SKU: CF.BF129
ISBN 9781491153321. UPC: 680160910823.
Cello Power is a series of books designed to be used to expand the cello student’s facilityand knowledge of the instrument. The books are structured to focus on the advancedmaterials that appear in our cello literature. Most important are the exercises and myfurther recommendations on how to work on them. The process is first to digest thefundamental of each and thereby to enable one to build a solid technique in preparationfor the difficult passagework ahead. An example are the double-stop excerpts, which arebroken down into two-string bow patterns to aid in intonation and to clarify the spacingfor the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack of materials covering, ina progressive order, the transition from the introduction of the thumb position into astudent’s studies and the work on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, then there are the ensuingrepertoire demands of the concertos of Dvořák and Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique and facility in the lower areaof the cello. This includes material to help make the fifth, sixth and seventh positions lessawkward for the student. The goal is to aid in the ability of the student to become moreable to apply this technical comfort to the attainment of a more nuanced and emotionallyfulfilling musical performance on the cello.Cello Power is a series of five books designed to be used to expandthe cello student’s facility and knowledge of the instrument. Thebooks are structured to focus on the advanced materials thatappear in our cello literature. Most important are the exercisesand my further recommendations on how to work on them. Theprocess is first to digest the fundamental of each, and therebyto enable one to build a solid technique in preparation for thedifficult passagework ahead. An example are the double-stopexcerpts, which are broken down into two-string bow patterns toaid in intonation and to clarify the spacing for the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack ofmaterials covering, in a progressive order, the transition from theintroduction of the thumb position into a student’s studies and thework on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, thenthere are the ensuing repertoire demands of concerti by Dvořák,Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique andfacility in the neck area of the cello. This includes materials to helpmake the fifth, sixth and seventh position less awkward for thestudent. The goal is to aid in the ability of the student to becomemore able to apply this technical comfort to the attainment of amore nuanced and emotionally fulfilling musical performance onthe cello.
SKU: CF.BF130
ISBN 9781491153536. UPC: 680160911035.
Cello Power is a series of books designed to be used to expand the cello student’s facilityand knowledge of the instrument. The books are structured to focus on the advancedmaterials that appear in our cello literature. Most important are the exercises and myfurther recommendations on how to work on them. The process is first to digest thefundamental of each and thereby to enable one to build a solid technique in preparationfor the difficult passagework ahead. An example are the double-stop excerpts, which arebroken down into two-string bow patterns to aid in intonation and to clarify the spacingfor the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack of materials covering, ina progressive order, the transition from the introduction of the thumb position into astudent’s studies and the work on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, then there are the ensuingrepertoire demands of the concertos of Dvořák and Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique and facility in the lower areaof the cello. This includes material to help make the fifth, sixth and seventh positions lessawkward for the student. The goal is to aid in the ability of the student to become moreable to apply this technical comfort to the attainment of a more nuanced and emotionallyfulfilling musical performance on the cello.Cello Power is a series of five books designed to be used to expandthe cello student’s facility and knowledge of the instrument. Thebooks are structured to focus on the advanced materials thatappear in our cello literature. Most important are the exercisesand my further recommendations on how to work on them. Theprocess is first to digest the fundamental of each, and therebyto enable one to build a solid technique in preparation for thedifficult passagework ahead. An example are the double-stopexcerpts, which are broken down into two-string bow patterns toaid in intonation and to clarify the spacing for the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack ofmaterials covering, in a progressive order, the transition from theintroduction of the thumb position into a student’s studies and thework on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, thenthere are the ensuing repertoire demands of concerti by Dvořák,Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique andfacility in the lower area of the cello. This includes materials to helpmake the fifth, sixth and seventh position less awkward for thestudent. The goal is to aid in the ability of the student to becomemore able to apply this technical comfort to the attainment of amore nuanced and emotionally fulfilling musical performance onthe cello.
SKU: BA.BA10936
ISBN 9790006567287. 31 x 24.3 cm inches. Preface: Walden, Valerie.
Robert Lindley (1776–1855) was the premier cellist in England for more than 50 years. In 1822 he became the first professor of cello at the Royal Academy of Music in London, where he remained until his retirement in 1851. Lindley, an esteemed and much sought-after teacher, wrote not only the present “Capriccios†but also a cello method, several concertos, and chamber music in which the cello is prominently featured.The “Capriccios and Exercises†contain a multitude of fingering patterns in related major and minor harmonies, exercises for the thumb position and many passages of double stops, all within a melodious framework. Barenreiter’s scholarly performing edition is edited by Valerie Walden, offering cellists and teachers outstanding new material for use in lessons.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CF.YAS171
ISBN 9781491146514. UPC: 680160904013. 9 x 12 inches. Key: G major.
Dream Engine has all of the compositional thumb prints that have made the music of Larry Clark so popular for string orchestras. It is a concert overture in classic ABA form. The opening section has a tuneful melody over spiccato accompaniments that weaves throughout the ensemble. The middle B section is slow, lyrical, lush, and beautiful as a contrast to the lighter A section. Another piece from Larry Clark to showcase your ensemble at contest/festival.One of the types of pieces I like to write for orchestra are pieces that use a contrast between staccato playing and more marcato melodic material. Dream Engine is the result. The piece is set in a concert overture form with two fast sections based on the same theme and a slow lyrical second section in the middle.The piece begins right off with a short introduction of the spiccato accompaniment figures before it leads to the first statement of the main theme. Quarter notes in the main theme should be played full bow in contrast to the lilting staccato eighth notes. The bass line should be long as well. After a full ensemble statement of the theme, the piece moves to a bridge theme that is sort of an inversion of the main theme and is taken up by the cello; then the viola is added on a harmony part to the melody. Transition material is presented next that is used throughout the piece to connect all of the sections of the piece together. The main theme returns once more before the piece transitions into the slow and lyrical B-section. The B-section should be lush and as legato as possible to be in complete contrast to the A-section. This will be an excellent chance to work on the players’ expressive playing. Make sure to have a lot of rubato and generous rises and falls to the lines to make it as musical aspossible.At the completion of the B-section, the A-material returns with different orchestration for variety. This is followed by the transition material that leads to an aggressive coda that includes a brief quote from the B-section material. If you so chose, a slight increase in the tempo at the coda is acceptable to add to excitement of the ending.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2017.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
