I Used to Play Cello

The ultimate self-teaching method designed to offer quality instruction, terrific songs, and audio with 111 demonstration tracks! This cello method can be used by students who want to teach themselves or by teachers for private or group instruction. Simply follow the tips and lessons in the book as you listen to the audio. You'll learn: how to hold and care for the instrument- producing a sound- playing tips and techniques- reading music notation and rhythms- glossary of music terms- and more. Learn at your own pace and open the door to the world of cello music! Over 100 great songs and examples! / Violoncelle

The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.

The study of string instruments should include ensemble playing at the earliest possible stage. There is much to be gained from the playing of duets. Each player learns how to listen to the other, and in a short time develops an awareness of balance, musical phrasing, intonation, and tone quality. This type of training is excellent preparation for participation in large groups. These four volumes of duets for two violins will help fill the need for early ensemble experience in the public schools. They should be used in string classes as a supplement to any of the standard string methods. They will also encourage music making outside of the school, with parents or with other students. These duets are ideal for recitals in the public schools and in public school festivals. They may be played by two performers, or by multiple performers on each part, with or without piano accompaniment.

New keys and rhythms are introduced in this book, which can be used in a sequential or flexible format. The CD includes play-along tracks for the student that feature real players playing real instruments (not synthesized). Book 2 also features large, clear fingering charts, mixed meter studies, comprehensive scale and arpeggio pages, double stops, and shifting exercises.

Introducing the Positions a series widely used in classroom and private studio represents a critical “next step” for string students. Position playing allows players to extend range beyond the basicsand move into the ranks of intermediate and advanced ensemble groups. The most important positions vary for each instrument and Whistler wisely introduces the most-used positions first in Volume 1 followed by the next mostimportant in Volume 2. An irreplaceable component for every string student's training!

The Belwin String Builder is a string class method in which the violin, viola, cello, and bass play together throughout. Each book, however, is a complete unit and may be used separately for class or individual instruction. The material in this book is realistically graded so that only a minimum of explanatory material is required. Each melody is interesting and will provide the basis for a fine left hand technic and bow arm. Available in three levels for violin, viola, cello, bass, piano accompaniment, and teacher's manual.

for Solo Violoncello-For Solo Cello. Presented in five movements Bolcom's Suite No.1 in C Minor for solo violoncello is adapted from the score for the Arthur Miller play Broken Glass used in part in the Long Wharf (New Haven CT) and Booth (New York City) Theatres in the Spring of 1994. Duration ca: 17 minutes.

'The idea of writing a 'Jazz Suite for cello solo' came out when I tried to imagine how it would have sounded like if one of the baroque masters (Gabrielli, Buxtehude, Bach) had lived in our time and wanted to write a suite of dances. I thought it would probably still keep some of the conventions of the traditional form, like maybe the use of a Prelude to establish the key and the alternation of slow with fast movements. But some things would have definitely been different: the harmonies, for example would probably have been more complex and not always tonal. Also the popular dances used as a workbench for the suite would have been not gigues or Bourees but perhaps latin american or Jazz standards. Well, since the great masters are unfortunately not able at the moment to accept my challenge, I had to write it myself. I hope you will enjoy it. The famous cello player Janos Starker says: "Lucio Amanti is a very fine cellist and imaginative composer. His Jazz Suite is an enjoyable mix of jazz and classicism. I much appreciate his work.' (Janos Starker)

This work for cello and orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the second of ten concerti to be written for principal players of the Scottish Chamber Orchestra. Thefirst performance was given in February 1989 by William Conway and the Scottish Chamber Orchestra conducted by the composer.If Davies's Cello Concerto has already evoked comparisons with Elgar's that is perhaps an indicationnot only of its wealth of solo melody (there is hardly a page where the cello is not singing or if not that then dancing) and of its predominantly slow tempos but also of its musical stature. This second Strathclyde concertois a virtuoso piece for the entire ensemble which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue especially in the opening Moderato andthe slow movement; and though the finale is more extrovert the work ends back in quietness and rumination.This book contains the solo cello part and a piano reduction of the orchestral score.

This composition was written quickly in a matter of days however the composer describes the longer process of writing the piece as unconscious preparation. There are opposite elements on display within the piece fragile coloristic passages give birth to energetic events with clear rhythmic and melodic charachter.More sharpely focused figures pass through different transformations then finally merge back to less dynamic but no less intensive filigration. In bringing these compositional elements together and by forcing opposite modes of expression the composer has aimed to force the listener to stretch their own sensibility. Work for Cello and Electronics which waspremiered by Anssi Karttunen at the Musica Nova Festival Bremen in May 1988.

A second cello instruction book for individual or group tuition. Provides training in ensemble playing when used with the violin and viola books.

Par MACKILLOP ROB. This book is devoted to playing the soprano, concert, or tenor ukulele tuned in perfect fifths as used by the string and mandolin families of instruments, as well as the cittern and tenor banjo. The book?s scores are all in tablature; you?ll have no trouble adapting to the tuning and playing in the book?s various styles.The 55 pieces in Play Ukulele in 5ths Tuning progress from simple to advanced and can be played fingerstyle or with a pick. To help you come to grips with the tuning, the book includes Classical-era studies originally written for instruments tuned in 5ths, followed by Scottish traditional tunes, bluegrass, blues, and early jazz pieces, and ultimately?Bach\'s gorgeous Baroque cello music. Includes access to online audio for every piece recorded by the author to facilitate your progress.Anytime you play with musicians who use instruments tuned in fifths, you can all use the same fingerings. As a result, the music can sound more \'together\'. In addition, having played the uke tuned in perfect fifths, if you ever want to play any of those traditionally 5th-tuned instruments, you will have had a head start! / Date parution : 2022-09-14/ Etude / Ukulélé

Bass Clef Version-Richard Reed Parry's Duet For Heart And Breath Bass Clef version for Cello (or other instrument of suitable range) and Piano (or other polyphonic instrument).The performers wear stethoscopespositioned over their hearts so that each can follow his or her own heart rate. Two eighth notes (quavers) correspond to the two sounds of a normal heartbeat and performers should match as closely as possible the staccato andirregular rhythm they hear. When instructed to ?play to breath? the natural cycle of one inhalation and one exhalation or vice versa will determine the length of the bar (two quarter notes/crotchets) without any attempt to makeit metronomic.'This piece is based around the idea of using the widely varying internal rhythms of the performers? bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathingrates of the players are used in alternation with the individual performers? heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly anddelicately with little or no vibrato so as to be able to hear their heartbeats adequately. This in combination with thenatural variance between the different heart rates results in a kind of delicate musical ?pointillism?:starts and stops which are somewhat staggered parts which repeatedly line up and fall out of synch with each other different individuals? pulses rising and falling. The piece is never performed exactly the same way twice.'- Richard Reed Parry.

Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes