Cello Globetrotters brings together toe-tapping original tunes in styles from around the world - from Arabic to Chinese and from klezmer to the Argentinian tango - for the budding cellist. This unique book presents a kaleidoscope of musical traditions with supporting background information and backing tracks that capture each sound-world.To help with technique and interpretation every piece includes tailored warm-ups and stylistic tips from the author. With options for cello or piano accompaniment and an inspirational CD  Cello Globetrotters is the ultimate resource for aspiring cellists looking to go travellin'... 12 fun pieces in styles from around the world Suitable for young cellists everywhere (3+ years' playing experience/grades 2-4) Range of styles including bossa nova klezmer blues Cajun Greek and West African Fascinating background information and tailored warm-ups for every piece Includes cello accompaniments for a teacher or more experienced pupil and piano accompaniments with guitar chords CD with performances and backings for every piece recorded by renowned world-music performers Ros StephenRos Stephen is a violinist and composer based in Bristol. She is a founder member of the UK's leading tango ensemble  Tango Siempre with whom she has toured internationally and recorded several albums and she leads the Sigamos String Quartet. Ros is also a committed string teacher and enjoys working with students of all ages and experience. Her first book in the Globetrotters series  Violin Globetrotters was published in 2010 to popular and critical acclaim.

Inspired by Boulez's multi-cello piece 'Messagesquisse? and John Scofield's inspired funk number 'Protocol?, 'Shift, Trip? is an unrelenting moto perpetuo for amplified cello and pre-recorded guitars, brass and percussion. Although choreographed early on the piece is designed to stand alone. It demands virtuosity and great stamina from the performer over a five and a half octave range and requires exact synchronisation with the recorded backing track whose shifting rhythmic patterns trip up in unpredictable ways, as the title implies. I'm indebted to Lester Barnes for guiding me through his vast guitar, brass and explosion effects sample library, mixing the results, and to percussionist Julian Warburton for hitting a lot of metal in interesting ways. Zoë Martlew 2014 / Violoncelle

Cello Play-Along Volume 6-The Cello Play-Along series will help you to play your favourite songs quickly and easily on the Cello. This volume features all 11 pieces from The Piano Guys' album Uncharted - simply follow the printed sheet music and then play along using the original backing tracks. The Piano Guys' sixth studio album Uncharted reached number 1 in the US classical charts following its release in 2016. The album contains Themes from Pirates Of The Caribbean Can't Stop The Feeling from the DreamWorks Animation film Trolls and an inspired blend of Adele's Hello and Mozart'sLacrimosa amongst eight other beautiful melodies. Available online for download or streaming the backing tracks included with this book feature audio recorded by The Piano Guys. Watch the official music video for The Piano Guys' Hello/Lacrimosa:

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

Sonata in G Minor for Solo Cello was written in 1924 and scored in four movements: Quasi a Piacere Cantabile Sostenuto Recitativo Liberamente Allegro Con Moto Perpetuo. Apparently inspired bythe seminal Kodaly Sonata for the same instrument it is a challenging piece suitable for any aspiring virtuoso performer. Sir Granville Bantock (1868-1946) was a British composer conductor and educator. Hechannelled his energetic and creative personality into many musical projects championing the works of Jean Sibelius founding the City of Birmingham Symphony Orchestra and composing many splendid classical pieces. Viewed by hiscontemporaries as out-of-date his music is now being appreciated as one of the last great contributions from the English Romantic movement.

part II of the cycle Profiles of Light. Par PINTSCHER MATTHIAS. 'Now II” is the second part of a triptych of chamber pieces entitled 'Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013). All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities. This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'. / Niveau : 5 / Répertoire / Violoncelle

Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy nostalgic a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book at its simplest is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for allits musical material to become distorted either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning' a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific this change of heart doesn't really matter.© David Blake

Instrumental Play-Along-In Disney's CG-animated film Moana the eponymous teenage heroine is inspired to leave the safety and security of her island and embark on a daring journey to save her people ? with a little help from the demigod Maui. The film features original songs written by Lin-Manuel Miranda (Hamilton) Opetaia Foa'i and Mark Mancina. This volume in the Hal Leonard Instrumental Play-Along series contains seven pieces from the film arranged for solo Cello. Backing tracks are included to download so you can sound like a pro! Hal Leonard Instrumental Play-Along: Moana features the songs: How Far I'll Go I Am Moana(Song of the Ancestors) Know Who You Are Shiny We Know the Way Where You Are and You're Welcome. This book includes Playback a multi-functional audio player that allows you to slow down audio without changing pitch set loop points change keys and pan left or right - available exclusively from Hal Leonard.

16 Wonderful pieces for cello-Magical Colours rassemble seize pièces colorées venant de styles et d?horizons musicaux différents.Ces pièces parfaitement adaptées aux sonorités de votre instrument permettent d?aborder la musique klezmer le blues la musique des Balkans le folk le rock et la house musique. Pour interpréter ces oeuvres il faut avoir une certaine expérience du jeu. Laissez-vous inspirer par les atmosphères évocatrices des enregistrements en direct !

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.

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

Par BOULEZ PIERRE. Pierre Boulez wrote two pieces for solo violin, called “Anthèmes” I and II. This is the first and shorter of the pair and was composed in 1991 for the Yehudi Menuhin Violin Competition. Taking inspiration from childhood memories of Catholic church services, Boulez created a piece of two distinct sonic worlds, in seven short parts, ending with a “col legno battuto”, characteristic of Boulez’s witty humour. This arrangement is a direct transposition for cello of the original violin piece. It is not known who produced it but it is known that Boulez heard this version and approved of it./ Répertoire / Violoncelle

Description An exciting collection of classical tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There are simple piano accompaniments and the CD contains inspiring demonstration and play-along backing tracks. Songlist 1st Movement - Rondo (Piano Concerto No.4) [Beethoven, Ludwig Van] Andante (Symphony No.94 'The Surprise') [Haydn, Franz Joseph] Ave Maria [Bach, Johann Sebastian] [Gounod, Charles] Finale (Symphony No.1) [Brahms. Johannes] Gymnopedie No.1 [Satie, Erik] Hallelujah Chorus (Messiah) [Handel, George Frideric] Minuet (Anna Magdalena Notebook) [Bach, Johann Sebastian] Minuet (Eine Kleine Nachtmusik) [Mozart, Wolfgang Amadeus] Ode To Joy (Symphony No.9 'Choral') [Beethoven, Ludwig Van] Pieds-en-l'air (Capriol Suite) [Warlock, Peter] To A Wild Rose (Woodland Sketches Op.51) [Macdowell, Edward] Trumpet Tune [Purcell, Henry]

A great collection of folk songs arranged for cellists of Grade 2 to 3 standard to enjoy. There are simple piano accompaniments and the accompanying CD contains inspiring demonstration and play-along backing tracks. Arranged by David Gedge.