By Robin De Smet. Fentone Instrumental Books. 40 pages. Fentone Music #F707. Published by Fentone Music .

Cello

SKU: BT.9781408114629

Composed by Maja Passchier. Abracadabra. Exam Material. Book with CD. 64 pages. Collins Music Publishing #9781408114629. Published by Collins Music Publishing (BT.9781408114629).

ISBN 9781408114629. English.

Now in a third edition, Abracadabra Cello has a fresh, contemporary new look and is the perfect book for pupil and teachers.

This title offers an identical selection of repertoire to the other booksin the Abracadabra Strings series, so they can be used in any combination for group or whole class lessons and mixed ensemble performances. Used alone, they remain ideal for individual tuition.

With tunes you know andwant to play, carefully graded in 20 learning steps, this new edition of the popular tutor also includes duets, trios and teacher's parts. Clear fingering and bowing diagrams and concise theory explanations help to teachthefundamentals of the instrument, and each new technical aspect is reinforced by several pieces using that particular technique.

Abrac adabra Cello now also includes two CDs of performance and backing tracks, featuringselected orchestral backings.

Edited by Margaret Edmondson. For 2 Violoncellos. This edition: Stapled (2). Ready to Play. Level 3. 2 Performance scores, Anthology. Text Language: German/English. 27/27 pages. Published by Baerenreiter Verlag

Short Cello Pieces by Hywel Davies. Music Sales America. Film and TV. 64 pages. Bosworth and Co. #BOE005186. Published by Bosworth and Co.

Cello and Piano. Composed by Various. Classical. Softcover. 136 pages. Published by Hal Leonard

Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

By Rock Mooney. Edited by Judi Gowe. Summy-Birchard supplementary instruments (Cello). 40 pages. Published by Alfred Publishing.

Cello and Piano. Composed by Various. Edited by Katharina Deserno, Rainer Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Ob fur Unterricht oder das erste Konzert: Die Ausgabe enthalt leichte, bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden. Alle Stucke sind auf der beiliegenden CD enthalt. Renaissance, Modern, Classical. Edition/Softcover with CD. 21705. 44 pages. Schott Music #ED21705. Published by Schott Music

Arranged by Mr. and Mrs. Cello. By Mr. and Mrs. Cello. Cello Duet. Classical. Book with Online Audio. Published by Hal Leonard

For Cello. Romantic, Baroque, Classical. Sheet Music and Audio CD. 32 pages. Published by Bosworth.

Composed by Adolphus Hailstork. For solo cello. Contemporary. Solo part. Duration 10 minutes, 30 seconds. Published by Theodore Presser Company

For Cello. By Various. Instrumental Folio. Christmas. Softcover. 96 pages. Published by Hal Leonard

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

Collection for guitar solo. With guitar tablature, guitar tab glossary and introductory text. Series: Basix. 143 pages. Published by Alfred Publishing.

Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by Hal Leonard

Over 50 Favorite Repertoire Pieces Written in Standard Notation and Tablature. Arranged by Jerry Willard. Guitar Solo. Classical. Softcover. With guitar tablature. 114 pages. Published by Hal Leonard

Easy Instrumental Duets. Composed by Various. Instrumental Duet. Softcover. 48 pages. Published by Hal Leonard

By Pat Legg. For Cello and Piano. Book; String - Cello Studies or Collection. Faber Edition

By Pat Legg. For Cello and Piano. Book; String - Cello Studies or Collection. Faber Edition. Elementary. Published by Faber Music

For Flute and Piano. Composed by Nancy Andrew. Arranged by James Galway. Southern Music. Classical. Softcover. Southern Music Company #B579. Published by Southern Music Company