The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer' which features original compositions each book contains original arrangements of well known themes which have often never been arranged for string quartet before. An important characteristic of thesearrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance.
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