Aus Den 44 Duos Für Zwei Violinen. Par BARTOK BELA. 44 Duos' by Béla Bartók - the complete collection available for the first time in one edition for two celli. The '44 Duos' by Béla Bartók were written in 1931 and were originally included in a tutor for the violin, written by the teacher Erich Doflein (1900-1977). Since then they have become an indispensable key to the understanding of twentieth century music. Until now a version for two celli was limited to 18 selected duos. The present edition for two celli is the first to include them all. The arrangements are based either on the possibility of a downwards transposition by an octave, or, where the original makes use of the violin's open E string, downwards by a twelfth. • Introduction to Béla Bartók‘s musical world and to the most important elements of the folk music of Hungary and the neigbouring regions • All of the Duos are available for the first time in one edition arranged for two celli by Hans Erik Deckert • Provides aspiring cellists the chance to experience the musical partnership required by chamber music/ Répertoire / 2 Violoncelles

23 Favorites - Easy Instrumental Duets. Par BEATLES THE. Cette collection contient 23 morceaux favoris, arrangés pour duos faciles et extraits de Fab Four : All You Need Is Love, Eleanor Rigby, Here Comes the Sun, Hey Jude, I Want to Hold Your Hand, Penny Lane, Something, Yellow Submarine, Yesterday, et bien d'autres encore. Les arrangements pour deux mêmes instruments peuvent également être utilisés avec les autres chansons de cette collection adaptées à leur famille d'instruments./ Recueil / 2 Violoncelles

Par CLARKE GENE. Hymns Made Easy for Cello is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes cello parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Viola. Hymns Made Easy for Cello is a collection of favorite traditional hymns with guitar accompaniment, suitable for church, teaching or recreational settings. The material includes cello parts and bowing indications in first position, with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Viola. / Niveau : Facile / Musique religieuse / Date parution : 2019-05-27/ Recueil / Violoncelle

A practice guide for the modern cellist. Par SHERRY FRED. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.Fred Sherry has introduced audiences on five continents and all fifty UnitedStates to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and 'sideman' on hundreds of commercial and esoteric recordings: his discography ranges from Schütz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio. Fred Sherry has introduced audiences on fivecontinents and all fifty United States to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and and lsquo - sideman and rsquo - on hundreds of commercial and esoteric recordings - his discography ranges from Sch and uuml - tz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. / Pédagogie / Etude / Violoncelle

Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano

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

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

Par FEASTER HALLEY. New cello students nearly always start in first position aided by finger tapes or guides for accurate finger placement. As they advance, they are expected to learn to shift out of first position, but the focus is on the movement of the shift rather than on note locations or pitch accuracy.In this book, author and versatile cellist Halley Feaster introduces a step-by-step approach to understanding each position, leading to thorough comprehension of the cello fingerboard and a more confident and well-rounded player.Together with its engaging video component, Cello Position Handbook shows advanced beginners and intermediate students what notes are available in each of 12 positions. Short exercises and excerpts are provided for practice in each location, ultimately enabling fluid performance without excessive shifting.On completion of this volume, students will be familiar with what notes are available in each position and be able to move comfortably between them while expanding their repertoires. Includes access to online video. / Date parution : 2022-06-08/ Etude / Violoncelle

Have Fun Playing The Cello. Par KOEPPEN GABRIEL. The Koeppen Cello Method consists of 3 progressive method books, each with a supplementary tune book, and lays the foundation for a solid technical and musical training. Structured in an easy and understandable way and full of fun rhythmic exercises and popular styles, it is aimed at young people and adults. All books are accompanied by a CD which will help motivate and inspire. / Méthode / Recueil / 3 Violoncelles et Piano ad lib

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 . / Violoncelle

Par RESPIGHI OTTORINO. All the shrouded mystery and resplendent grandeur of the fourth movement of Respighi's masterpiece, Pines of Rome, has been effectively captured in this brilliant arrangement by Douglas E. Wagner for string orchestra and timpani (required). The symphonic poem, 'The Pines of the Appian Way' is one of Respighi's most frequently performed and recorded works and stands as the most popular of all three of his Rome-inspired suites. (4:50) This title is available in SmartMusic. / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

Par MILLER DONALD. These books are arranged to be performed with various combinations of instruments. This volume presents some of the most beloved repertoire for the Christmas season. Some works are well known, others will sound fresh and new to most players. The pieces may be 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 should not be used. The string ensemble series meets all standards for ASTA (American String Teachers Association) and Suzuki Association of the Americas, Inc. If performed with full orchestra, no solo parts should be played except the 1st violin part. Note also, if you wish to perform these works with full orchestra and you are short certain instruments, you still have some flexibility with the score. For example, if there are not enough violas for balance, the viola (harmony part) and 3rd violin part are identical. The part may be played with all 3rd violins or equally divided between 3rd violins and violas. / Niveau : Débutant / Christmas - Ensemble / Recueil / Violoncelle, Basse et Accompagnement Piano

Have fun playing the Cello. Par KOEPPEN GABRIEL. The second lesson book in the trailblazing new Koeppen Cello Method, putting the emphasis on having fun with your cello! Taking a playful and effective approach to learning the cello, the Koeppen Cello Method breaks new ground, sprucing up the usual Baroque and Classical repertoire by adding pieces in popular styles: rock, bossa nova, reggae, swing and more! Exciting pieces and exercises in these styles illustrate specific musical concepts and techniques, whilst teacher-pupil duets feature throughout, encouraging strong ensemble skills right from the get-go. Structured in an easy and understandable way, the Koeppen Cello Method lays the foundation for a solid technical and musical training. There is a core Lesson Book and a supplementary Tune Book at each level. All books are accompanied by a CD which will help motivate and inspire. For players from around the age of 10 right up to adult learners. / Méthode / Méthode / Violoncelle

Par FRANCES-HOAD CHERYL. Commissioned by Fenella Humphreys with funding from The Marchus Trust First performed by Fenella Humphreys (violin), Ben Griffiths (double bass), Murray Grainger (accordion) and George Barton (percussion) at the Chiltern Arts Festival in September 2020. / Date parution : 2022-09-07/ Répertoire / Violon, Contrebasse, Accordéon et Percussion