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voice
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INSTRUMENTS
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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
24.70 EUR - Sold by LMI-partitions
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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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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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Nelson Sheila M. - The Essential String Method Vol. 1 - Cello
Cello
Boosey and Hawkes
Instrument : cello Nombre de Pages : 28 The award-winning Essential String Meth...
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Instrument : cello Nombre de Pages : 28 The award-winning Essential String Method offers an exciting advance in the teaching of stringed instruments, integrating 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 activites 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 reinforcing aspects of the school music curriculum. Developed by leading string teachers, The Essential String Method provides a proven framework that draws on recognised concepts in good teaching practice, laying reliable foundations for future musical development. Content : 4 for doh (Nelson) - Afternoon Blues (Howard) - All Aboard (Nelson) - All in a row (Nelson) - Chocolate Treats (Nelson) - Circles (Nelson) - Cowboy Chorus (Nelson) - Half Past Three (Nelson) - Hoe Down (Fletcher) - Hot Cross Buns (Nelson) - Jackdaw (Nelson) - Lavender's Blue (Elliott) - Low D, High D (Nelson) - Marching (Nelson) - Marching Scale (Nelson) - Merrily we Roll Along (Elliott) - Nearly Asleep (Nelson) - New Waltz (Nelson) - Pease Pudding (Elliott) - Spacemen (Nelson) - Swing as you Play (Nelson) - The Grand Old Duke of York (Elliott) - Three Brave Mice (Nelson) - Twinkle Duet (Elliott) - Two a Penny (Nelson) - Waltzing Scale (Nelson)
14.20 EUR - Sold by Woodbrass
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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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Cello School Cello Part Vol.2 (SUZUKI SHINICHI)
Cello
[Sheet music]
Alfred Publishing
Par SUZUKI SHINICHI. 12 selected pieces for cello. / Niveau : Débutant à Inter...
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Par SUZUKI SHINICHI. 12 selected pieces for cello. / Niveau : Débutant à Intermédiaire / Méthode en anglais / Méthode / 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
32.70 EUR - Sold by LMI-partitions
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Play Along Popular Tunes
Cello
[Sheet music + CD]
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Easy
Bosworth
A great collection of popular tunes arranged for cellists of Grade 2 to 3 standa...
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A great collection of popular tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There is an accompanying CD which contains inspiring demonstration and play-along backing tracks to aid practice and build confidence. A simple piano accompaniment is also included. Carefully arranged for Playalong cello, by David Gedge. / Niveau : Assez Facile / Rép International / Recueil / Violoncelle
36.90 EUR - Sold by LMI-partitions
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Cello School Vol.2 Rev
Cello
[Sheet music + CD]
Alfred Publishing
/ Violoncelle
29.00 EUR - Sold by LMI-partitions
(Seller in french langage)
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