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Come One, Come All, Come Follow
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Come One, Come All, Come Follow
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Cello, Piano
Sheetmusic to print
5 sheet music found
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1
Mini Concerto For Alex (Cello and Piano Arrangement)
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Cello, Piano
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INTERMEDIATE/ADVANCED
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Geraldine
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Mini Concerto For Alex
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Geraldine
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SheetMusicPlus
Cello,Piano - Level 4 - Digital Download SKU: A0.1298011 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and part. 14...
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Cello,Piano - Level 4 - Digital Download SKU: A0.1298011 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and part. 14 pages. Geraldine (Denny) Green at Oakmountmusic #887912. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1298011). ALL PURCHASES COME WITH SCORE AND PARTS1992 – The Mini Concerto For Alex, for solo cello (about grade 6 or 7) and school orchestra was commissioned in 1992 by Ibstock Place School for a talented young cellist, Alex Hunt, who was a student at the school at the time.  The Head of the school’s music department was Chris Artley, who was a marvelous support to me, throwing my way many wonderful opportunities or orchestrate for the Ibstock Place orchestra. The Mini Concerto For Alex is just one example. Chris is now a very successful composer living and working in New Zealand!Duration: approx. 10 minutes.In one movement, this piece is light in character and great fun for a school orchestra with a young, aspiring cellist.There are two Arrangements;No.1 – For Solo Cello and School Orchestra.Instrumentation as follows: 1st Flute2nd Flute1st Bflat Clarinet2nd Bflat Clarinet3rd Bflat Clarinet1st Alto Saxophone2nd Alto Saxophone1 Trumpet in Bflat2 TimpaniSide Drum(brushes and sticks)Sleigh BellsTambourineMaraccasCymbals(crash and suspended)TriangleWind ChimesGlockenspeilPianoKeyboard(strings and celesta sounds)*Solo CelloViolin 1Violin 2Violin 3ViolasCellosDoubles BassesNo.2 – For Solo Cello and PianoThere is a choice of 2 cadenzas: The first one is fairly easy and the second one is for the more advanced soloist. The one you hear below is the second, more advanced one. Both Cadenzas come with all arrangements.
$9.00
Cello - "And Can It Be?" Theme and Variations
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Cello, Piano
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INTERMEDIATE
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Sacred music
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Gospel/Spiritual
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Cello - "And Can It Be?" Theme
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Dan Cutchen Music
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SheetMusicPlus
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. A...
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Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
Renaissance Dances for Cello and Keyboard
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Cello, Piano
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EASY
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the time Michael Praetorius pu
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Various and compiled by Michae
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Colin Kirkpatrick
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2. Two Ballets
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Renaissance Dances for Cello a
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Colin Kirkpatrick Publications
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SheetMusicPlus
Cello,Piano - Level 2 - Digital Download SKU: A0.1227711 Composed by Various and compiled by Michael Praetorius (1612). Arranged by Colin Kirkpatrick. In...
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Cello,Piano - Level 2 - Digital Download SKU: A0.1227711 Composed by Various and compiled by Michael Praetorius (1612). Arranged by Colin Kirkpatrick. Instructional,Renaissance. Score and part. 17 pages. Colin Kirkpatrick Publications #823673. Published by Colin Kirkpatrick Publications (A0.1227711). Dances from Terpsichore (Michael Praetorius)These are eleven of the most well-known dances of the Renaissance, selected from the famous collection entitled Terpsichore, pubished in 1612 by Michael Praetorius. They are sure to be a welcome addition to the elementary cellist’s repertoire. Some of them can be played in first position. The highest note is the “F†above the bass clef which occurs in only two of the pieces. By the time Michael Praetorius published his dance collection, he was one of the most famous musicians in Germany. The name is pronounced “terp-SI-cory†and rhymes with the word “hickoryâ€. The original publication consisted of 312 dances in four, five and six parts. Although the dances were probably conceived for string ensemble Praetorius was well aware that in practice, they would be played by any instruments that happened to be available. These arrangements for cello and keyboard are based on the original 1612 publication. The music sounds more authentic using a harpsichord rather than a piano, or the harpsichord sound of a digital keyboard. The keyboard part may be interpreted quite freely with ornamentation added as appropriate. During the Renaissance, it was common practice to combine separate dances to create something of more substantial duration. A similar practice is used in these arrangements which are as follows: 1. Three Gavottes; 2. Two Ballets; 3. Two Bourées; 4. Two Courantes and 5. Two Voltas. The audio sample contains numbers 1, 2, 3 and 5.
$11.95
Saint-Saëns: The Swan for Cello & Piano
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Cello, Piano
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INTERMEDIATE
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Classical
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for Cel
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 3 - Digital Download SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,His...
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Cello,Piano - Level 3 - Digital Download SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic Period,Wedding. Score and part. 11 pages. Jmsgu3 #902984. Published by jmsgu3 (A0.1314243). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing. The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes. Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list. ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well. YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing. LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95
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