Solo Time for Cello Book 2

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Violoncelle

Instrumental Play-Along-Solo arrangements of a dozen jazz blues tunes are featured in this collection for beginning to intermediate instrumentalists.It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound and so you can sound great while playing along with the backing tracks!Songs include Basin Street Blues C-Jam Blues Freddie Freeloader Night Train One for Daddy-O The Swingin' Shepherd Blues Tenor Madness and more.The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK a multi-functional audio player thatallows you to slow down audio without changing pitch set loop points change keys and pan left or right.

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Violoncelle

Instrumentalists will love this jam-packed collection of 101 timeless pop hits and favorite standards: The Boxer · City of Stars · Daughters · Every Breath You Take · Gabriel's Oboe · Have I Told You Lately · Just Give Me a Reason · Love Me Tender · Michelle · Never Enough · Perfect · River Flows in You · She's Always a Woman · Strangers in the Night · Three Times a Lady · What a Wonderful World · Your Song · and more.

Instrumental Play-Along-Hal Leonard Instrumental Play-Along: 12 Smash Hits (Cello) is a sheet music/CD pack jam packed with solo arrangements of 12 smash hits from recent artists such as Ed Sheeran Taylor Swift Bruno Mars and more.Read the music from the book and play along with the professionally recorded accompaniment on the CD to songs such as Skyfall Live While We're Young Some Nights and many others.

Instrumental Play-Along-14 holiday songs for solo instrumentalists in one accessible collection! The price of this book includes access to online audio demonstration and backing tracks that allow players to slow down the audio without changing pitch loop for challenging parts and more.Includes festive favourites such as Blue Christmas ? The Christmas Song (Chestnuts Roasting on an Open Fire) ? Christmas Time Is Here ? Feliz Navidad ? Happy Xmas (War Is Over) ? Have Yourself a Merry Little Christmas ? Here Comes Santa Claus ? Home for the Holidays ? It's Beginning to Look like Christmas and many more!

Par HISAISHI JOE. If you are a Studio Ghibli fan and play an instrument, here it is! All time favorite Studio Ghibli songs are arranged for cello (solo) and piano (accompaniment). Includes 10 songs from Nausicaä of the Valley of the Wind, Castle in the Sky, My Neighbor Totoro, Kiki?s Delivery Service, Princess Mononoke, Spirited Away, Ponyo on the Cliff by the Sea, and Howl?s Moving Castle. The book of a 40-page cello and piano score includes a separate 16-page cello solo part score. Perfect for casual piano playing scenes as well as for online video live streaming, lessons, and recitals! Check out more Studio Ghibli books available in the same series. / Date parution : 2022-05-31/ Recueil / Violoncelle et Piano

The Secret Of Technique In Cello Playing.Daily practice for soloists and advanced players by Albert Sammons. Op20. Transcribed by Lionel Handy. 'I was introduced to Albert Sammons' classic work The Secret of Technique in Violin Playing by Hugh Bean. I was fortunate to play chamber music with Bean for many years and he maintained that his ability to keep his technical level was largely due to Sammons teaching in general and this book in particular. Bean was a pupil of Sammons for more than twenty years and believed that this concise work was ofgreat benefit to students and also professional players with limited practice time. I am very grateful to Mr Richard King Sammons grandson and Mrs Mary Bean for allowing me not only to transcribe this work for Cello but also to include where appropriate the suggestions Sammons made in his original text and the additional notes that Bean added in the 2002 edition. I have tried to stay as close as possible to Sammons material but some adaptation has obviously been necessary. I hope that my own comments for cellists will clarify the changes that have been made and are offered as Hugh Bean said in his 2002 edition in the spirit of wishing to help both aspiring and established string players utilize to the full their practice time. Although this transcription contains several exercises not found in the classic Cello studies of Popper Duport and Grutzmacher et al I hope that the unorthodox nature of these exercises will broaden and free the imagination of cellists by providing a more extended approach to Cello technique.' - Lionel Handy

Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy nostalgic a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book at its simplest is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for allits musical material to become distorted either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning' a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific this change of heart doesn't really matter.© David Blake

Par DELISE LOUIS ANTHONY. Louis Anthony deLise is an American composer, pianist, and percussionist. The compositions in A Gift of Moments are typical of deLise?s composing style that often features the juxtaposition of disparate musical elements like serial technique, frequently changing meters, the urgency and drive of rock and roll, and the lush harmonies of 1960?s West Coast Jazz. Dr. deLise was Adjunct Lecturer of Theory and Composition at the Boyer College of Music and Dance (in Philadelphia, Pennsylvania). He is the author of The Professional Songwriter, a textbook on songwriting. The title, A Gift of Moments, comes from something a friend wrote about her deceased husband. She described their too-short time together as, ?a gift of moments.? (Time with someone you love is always ?too short,? isn?t it?) Since February 2020, (since I?ve been locked down at home with my patient and loving wife, Theresa), like the rest of us, I?ve been reminded each day of just how delicate life is. My friend?s comment about her lost love has gradually revealed itself as a worthy title for the collection of music I was creating during this time of lockdown. All of the pieces in this collection are in some way about love: of a mate, of family, our way of life, and those beliefs we consider particular to us. The compositions are varied in style as they encompass musical gestures reflective of the many disparate musical traditions alive in my soul. With this unapologetically sensitive, perhaps even nostalgic, music of mine I intend to blur the arbitrary boundaries of genre classification, like classical or pop; ambient or orchestral. Special thanks to Vivian Barton Dozor, a wonderfully talented cellist who provided insight into bowing and phrasing for the cello parts. / Date parution : 2022-11-29/ Recueil / Piano

Today the cello is usually considered a classical instrument but from the late 17th to early 19th centuries it was used in folk ensembles to provide low driving rhythms for dance tunes and to render haunting Scottish airs.Within the folk music revival of the past forty years there has been a small but dedicated movement to restore the unique richness of the cello to traditional music and Abby Newton has been on the forefront of that movement. Abbyhas been deeply involved with Scottish music ever since traveling to and performing in Scotland many times. The airs planxties and reels in this book come from traditional and contemporary sources including the 18th-centuryfiddler Neil Gow harper Turlough O'Carolan Daithi Sproule David Hornung Alasdair Fraser Ronnie Aimes and others. All 19 of the tunes are written for solo cello with chord symbols included on most tunes for an accompanyinginstrument. The text also includes the author's notes on the origin of each tune.

Adèle ... Twilight. Le Playbook ultime pour Piano - organisé par Hans-Gunter Heumann.Ce livre contient un nouveau jeu de 50 généreux chansons qui ont une chose en commun: ils étaient tous, même au sommet des charts absolue.Un petit aperçu de la sélection de chansons ainsi que vous donne envie de plus: Fire To The Rain (Adele), California King Bed (Rihanna), Can't Get You Out Of My Head (Kylie Minogue), Dieser Weg (Xavier Naidoo), Ich geh in Flammen auf (Rosenstolz), Video Games (Lana Del Rey), Nightbook (Ludovico Einaudi), Halo (Beyoncé), Wenn Worte meine Sprache wären (Tim Bendzko), You And Me (In My Pocket) (Milow), Hallelujah (Leonard Cohen), Moves Like Jagger (Maroon 5 Feat. Christina Aguilera), Comptine D'un Autre Eté aus dem Film 'Amélie?, Feather Theme (Titelmelodie aus 'Forrest Gump') / Piano

Unsurpassed in his day as a lute virtuoso, John Dowland (1563–1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar. Content : THE THRID AND LAST BOOKE I. Farewell too fair II. Time stands still III. Behold a wonder here IV. Daphne was not so chaste V. Me, me and none but me VI. When Phoebus first did Daphne love VII. Say Love if ever thou didst find VIII. Flow not so fast ye fountains IX. What if I never speed? X. Love stood amaz'd XI. Lend your ears to my sorrow XII. By a fountain where I lay XIII. Oh what hath overwrought XIV. Farewell unkind farewell XV. Weep you no more, sad fountains XVI. Fie on this feigning XVII. I must complain XVIII It was a time when silly bees could speak XIX. The lowest trees have tops XX. What poor astronomers are they XXI. Come when I call (for two voices and two lutes) A PILGRIMES SOLACE I. Disdain me still II. Sweet stay awhile III. To ask for all thy love IV. Love those beams V. Shall I strive with words to move (Mignarda, a galliard is Dowland's title for the solo lute version of the lyre Shall I strive with words to move. VI. Were every thought an eye VII. Stay Time awhile thy flying VIII. Tel me true Love (with chorus) The next three with treble and bass viols ofr violin and cello: IX. Go nightly cares X. From silent night XI. Lasso vita mia XII. In this trembling shadow XIII. If that a sinner's sighs A three-part work: XIV. Thou mighty God XV. When David's life XVI. When the poor cripple XVII. Where sin sore wounding XVIII. My heart and tongue were twins The next with chorus: XIX. Up merry mates XX. Welcome black night XXI. Cease these false sports THREE AYRES FROM A MUSICALL BANQUET Far from triumphing Court Lady if you so spite me In darkness let me dwell GALLIART TO LACHRIMAE A lute solo from A Pilgrimes Solace, transcribed for guitar