Download Digital Sheet Music of the M for Cello

the M
Cello

Cello - Level 2 - Digital Download SKU: A0.550708 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 67 pages. Jmsgu3 #4784057. Published by jmsgu3 (A0.550708). The Cello Choir Christmas BookChristmas Reharmonizations by James M. Guthrie. The Cello Choir Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your cello choir can perform the Cello Choir Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. cello 1 & 2 read from the score on one stand, while cello 3 & 4 use the parts on a separate stands. The Cello Choir Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Cello Choir Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Cello Choir Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of stringed instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lambâ€™s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00

Cello - Digital Download SKU: A0.1103919 By MÃ¡dy-SzabÃ³ Eszter. By David Warin Solomons. Baroque,Chamber,Classical,Jewish. Full Performance. Duration 258. David Warin Solomons #707203. Published by David Warin Solomons (A0.1103919). This work is based on 4 melodies by Telemann but with many additional augmented-second twists, in Jewish music style, and various decorations. The original melodies are: Herr wie lange (Lord, how long) This is a canon for two voices based on the psalm text and forms the beginning and end of the work Herr, wie lange willst du mein so gar vergessen, wie lange verbirgest du dein Antlitz vor mir! Lord, how long you forget me how long will you hide your face from me The other pieces are based on Telemann's settings for voice and keyboard of poems by his contemporary Daniel Stoppe GlÃ¼ck - (Happiness) Das glÃ¼cke kÃ¶mmt selten per posta, zu pferde es geht zu fusse, schritt vor schritt; sein eigensinn ist nicht zu zwingen; Happiness seldom comes by post or on horseback It goes on foot step by step It does not demand compulsion Jeder sein eigener Richter (Each his own judge) Ich will vor meiner thÃ¼re kehren; ich habe gnug fÃ¼r mich zu thun; ich kenne mich, ich bin kein engel; ein jeder mensch hat seine mÃ¤ngel, wer diese tilgen will, darf lebenslang nicht ruhn. I will turn from my doors I have enough for myself to do I know myself, I am no angel Every person has his faults Anyone who wishes to wipe them out Can never be at at peace all his life Wind (Wind) Wind macht aus thoren kluge leute; durch wind verdient der narr sein brodt: The wind makes fools into clever folk The fool earns his bread by the wind Performed by MÃ¡dy-SzabÃ³ Eszter of Budapest Scoring Cellos.

The Most Beautiful Songs to Play on the Cello for Mother's Day, Beginner, Vol. 1

The Most Beautiful Songs to Play on the Cello for Mother's Day, Intermediate, Vol. 1

The Most Beautiful Songs to Play on the Cello for Mother's Day, Advanced, Vol. 1

The Most Beautiful Songs to Play on the Cello for Mother's Day, Easy, Vol. 1

Super Mario Bros Theme

#Super Mario Bros Theme

The Music of M-G-M

#The Music of M-G-M

Rusalka, Op. 114 - Měsíčku na nebi hlubokém (Song to the Moon) (Easy/Intermediate Level)

Rusalka, Op. 114 - Měsíčku na nebi hlubokém (Song to the Moon) (Easy Level)

Rusalka, Op. 114 - Měsíčku na nebi hlubokém (Song to the Moon) (Very Easy Level)

Peer Gynt Suite No. 1, Opus 46 – IV. In the Hall of the Mountain King (M)

Má vlast - The Moldau (Vltava)

Má vlast - The Moldau (Vltava) (Easy/Intermediate Level)

The Mill (I Møllen)

Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.