PARTITIONS GRATUITES : VIOLONCELLE
- Beau Black

For Cello, Piano Accompaniment. Romantic, Classical. Sheet Music. 84 pages. Published by Chester Music.

For Cello. By Various. Instrumental Folio. Pop, Standards. Softcover. 122 pages. Published by Hal Leonard

Chamber Music Cello, Piano

SKU: PR.114418630

Composed by Stacy Garrop. Set of Score and Parts. With Standard notation. 24+8 pages. Duration 13 minutes. Theodore Presser Company #114-41863. Published by Theodore Presser Company (PR.114418630).

ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.

The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fatale”), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.
In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black film”). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fatale”), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.

String Quartet (2vl,va,vc)

SKU: BR.EB-9244

Set of Parts. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. World premiere of the original version: London, May 10, 2016World premiere of the string orchestra version: Clermont-Ferrand, October 8, 2020. New music (post-2000). Set of parts. Composed 2016/2020. 92 pages. Duration 19'. Breitkopf and Haertel #EB 9244. Published by Breitkopf and Haertel (BR.EB-9244).

ISBN 9790004185445. 9 x 12 inches.

It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)

World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.

String Quartet (2vl,va,vc)

SKU: BR.EB-9243

Full Score. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. World premiere of the original version: London, May 10, 2016World premiere of the string orchestra version: Clermont-Ferrand, October 8, 2020. New music (post-2000). Full score. Composed 2016/2020. 40 pages. Duration 19'. Breitkopf and Haertel #EB 9243. Published by Breitkopf and Haertel (BR.EB-9243).

ISBN 9790004185438. 9 x 12 inches.

It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)

World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020.

Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Ragtime. Tune book. Standard Notation. 72 pages

by Christine Watts. For cello. Non-Series. All styles, method. Level: Beginning. Book. Method. Size 8.75x11.75. 96 pages. Published by Mel Bay Pub., Inc.