Par GOODALL HOWARD. This is the cello part for The Lord is My Shepherd (Psalm 23),  available as a special print-on-demand copy. This piece is best known as the theme tune to the award-winning BBC TV series The Vicar of Dibley starring Dawn French. Goodall's setting of Psalm 23 is warm and melodious and has been, and will continue to be, popular with choirs everywhere. Alternative accompaniments for strings have been made available and complement the SATB version that can be found in the Faber Choral Signature Series (0571520480). / Choral Music, Instrumental Music / Répertoire / Violoncelle

A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: Get Back' , Good Day Sunshine , Hey Jude , World Without Love , Yesterday . Score and Parts. / Scores

Instrumental Play-Along-12 of the most enduring pop classic songs are included in this collection perfect for budding instrumentalists.Classic Pop Songs features online access to audio demonstration and great-sounding backing tracks for download or streaming to help you hear how the song should sound.Songs include Bridge over Troubled Water ? Candle in the Wind ? Dust in the Wind ? Every Breath You Take ? Fire and Rain ? Good Vibrations ? Have I Told You Lately ? Heaven ? Lean on Me ? She's Always a Woman ? Tears in Heaven and With a Little Help from My Friends.

Par GOODMAN KEITH. / Date parution : 2022-01-14/ Répertoire / Ensemble de Cordes

Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.'

Feel good surf music from the 60s...such great fun for beginning instrumentalists.

A collection of pieces that pay tribute to Gershwin's unique melodic genius which gave us such gems as Embraceable You Summertime I Got Rhythm 'S Wonderful and Lady Be Good. These and other favourites are arranged here as impressive Cello solos with Piano accompaniment. This book includes a separate Cello part.

Sheet Music Magazine says 'I'm sure that children will enjoy playing this sympathetic arrangement very much... As ever with Spartan Press the thoughtful detail in presentation encourages good rehearsal and ultimately performance. Ideal for a school concert - warmly recommended'.Scored for violin 1 violin 2 Viola (or violin 3) cello contrabass. Grade: 3 - 5

David Knotts' Coyote Star Song for Piano Trio.American Indian myth tells the story of Coyote who makes a ladder stretching from earth to sky. Five wolves climb up to have a closer look at the two grizzly bears they can see from down below. Coyote warns them not to get too close but their curiosity gets the better of them. The wolves look at the bears: the bears look at the wolves. ‘that looks good’ thinks Coyote so he leaves them there. Coyote makes pictures of stars all over the sky. - David KnottsCommission made possible by Judy Blendis.

This comprehensive technique and musicianship book provides an abundance of enjoyable repertoire and musical results-driven exercises (including scales etudes chorales classical repertoire and more) that will help yourstudents develop solid accurate technique. Establishing a strong foundation with good left and right hand technique will result in outstanding musical performances and will help open your students’ world to a vast wealth ofincredible literature. Perfect for intermediate level students in class or private studio settings.

10 Fugues For String Quartet Vol. 2-The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets' Op. 20. The spirit and influence of J.S. Bach in particular his Well Tempered Clavier Book II courses through these three miraculous Haydn fugues. Like the viol consort the string quartet suits this kind of composition (the fugue) with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations there's little fugal writing for string quartet at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire – lightness of sound and rhythmic fluidity for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces mostly fast bright and in major keys show Bach at his most playful funny and mischievous composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues written by my favourite composer - a violinist and violist himself but above all a master

Par DOTZAUER JUSTUS JOHANN FRIEDRICH. Dotzauer études have been part of the standard repertoire in cello lessons for generations. Friedrich Dotzauer (1783-1860) was among the major cellists and cello pedagogues of the 19th century and knew what makes a good étude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. 24 Caprici in tutti tuoni Op. 35 (1816) is Dotzauer's masterpiece, wonderfully showing off the varied tone colours and playing techniques of the violoncello. Demanding études for lessons and performances, with beautiful melodic and harmonic ideas, some with slow expressive introductions, some with artistic arpeggios or contrapuntal polyphony. Our new edition follows the original sources and contains the original text. / Date parution : 2022-02-15/ Etude / Violoncelle

This pupil's book provides a lively and comprehensive introduction to the very first steps of playing the cello.All the titles in the Abracadabra series work in conjunction with each other making them ideal for ensemble group and whole class tuition. Used alone they remain perfect for individual lessons. The book contains activities games and pieces that teach the fundamentals of playing the cello: good posture (with and without the instrument) bow hold finger position and pitch awareness as well as developing rhythm and notation reading. The CD also aids pitch development with performances of the pieces and backing tracks to motivate pupils topractise pieces and activities outside of their lessons. The basics are constantly reinforced and revisited with the pupils building up to 'performance pieces' that combine and showcase all of the skills they have developed.