ISBN 9781513455914. 8.75x11.75 inches.

Fiddling cellist, Renata Bratt, presents breakdowns, rags, waltzes, reels, songs, and stomps. American fiddle music is fun for cellists at all levels. Arranged from easy to intermediate, this book contains Appalachian dance tunes, Texas-style contest tunes, old-time, and bluegrass music with an authentic cello accompaniment for each tune. From first position with simple rhythms through fifth position with syncopated rhythms, learn or reinforce left-hand technique with extensions, shifting, and fast passage work. For the right-hand, fiddle tunes use string crossing, rhythmic bowing patterns and an ever-changing use of slurs and accents to create compelling rhythms. Join in with fiddle-style players, learn new styles and enhance your playing. Includes access to online audio.

Song Of The Liberty Bell (for unaccompanied cello) MO132

Cello Solo

Music by Mark O?Connor

2 pages - 3:00 minutes in length



Song Of The Liberty Bell for unaccompanied cello was composed by Mark O?Connor and used as the theme song for the critically acclaimed PBS documentary, ?Liberty! The American Revolution?. O?Connor wrote the piece to include three different instrument groupings - unaccompanied solo, folk ensemble, and string orchestra. The Sony Classical album ?Liberty!? features ?Song Of The Liberty Bell? in all three arrangements with Yo-Yo Ma as the guest cellist on the recording. Album notes author Thomas Fleming calls the music ?profoundly moving? with ?exquisite melody?. The music is suited for all levels.



Original music printed from the composer?s manuscripts.

Music editing, copying and engraving by Mark O?Connor

using ?Finale? on Apple Macintosh 1996



Composed by Mark O?Connor

The string orchestra version can be heard on ?Liberty!? Sony Classical

Mark O?Connor - violin, Yo-Yo Ma ? cello, and the Nashville Symphony Orchestra



Catalogue Number MO132

Copyright © 1996 by Mark O?Connor Music International

Poem For Carlita (for unaccompanied cello) MO150

Cello Solo

Music by Mark O?Connor

5 pages - 7:30 minutes in length

Appalachia Waltz for unaccompanied cello by Mark O?Connor

Cello Solo

Music by Mark O?Connor

3 pages - 4:20 minutes in length

If you enjoyed Volume 1, you'll love Volume 2. Here are 10 more great pieces arranged for pure solo cello - no piano required! This collection has more than 30 minutes of classical and patriotic songs ideally suited for formal recitals, wedding celebrations, and background music gigs.

These are not just lame copies of the melody line; they are all fully worked out arrangements designed to be as rich as possible and to highlight the cello. As a professional cellist, I originally arranged these pieces for my personal use, and I have performed every one of them in public.

These are fairly challenging pieces; I would compare their difficulty to Bach Cello Suite #2 on the easy side and Bruch Cello Concerto on the harder side. But with some practice you will have some amazing additions to your solo repertoire.

Each of the songs in this collection is also available separately, but buying the full volume saves you over 60%.

Volume 2 contains the following:
1. Bach Toccata in D Minor

2. Brahms Hungarian Dance #5
3. Bizet Carmen Medley
4. Tchaikovsky Romeo and Juliet Introduction & Love Theme
5. Tchaikovsky Symphony #5, Finale (excerpt)
6. Debussy Clair de Lune
7. Sousa Washington Post March
8. Vieuxtemp Variations on "Yankee Doodle"
9. Meacham American Patrol
10. Smith The Star-Spangled Banner

Please check out the other two volumes in this series:
Pure Cello Volume 1: Ten Concert Pieces for Unaccompanied Cello (S0.853829)
Pure Cello Volume 3: Thirty Christmas Carols for Unaccompanied Cello (S0.853851)

Arrangement for cello solo.

ISBN 9781609742294. Practice for Performance provides a rare and intimate view into a very thoughtful and successful performer's personal toolkit. Set in the context of his own personal history of growth as a performer, cellist Daniel Morganstern (principal cellist for the Lyric Opera of Chicago and the American Ballet Theatre at the Metropolitan Opera House in New York) displays rare honesty in discussing the problems that faced him at various point of his career, and the ways to solve them. The discoveries sensibly unfold in a fascinating account of experiences with many notable artists whose comments and examples shaped the author's thinking. These ideas are not to be found in any other treatise on the subject of musical preparation. The examples in this book, both musical and non-musical, offer a foundation to help evoke instinctive musical responses in the mechanical processes of playing the cello, and have been advantageously applied to other instruments as well, including voice.