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# Cello Fun

transcriptions for cello, cello pedagogy

## Sitemaps

- [XML Sitemap](https://cellofun.eu/sitemap.xml): Contains all public & indexable URLs for this website.

## Pages

- [A Home for cellists](https://cellofun.eu/) - Free cello sheet music, play-along accompaniments, transcriptions, and learning resources for amateur, professional, and aspiring cellists.
- [Telemann Viola Concerto: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/telemann/telemann-viola-concerto/) - The process of transcription for cello of this most wonderful Viola Concerto by Telemann is explained here below: IN WHICH KEY? The original key is G major, and in this key, the highest note in the original viola part is G, almost two octaves above the cello’s open A string. This note is used often,
- [Traditional Fiddle Tunes: "Chandler's Hornpipe": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/fiddle-music-chandlers-hornpipe-for-cello/) - The hornpipe is originally an Irish, Scottish and English dance, but this one appears first in a collection published in the USA in 1883. Perhaps it was aurally transmitted through the generations in its area of origin but only published in the USA? To accommodate this ambiguity of origin, it, along with all the other
- [Cello Duos](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/2-cellos/) - A surprising amount of music can be played as cello duos with very little "arranging" necessary. This can be quite a fun way of practicing - much more enjoyable than practicing alone - and it is usually easier for a cellist to find a cellist friend to play along with than it is to find
- [Traditional Fiddle Tunes Transcribed For Cello: "Paddy Whack"](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/traditional-fiddle-tunes-transcribed-for-cello-paddy-whack/) - This traditional fiddle tune (almost certainly irish) is presented in our standard variation format, starting slowly and gently but gradually getting faster and more energetic. It is presented here, for the moment, only in its Cello Duo version. The violin, viola, and simple chordal accompaniment parts will come later. Solo Cello Part: EDITED
- [Traditional Fiddle Tunes Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/) - Here is a selection of wonderful fiddle tunes with various origins and pedigrees but all transcribed for cello. Some are undoubtedly Irish, others from the USA or the UK, but all are in the same fiddler's style. Many received their first official publication in the USA but were perhaps previously aurally transmitted through the generations
- [Vivaldi: The Four Seasons (Le Quattro Stagioni): Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vivaldi-for-cello/vivaldi-le-cuatro-stagione-the-four-seasons-transcribed-for-cello/) - Here is the sheet music and play-along audio accompaniments for a cello transcription of the four violin concertos that make up Vivaldi's "Four Seasons". "Summer" is in the original key, but the other three concerti have needed to be transposed into more convenient keys. Here is a table of the original violin keys compared to
- [Cello Fingerings: Contractions and Snake-Crawls](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/contractions/) - When we bunch up our fingers, bringing them closer together than their normal semitone separations, we call this a "contraction". A contraction is thus the opposite of an extension. The uses of these two words to describe our left-hand movements on the cello are unfortunately quite misleading in the sense that the ways in which
- [The Cellist's Left Hand](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/) - "A musician is an athlete of the small muscles" This is especially true for our left-hand. Dancer, gymnast, sprinter, marathon runner, weightlifter, high-diver: the cellist's left-hand is an olympic athlete, not only participating in all events but also changing events at a moment's notice. When we add to these athletic requirements the necessary skills of
- [Notation (Reading) Problems For Musicians: Rhythm](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/musical-notation-problems/reading-problems-rhythm/) - This page is part of the article dedicated to Music-Reading and Notation Problems. A more general discussion about rhythm can be accessed by clicking on the highlighted link. Reading problems related to pitch are looked at on the following page: Reading and Notation Problems In Relation To Pitch ****************************************************** The notation of rhythm is both
- [Choosing Bowings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/choosing-bowings/) - Bowings are like a painter's brushstrokes and, together with our choice of fingerings, make a huge difference, not only to how the music will sound but also to how easy or difficult it is to play. In paradise, all gentle bow-starts are on upbows at the tip, all sforzandos are downbows at the frog, all
- [Bach Violin Concerto in A Minor BWV 1041: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-violin-concerto-in-a-minor-bwv-1041/) - Here is the sheet music (and some audio play-along accompaniments) for a cello transcription of J.S. Bach‘s Violin Concerto in A Minor BWV 1041. Because the original key has been conserved, all standard accompaniment parts (piano or orchestral) can be used. These are downloadable for free from imslp.org. All of the play-along orchestral accompaniments are
- [Right Hand Warmup](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/right-hand-warmup/) - Normally, our warmup routines are oriented principally towards our left hand. Because this hand needs to be really supple, limber and warm in order for us to play well (vibrato, shifting, tactile fingertip sensitivity, articulation etc), we tend to neglect the warmup needs of our right hand and arm, as though their function was just
- [Warm-Up = Calm-Down](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/warm-up-calm-down/) - Here we will look at the psychological benefits of the warmup before a potentially stressful performance situation. A "pre-performance" warmup is somewhat different to a "normal" warmup in that it has an added function: in this special situation, not only do we want to warm up our body, but also now we will probably also
- [Tuning and Basic Warmup](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/basic-warmup/) - Apart from their shared fundamental importance, the only thing that "tuning" and "warmup" have in common is that we do them both before we actually start "playing" (or practising). This is why we are including them together on this same page. WARM-UP (= CALM DOWN) The "warmup" is one of those absolutely basic concepts that
- [Rushing For Musicians: The Panic Response](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/rushing/) - Why do we rush when we have a difficult passage ? Why is it that, just at that precise moment in which we need all the time and relaxation that we can possibly find (in order to do our difficult passage with as little stress as possible), we rush like crazy, thus making a difficult
- [Fast Coordination: The Importance of the Beat](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/fast-coordination-the-beat-and-the-downbow/) - This page is part of the larger subject of Fast and/or Tricky Passages: Speed and Coordination THE BEAT AS A COORDINATION AID When the movements of both hands coincide with the beat, this gives us a very powerful coordination aid, but when we displace the beat then our coordination problems multiply exponentially. In both of
- [Shifting to Another String](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/shifting-to-another-string-and-shifting-on-the-open-string/) - Shifting on the same string is somewhat different from shifting to a different string. The concepts of "Same-Finger Shifts", "Assisted Shifts" and "Scale/Arpeggio-Type Shifts" that are discussed in "Finger Choreography" are mainly applicable to shifts on the same string, because when we shift to a different string we can normally put the" new" finger down
- [Cello Natural Harmonics](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/harmonics/natural-harmonics/) - This page is a sub-page of the article "Cello Harmonics". Natural harmonics occur at the points that would correspond to the "folds" if we were to fold the string, like origami paper, into 2, 3, 4, 5, 6, 7 etc equal parts. Because we don't actually fold the strings, we will call these points at
- [Mozart Piano Sonatas: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/) - Here you will find the complete collection of Mozart's Piano Sonatas in versions for cello with simple accompaniment. The accompaniment parts are always offered in two alternative versions: for piano (harp, guitar) or for a second cello (see below for more explanation). These Sonatas offer some wonderful opportunities for "theft" and, surprisingly, it is not
- [Mozart Piano Sonata Nº 16 in C K545: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-in-c-k545/) - Here is the sheet music for the entire Mozart Piano Sonata Nº 16 K545 ("Easy" Sonata), one of Mozart's most loved, transcribed for cello with a simple accompaniment. The accompaniment can be played by (adapted to) many instruments: piano (mainly only left hand), guitar, harp etc. We also offer a version of the accompaniment for
- [Multi-Finger, Fast, and Mixed-Hands Cello Pizzicato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pizzicato/mixed-hands-pizzicato/) - In slow pizzicatos, we are concerned with the sound quality of each individual note. In faster pizzicatos, however, by definition, our problems are quite different and mostly concern speed, coordination and accuracy (plucking the correct string at the correct time). The use of occasional left-hand pizzicatos interspersed amongst the right-hand pizzicatos is one of the
- [Non-Whole-Hand Movements and Squeezed Fifths in Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/non-whole-hand-movements-in-thumb-position/) - The anatomical ability of the hand to effortlessly extend and contract the space between thumb and fingers means that when we put the thumb up on the fingerboard, a whole new world of fingering possibilities opens up to us that is only available in thumbposition. The thumb can move down away from (and up towards)
- [Neck Region on the Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/) - The term "Neck Region" refers to the entire fingerboard area up to (and including) what is traditionally called the "Fourth Position" (with the first finger on "E" on the A-string, "A" on the D-string etc). Above this position, we enter the Intermediate Region in which the hand and fingers, unlike in the Neck Region, now
- [Doublestops and Chords On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/double-stops/) - This article talks about doublestops and chords on the cello. It is however concerned uniquely with the left-hand. For bowing factors in chords and doublestops see String Crossings (bow-level control) in the Bow Technique section. REPERTOIRE COMPILATIONS For those of us who prefer to avoid (or postpone) reading the detailed analytical discussion about doublestops and
- [Playing from Memory](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/from-memory/) - WHY PLAY (AND PRACTICE) FROM MEMORY When there is no written music in front of us, we are more likely to play with spontaneity, imagination, and emotion, and we are less likely to just "read" the notes mechanically (see Music Reading Problems). But apart from the benefits to our spontaneity and interpretative depth, playing from
- [Bach: Unaccompanied Violin Partita Nº 1 BWV 1002: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-unaccompanied-violin-partita-no-1-for-cello/) - The source for these transcriptions is Bach’s autographed manuscript. In the “Literal Transcription” this manuscript has simply been copied and transposed down a fifth (plus an octave). All the bowings in the “Literal Transcriptions” are Bach’s. In the “Edited Concert Versions” however, Bach’s bowings have very often been changed. Perhaps the most unusual aspect of
- [Mozart Divertimento in D K136: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-divertimento-in-d-k136-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart's Divertimento in D K136, in a transcription for cello and simple accompaniment. This is one of his most popular pieces and is one of the three "Salzburg" Divertimenti for strings (quartet, quintet or string orchestra) composed in 1772 when Mozart was 16 years old. Having played the cello part in this piece
- [Intermediate Region: Positional Exercises: Fast and Fluid](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/intermediate-region-fast-and-fluid-positional-exercises/) - The exercises offered here are repetitive fast-flowing finger drills which take our hand through all the Intermediate Region positions. There is basically no shifting in these exercises: we move through all the Intermediate Region positions using only (almost) stepwise crawling movements. The material is ordered in increasing levels of hand tension. Part 1 involves the
- [Simple Extensions in the Neck Region](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/extensions-in-the-neck-region/) - On this page, we will talk only about the "simple" extension in the Neck Region: the 1-2 whole tone stretch (and its corresponding 1-3 minor third and 1-4 major third). There are of course other frequently used extensions in this fingerboard region. The 1-4 Perfect Fourth (Double-Extension) - which with the fourth finger on the
- [Playing Bach's Violin Music on the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/solo-bach-playing-bachs-solo-violin-music-on-the-cello/) - Here is a list of cellofun.eu transcriptions for cello of compositions by Bach in which the violin was the original protagonist. Sonatas for Violin and Harpsichord (or Basso Continuo) Sonatas and Partitas For Unaccompanied Violin Violin Concertos The Violin Concertos are in the original keys. The Sonatas and Partitas for Unaccompanied Violin are
- [Bow Speed, Pressure, Point of Contact, Hair Angle and Tension: (Dynamics)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/) - These bowing factors are totally, intimately and inextricably interrelated. It is by varying the different combinations of these basic elements that our bow-arm is responsible not only for finding the right dynamics (pp, ff, and everything in between) but also for expressing the greatest part of our musicality. While the left hand certainly contributes to
- [Fast Playing: Moto Perpetuos For Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/fast-playing-repertoire/fast-playing-moto-perpetuos-for-cello/) - This page is a sub-page of the "Fast Playing On The Cello" article. These long, high-speed, repertoire sprint-marathons are not only good music but also invaluable workouts for developing the muscular endurance, strength, fitness and stamina that will ultimately make normal-speed playing seem effortless: Paganini: Moto Perpetuo Bach: Gigue from Fourth Cello Suite Bach: Prelude
- [Brahms: "FAE" Scherzo: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/brahms/brahms-fae-scherzo-transcribed-for-cello/) - Here is the first draft of a cello transcription of the Scherzo that Brahms wrote as his contribution to the F.A.E. Sonata, a four-movement collaborative violin-piano work composed in October 1853 in Düsseldorf by Robert Schumann, Johannes Brahms, and Albert Dietrich. Created as a gift for violinist Joseph Joachim, the piece is based on his
- [Capo Fifths On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fifths/capo-fifths/) - This is a sub-page of the article dedicated to playing Fifths on the cello. Unlike violinists, we cellists can't stop two strings simultaneously with one fingertip. In order to stop two strings at the same time with the same finger, we need to change our finger posture, flattening the finger completely and pressing the entire
- [String Crossings (Bow Level Control) On the Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/) - This article is concerned uniquely with the right-hand and the bow. For a discussion of left-hand factors in string-crossings, click on the following link: Left-Hand Factors In String Crossings The discussion that continues below, refers to our most basic, fundamental bow-level control. A lot of this material is also applicable to pizzicato, although knowing on
- [J.S. Bach Violin Concerto in E Major BWV 1042: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-violin-concerto-in-e-major-bwv-1042-transcribed-for-cello/) - Here is the sheet music and some audio play-along accompaniments for Bach‘s Violin Concerto in E Major BWV 1042 in a transcription for cello with orchestral (or piano) accompaniment. Because the original key has been conserved, any standard accompaniment parts (orchestral or piano) can be used. These can be downloaded for free from imslp.org. Bach’s
- [Fifths On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fifths/) - Fifths (across strings) are often a significant source of problems for cellists. On the violin and viola, one fingertip can cover (stop) two strings at the same time and thus fifths across two strings can be played very easily. On the cello, however, the fingertips are too small to stop two strings at the same
- [Transcriptions Of Violin/Viola Music For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/violinviola-music/) - Here you will find a catalogue of cellofun transcriptions of pieces that were originally written with the violin or viola as the protagonist: Bach Bartok Beethoven Brahms Debussy Dushkin (Paradis) Fauré Kreisler Mozart Paganini Saint
- [Saint Saens: Introduction And Rondo Capriccioso](https://cellofun.eu/repertoire-library-transcriptions-for-cello/saint-saens-introduction-and-rondo-capriccioso/) - This has to be one of the most beautiful works ever written for a string instrument and I was always longing to give it a try on the cello. It is offered here transposed into the key of "D" which is, in principle, lowered in pitch by a fifth (as well as an octave). Some
- [J.S. Bach Violin Concertos: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/j-s-bach-violin-concertos-transcribed-for-cello/) - Violin Concerto in A Minor BWV 1041 Violin Concerto in E Major BWV 1042 Concerto for Two Violins in D Minor BWV 1043 The cello transcriptions for these concertos are in the original key. This means that they are much more difficult, much more virtuosic, to play on the cello than on the
- [Chords On The Cello: Bowing Aspects](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/chords/) - We usually consider chords as mainly a left-hand issue because putting several fingers down together on different strings at the same time (and in tune) poses definite problems (see Left-hand String Crossings). Here however we are looking at chords from the point of view of the bow. And here we are looking at "real" chords
- [Bach: Unaccompanied Violin Sonata Nº 2 BWV 1003 in A Minor: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-solo-violin-sonata-no-ii-for-cello/) - The source for the cellofun transcriptions of Bach's Unaccompanied Violin Partitas and Sonatas is his own autographed manuscript. In the “Literal Transcription” this manuscript has simply been copied and transposed down a fifth (plus an octave). All the bowings in the “Literal Transcriptions” are Bach’s. In the “Edited Concert Versions” however, Bach’s bowings have very
- [Bach: Sonatas and Partitas for Unaccompanied Violin: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-sonatas-and-partitas-for-unaccompanied-violin/) - The manuscripts for Bach's unaccompanied violin music, unlike his Cello Suites, are in Bach's own handwriting. Therefore no "Manuscript Comparison" edition is necessary. We do however - unlike for the cello suites - need a "Literal Version" of this music, which is the simple unadulterated transcription of this music transposed to a key one fifth
- [Music for Two (or more) Cellos](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/) - Two Cellos Three Cellos Four Cellos The webpage johnstone-music.com has a huge selection of fine transcriptions for all sizes of cello ensembles, from cello duos to ensembles with 12 different voices. Clicking on the highlighted link will take you to the website's home page. When you put the cursor on the "Sheet Music"
- [Cello Quartets](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/4-cellos/) - CELLO QUARTETS Apart from the johnstone-music webpage, here below is another webpage with some very nice - and simple, easier, more pedagogical - arrangements of Bach keyboard works for cello ensemble (usually four cellos): learningthecello.com/free-cello-ensemble-music
- [Cello Trios](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/3-cellos/) - Bach: Adagio from Sonata for Solo Violin Nº 3 in C Major: Arranged for Three Cellos
- [Shifting Doublestops](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/double-stops/shifting-doublestops/) - Some of the best exercises that we can do for our left-hand at the cello (see below) involve shifting doublestops. Doublestopped exercises in any one position help enormously with our strength, coordination and intonation and are an absolutely necessary preliminary stage to the more difficult skill of shifting on (or to) doublestops. Shifts involving doublestops
- [Bach: Sonatas for Violin and Harpsichord/Basso Continuo: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/) - On this page can be found free sheet music downloads of Bach's Sonatas for Violin and Harpsichord and/or Basso Continuo, transcribed here with the cello ( instead of the violin) as the "melody" instrument. The harpsichord accompaniments are also available in "play-along" downloadable audio files. In addition to his six famous Sonatas and Partitas for
- [Bach: Sonata for Violin and Continuo in E Minor BWV 1023](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonata-violin-basso-continuo-bwv-1023-transcribed-cello/) - Here you will find the sheet music for a cello adaptation of Bach's Sonata for Violin and Basso Continuo BWV 1023 in E Minor, transcribed for cello (instead of violin) and continuo. The accompaniments to Bach’s “Sonatas for Violin and Basso Continuo” are notated by Bach simply as a figured bass line (bass notes +
- [Bach: Sonata for Violin and Continuo BWV 1021 (for Cello)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonata-violin-basso-continuo-bwv-1021/) - The accompaniments to Bach’s “Sonatas for Violin and Basso Continuo” are notated by Bach simply as a figured bass line (bass notes + chord “code numbers”). The complexity of copying out the figured bass numbers means that the Basso Continuo parts of these sonatas are presented in the "cellofun editions" simply as unfigured bass lines,
- [Bach for Unaccompanied Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/) - Unaccompanied Cello Suites Partitas and Sonatas for Unaccompanied Violin Clicking on the above links you will find downloadable sheet music of Johann Sebastian Bach's six Cello Suites, along with transcriptions for cello of his six Partitas and Sonatas for Unaccompanied Violin. These 36 cello-suite movements, together with the 32 violin movements
- [Bach: Music Transcribed for Cello With Other Instruments](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/) - Sonatas for Violin with Harpsichord and/or Basso Continuo Violin Concerto in A Minor BWV 1041 Violin Concerto in E Major BWV 1042 Badinerie from B Minor Orchestral Suite: For Cello Duo or for Cello + Violin/Viola Canon In Hypodiatesseron Al Rovescio: For Cello Duo or for Cello + Violin/Viola Duetto Nº 3
- [Bio](https://cellofun.eu/ian-swedlund-cellist-biography/) - 1959: Born in New Zealand. 1981 – 1987: Studied and worked in orchestras in Australia, Italy and Germany. Since 1987: cellist in the “Basque National Symphony Orchestra” (San Sebastian, Spain). Proud father of two adult children. Enthusiastic bodysurfer, ocean swimmer and hiker. You can watch some cellofun.eu transcriptions on the YouTube cellofunEU
- [Contact](https://cellofun.eu/contact/) - For any questions, problems, suggestions or complaints .......... Please write to contact@cellofun.eu Or use the contact form below.
- [Music Reading-and-Notation Problems](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/musical-notation-problems/) - Fluent music-reading (the decodification of the musical notation) is a complex skill, acquired and perfected only by many years of practice and experience. Learning music without reading it - by ear and/or by simply copying at the instrument - is the time-honoured way in which music (and all other knowledge and skills) was transmitted until
- [Pedagogy](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/pedagogy-sources/) - PEDAGOGY AND AUTO-PEDAGOGY Pedagogy is not just the science of teaching others. It's also about how we can teach ourselves. Teachers can help us greatly, slightly, or not at all. They can even do damage, but ultimately we are all autonomous, self-taught (but much-helped) musicians. It is a curious characteristic of "classical music" that we
- [Practice](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/practice/) - The definition of a "curse" is: "something unpleasant and unavoidable that never goes away". Practice is - or can be - the (instrumental) musician's curse. After Pablo Casals' left hand was crushed by a falling rock, he confessed that his first emotion after the accident was actually relief: "thank god - now I don't need
- [Brahms On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/brahms/) - The word "tief" in german means "deep" and it is a very commonly-used word to describe not only the music of Johannes Brahms (1833-1897) but also germanic culture and romantic music in general. "Seicht" on the other hand, is the german word for "shallow, superficial" and is a word that is much less commonly used
- [Thumbposition: Practice Material](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/playing-in-thumb-position-practice-material/) - On this page can be found links to a lot of practice material (exercises, studies, and repertoire excerpts) for using the Thumbposition, in all the fingerboard regions. A lot of the exercises can be usefully practised in different keys without any changes in fingering, but as we move down into the Neck Region, the use
- [Popper Studies for Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/popper-studies-for-cellists/) - Janos Starker liked to say to cellists of almost any level that "there is nothing in your playing that the Popper Studies can't fix". He may have been right, and many excellent cellists will agree with him. Popper's studies certainly do work on our thumbposition in an intensive and complex manner. If you can play
- [Thumbposition On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/) - Thumbposition is unique to the cello and double-bass (and keyboard instruments!). It is not used on the guitar, viola, or violin, which is ironic because it is the use of the thumb that allows us to play the cello "like a violin" (see below). For many cellists, thumbposition is - or was - something quite
- [Playing In Thumbposition On The Cello: Repertoire Compilations](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumb-position-on-the-cello-repertoire-compilations/) - On this page, you will find compilations of passages from the standard cello repertoire for which we could, should or must, make use of thumbposition. This material is designed for working on our thumbposition skills in a more targeted, concentrated, efficient, practical and above all, musical way than, for example, the Popper High School studies.
- [Vivaldi On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vivaldi-for-cello/) - Here is a list of pieces by Antonio Vivaldi (1678-1741), transcribed or arranged in cellofun editions with the cello as the principal solo instrument: Agitata Da Due Venti (aria) Sposa, Son Disprezzata (aria) Le Quatro Stagione/The Four Seasons (violin concertos)
- [Beethoven: Romance (Romanze) No 2 in F Op 50: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/romanze-no-2-in-f/) - Here is the sheet music and an audio play-along accompaniment for a cello transcription of Beethoven's wonderful Romance in F Major Op 40, originally for violin and orchestra. As so often occurs when arranging violin music for cello, we have to decide in which key to play this beautiful Romanze. Playing it in the original
- [Beethoven: Romance (Romanze) Nº 1 in G Op 40: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/beethoven-romanze-no-1-in-g-op-40/) - Duration: 7-8 minutes Difficulty Level: 6/10 Here is the sheet music and play-along audio accompaniment (played on the piano) for Beethoven's beautiful Romance (Romanze) Nº 1 in G Op 40 for violin and orchestra in a transcription for cello in the original key. In this original key, several passages of this violin piece lie quite
- [Beethoven Violin Sonata No.7 in C Minor Op 30 No.2: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/beethoven-violin-sonata-no-7-in-c-minor-op-30-no-2-transcribed-for-cello/) - Here is the sheetmusic and accompaniment play-along audio files for Beethoven's Seventh Violin Sonata, Op 30 No. 2 in C Minor in a transcription for cello (and piano) in the original key. Because of this use of the original key, any standard piano accompaniment part can be used (downloadable from ismlp.org). Many thanks to Jorge
- [Why Play Music?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/why-music/) - Listening to music puts us directly in touch with our emotional world: "When words stop, music begins" - Heinrich Heine 1797-1856 "Music is the shorthand of emotion" — Leo Tolstoy (1828-1910) Dancing to music puts us in touch with our bodies. Playing music does both, putting us in touch with both our emotions and our
- [Mozart Violin Concerto No. 5 in A Major K219: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-concerto-no-5-in-a-major-k219-transcribed-for-cello/) - Here is the sheet music and play-along audio piano accompaniments for Mozart's Violin Concerto No. 5 in A major K219, in a version for cello. In its original key, this concerto - unlike almost all of his Violin Sonatas - is just too high and too difficult. Transposed down by a fifth into the key
- [Beethoven On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/) - Thank heavens for Beethoven ! Of all the great Classical Period composers, it was Beethoven (1770-1827) who most wrote for the cello as a solo instrument. Although Haydn did write two excellent concertos for the cello, neither Mozart nor Schubert wrote anything exclusively for the cello as protagonist. Beethoven, however, somehow recognised the potential for
- [Mozart On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/) - "his music is so perfect, so effortless, that it seems to have been plucked ready-made from the universe" (Albert Einstein) Mozart (1756-1791) must have been very unimpressed with the cello and cellists of his epoch. How else could we explain that despite his 23 piano concertos, 5 violin concertos (more or less), a double concerto
- [Mozart Piano Fantasia in C Minor K475: For Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-fantasia-in-c-minor-k475-for-cello-and-simple-accompaniment/) - Here is the sheet music of a transcription for cello and simple accompaniment of Mozart's Piano Fantasia in C Minor K475. This cello transcription keeps the original key of C Minor. This is only a first draft and requires quite a lot more work to arrive at the stage of a finished product. The pitch
- [Mozart Piano Sonata No. 10 in C K330: Transcribed for Cello With Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-10-in-c-k330/) - Here is Mozart‘s Tenth Piano Sonata K330 in C major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a fourth, in order to find both the best register and the best key for the cello adaptation. This brings the outer movements into G major and the slow
- [Mozart Piano Sonata Nº 15 in F Major K533: For Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-k533-for-cello-and-simple-accompaniment/) - Here you will find the sheet music and audio files for a cello transcription of Mozart's Piano Sonata No. 15 in F major K533. The entire sonata has been transposed down by a perfect fourth, bringing the outer movements down into C major and the middle (slow) movement down into F major. The simple accompaniments
- [Transcribing Keyboard Music for Cello](https://cellofun.eu/transcribing-piano-music-for-cello/) - After vocal music, the instrument that has had the greatest amount of wonderful music composed for it must be the piano, along with its keyboard predecessors. Surprisingly, the transcription for accompanied cello of solo piano repertoire is sometimes a better source of "concert pieces" than the transcription of repertoire composed for other accompanied instruments. This
- [Mozart Piano Sonata Nº 9 in D K311: Transcribed For Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-9-in-d-k311-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart‘s Ninth Piano Sonata K311 in D major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a tone, in order to find both the best register and the best key for the cello adaptation. This brings the outer movements into C major and the slow
- [Mozart Piano Sonata No. 8 in A Minor K310: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-in-a-minor-k310-for-cello/) - Here is Mozart‘s Eighth Piano Sonata K310 in A Minor, in a transcription for cello and simple accompaniment. When we look through a catalogue of Mozart's famous Piano Sonatas this is one of only two that are in a minor key (the other one is K457 in C Minor). It is also one of only
- [Mozart Piano Sonata No. 17 in Bb Major K570: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-in-bb-major-k570-transcribed-for-cello/) - Here you will find the sheet music and play-along audio accompaniments for Mozart's Piano Sonata No. 17 in Bb Major K570 in a transcription for cello with simple accompaniment. The accompaniments are offered in two alternative versions: a simple piano score and a second cello part. The entire sonata has been transposed down by a
- [Study Material for Dotted Rhythms](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/rhythm/dotted-rhythms-2/study-material-for-dotted-rhythms/) - On this page can be found ideas, repertoire excerpts, studies, and exercises, for working on different types of dotted rhythm problems. As a general rule, for working on rhythms - and especially for dotted rhythms - the use of a metronome is an absolute necessity. The observation that humans tend to shorten the long notes
- [Fred Wilson's Hornpipe: Transcribed for Cello with Other Instruments](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/fred-wilsons-hornpipe-transcribed-for-cello-with-other-instruments/) - Here is the famous "Fred Wilson Hornpipe" in a version for cello with other instruments. It is offered here in the following instrumental combinations: cello with simple chordal accompaniment cello (equal) duo cello and violin (equal) duo In the "equal" duos each player alternates between playing the melody and the accompaniment. This is not just
- [Mozart Violin Sonata in Bb K378: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k378/) - Of the 17 Mozart violin sonatas presented on this website in version for cello, only two have been transposed down from their original key in order to make them more playable. This K378 sonata is one of them (the other is K454). In both cases the transposition is down a minor third, which gives us
- [Mozart Piano Sonata Nº 7 in C K309: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-7-in-c-k309-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart‘s Seventh Piano Sonata K309 in C major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a tone, in order to find both the best register and the best key for the cello adaptation. This brings the outer movements into Bb major and the slow
- [Mozart: Ave Verum Corpus: For Cello and Piano/Harp/Guitar](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-ave-verum-corpus-for-cello/) - Composed originally for voice in 1791, the last year of Mozart's life, the melody of this beautiful hymn is presented here for cello in three different registers: low, medium and high. In the original key (D major) we can choose to play it in either the lower or higher octave. The lower octave version is
- [Mozart Piano Sonata Nº 6 in D K284: Transcribed For Cello And Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-6-in-d-k284-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart‘s Sixth Piano Sonata K284 in D major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a tone, in order to find both the best register and the best key for the cello adaptation. This brings the outer movements into C major and the slow
- [Traditional Fiddle Tunes: "Devil's Dream": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/traditional-fiddle-tunes-devils-dream/) - This short, sparkling, playful, traditional fiddle tune can become quite fiery (and devilish) if we play it fast. It is offered here in several different versions: for solo cello with piano (or any chordal accompaniment) for various duo combinations for cello with either violin, viola or with another cellist A good way to make this
- [Traditional Fiddle Tunes: "Arkansas Traveller": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/arkansas-traveller-for-cello/) - Even though "Arkansas Traveller" is an American fiddle tune, it is included also in published collections of Irish fiddle music, which is why it is included in both of these geographical regions in the cellofun catalogue. We offer this little piece in several different instrumental combinations: cello solo (with chord chart accompaniment) cello duo cello
- [Paganini: Variations On The "Moses" Theme By Rossini](https://cellofun.eu/repertoire-library-transcriptions-for-cello/paganini-for-cello/paganini-variations-on-the-moses-theme-by-rossini/) - The original title for this piece uses the term "Variazioni di Bravura", which sums up very well its spectacular, extroverted, and brilliant character. In the same way that we might consider Saint Saens' "Introduction and Rondo Capriccioso" to be the ultimate manifestation of "frenchness" in music, these "Moses" variations by Paganini (on a theme by
- [Mozart Piano Sonata No. 2 K280 in F: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-2-k280-in-f-transcribed-for-cello-and-simple-accompaniment/) - Here you will find the sheet music and audio files for a cello transcription of Mozart's Second Piano Sonata K280 in F major. The key has, unusually, not been lowered from Mozart's original key. The simple accompaniments are offered in two versions: one for piano (or guitar/harp) and another for a second cello. MOVT I:
- [Cellofun Repertoire Library Homepage](https://cellofun.eu/repertoire-library-transcriptions-for-cello/) - To extend and diversify our cello repertoire we have several possible options: compose new music ourselves commission other people to compose new music dig deeper into the catalogues of lesser-known composers to find more pieces originally written for cello make adaptations for the cello of masterworks that were not originally written for this instrument By
- [Mozart: Piano Sonata K457 in C Minor: For Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonata-k457-in-c-minor-for-cello-and-simple-accompaniment/) - Here is Mozart's magnificent Piano Sonata K547 in C Minor in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a minor third in order to make it more easily playable on the cello. The simple accompaniments are offered in two versions: one for piano (or guitar/harp) and another
- [Mozart Violin Sonata K305 in A Major: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k305/) - Here is a transcription for cello and piano of Mozart's Violin Sonata in A Major K 305. Even though this two-movement sonata would be a good candidate for transposing down into a slightly lower key, it is offered here in its original key, which makes it quite difficult for the cellist at times but saves
- [Mozart Piano Sonata No. 4 in Eb K282: Transcribed For Cello And Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-4-in-bb-k282-transcribed-for-cello-and-simple-accompaniment/) - Here is a transcription of Mozart's Piano Sonata Nº 4 in Eb Major K282 in a version for cello and simple accompaniment. The accompaniments are offered in two versions: one for piano (or guitar/harp) and another for a second cello. To make it more suitable for the cello, the entire sonata has been transposed down
- [Bach: Unaccompanied Violin Sonata Nº 1 BWV 1001: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-solo-violin-sonata-no-1-transcribed-for-cello/) - The source for these transcriptions is Bach’s autograph manuscript and in the “Literal Transcriptions” this manuscript has simply been copied and transposed down a fifth (plus an octave). All the bowings in the “Literal Transcriptions” are Bach’s but sometimes the starting or ending note of his slurs is ambiguous. In these cases, we have tried
- [Bach Prelude For Lute in C Minor BWV 999: For Cello Duo or Cello/Bass Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/2-cellos/bach-prelude-for-lute-in-c-minor-bwv-999-for-cello-duo/) - This beautiful Prelude is perfectly written for a plucked, multistring instrument like the lute or guitar but poses several difficulties when played on a single, 4-stringed cello. The huge pitch range and the constant arpeggio intervals mean that both of our hands are leaping around constantly and with all this wild activity, this deeply spiritual
- [Bach: Cello Suite Nº 3 BWV 1009 in C Major](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suite-no-3-in-c/) - After the ponderous wintery depths of the Second Suite in D minor, the sun comes out once again in this C major celebration. The Third Bach Suite is not only jollier than the second, it has slightly fewer obligatory extensions (≈140 compared to 160) and almost 50% fewer chords/doublestops (≈60 compared to 110). Thanks largely
- [Mozart Piano Sonata Nº 13 in Bb Major K333: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-13-in-bb-major-k333-transcribed-for-cello/) - Here you will find a transcription for cello and simple accompaniment of Mozart's Piano Sonata Nº 13 in Bb Major. The entire sonata has been transposed down a minor third into G Major, bringing its highest note down to a D instead of an F. The accompaniment part is offered in two versions: for piano
- [Mozart Piano Sonata K332 in F Major Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-k332-in-f-major-transcribed-for-cello/) - The cello transcription of this wonderful Mozart Piano Sonata has been transposed down by a minor third (into D major) because this transposition makes it so much easier. The second (slow) movement doesn't need this transposition to make it easier but if we play it with the outside movements then it does need the transposition
- [The Glissando (Portamento) for Shifting Technique and Musicality](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/the-glissando-shifting-as-an-expressive-device/) - THE GLISSANDO (PORTAMENTO) AS AN EXPRESSIVE DEVICE Sliding up (or occasionally down) into a note can be a magnificent expressive and dramatic device. It allows us string-players (as well as singers and trombonists) to connect our notes with a beautiful legato, no matter how far apart or close together the notes are. In gentler music,
- [Bartok: Romanian Dances: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bartok-roumanian-dances/) - The six dances in this compilation are transcriptions of traditional folk tunes from Transylvania that were originally played on the violin or shepherd's flute. The original name for this collection was "Romanian Folk Dances from Hungary" but when Transylvania became part of Romania in 1920, Bartok (1881-1945) renamed it simply "Romanian Dances". These are six
- [Bach Cello Suite Nº 6 BWV 1012: Sheet Music](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suite-no-6/bach-cello-suite-6-sheet-music-transposed-down-5th-for-four-string-cello/) - In all the versions offered here, the entire suite has been transposed one fifth lower into the key of G major. The reasons for this are found on the page: Bach Sixth Suite: Discussion. The following four sheet music editions/versions, all of them notated in G major, are available for download: transposed down a fifth,
- [Mozart Piano Sonata No. 5 in G K283: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-5-in-g-k283-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart‘s Fifth Piano Sonata K283 in G major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a fourth, in order to find both the best register and the best key for the cello adaptation. This brings the outer movements into D major and the slow
- [Mozart Piano Sonata Nº 1 in C K279: Transcribed for Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-1-in-c-k279-transcribed-for-cello-and-simple-accompaniment/) - Although this is Mozart's first published piano sonata, composed in 1774/1775 when he was barely 19 years old, it is in no way an immature or juvenile work. His youth is most visible in the fast, agile, virtuosic piano writing of many passages in the two outer movements, which create considerable technical difficulties for any
- [Mozart Piano Sonata Nº 3 in Bb K281: For Cello and Simple Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-piano-sonatas-transcribed-for-cello/mozart-piano-sonata-no-3-in-bb-k281-transcribed-for-cello-and-simple-accompaniment/) - Here is Mozart's third piano sonata K281 in Bb major, in a transcription for cello and simple accompaniment. The entire sonata has been transposed down by a minor third, bringing the outer movements into G major and the slow movement into C major. The simple accompaniments are offered in two versions: one for piano (or
- [Mozart Violin Sonata K454 in Bb: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k454/) - Of the 17 Mozart Violin Sonatas that have been transcribed for cello on this website, this is only the second one that has been transposed into another key (the other is K378). The transposition chosen is down a minor third, which takes us from Bb major into G major for the outer movements, and from
- [Duos for Violin and Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-violin-and-cello/) - TRADITIONAL FOLK FIDDLE TUNES The collection of traditional fiddle tunes, transcribed and arranged for solo cello + accompaniment, have also been arranged as duos for cello and violin. These are equal-protagonism duos in which, in every piece, the melodies (and accompaniments) are played alternately by both instruments. When the violin has the accompanying bassline, it
- [Bach: Unaccompanied Violin Partita Nº 2 in D Minor BWV 1004: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-unaccompanied-violin-partita-ii-transcribed-for-cello/) - The source for the cellofun transcriptions of Bach's Unaccompanied Violin Partitas and Sonatas is his own autographed manuscript. In the “Literal Transcription” this manuscript has simply been copied and transposed down a fifth (plus an octave). All the bowings in the “Literal Transcriptions” are Bach’s. In the “Edited Performance Versions” however, Bach’s bowings have very
- [Baroque and Pre-Baroque Period: History and Repertoire](https://cellofun.eu/repertoire-library-transcriptions-for-cello/baroque/) - While the Baroque Period in music is generally considered to cover approximately the period from 1600-1750, the cello - an Italian invention - did not appear till the end of the 1600s. Stradivari's first cellos date from this time, as do the first compositions specifically written for cello: collections of Ricercares by Giovanni Antonii (1687)
- [Duos for Cello and Another Instrument](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/) - This category does not include music for solo cello + accompaniment, nor does it include cello duos. It is useful to distinguish between “equal” duos (in which the two voices share the protagonism and difficulty) and “solo + accompaniment” duos (in which one voice has all the melodic protagonism while the other voice is simply
- [Duos For Cello and Doublebass](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/duos-for-cello-and-doublebass/) - Here are the available cellofun.eu editions of duos for cello and doublebass. Be aware that the bass plays (sounds) one octave lower than the notated pitches. Bach: Prelude For Lute BWV 999 Rossini: Duetto
- [Bach: Cello Suite Nº 2 in D minor BWV 1008](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-suite-no-2-for-solo-cello/) - On this page can be found the free, downloadable sheet music for Bach's Second Unaccompanied Cello Suite in D Minor BWV 1008. For best results, print the music on A4-size paper with no margins. It has been suggested that this Suite was written when Bach found out that his first wife had died. This may
- [Left-Hand Finger Spacings In One Position](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-finger-spacings/) - In the article on "Left-Hand Positional Sense" we looked at the ways in which we can "know" where our hand is on the fingerboard, and how we find our new hand locations. Here, on this page however, we will look at the somewhat different (and more refined) skill of knowing exactly how far away to
- [Cello Fingerboard Regions: The Intermediate Region](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/) - This is a sub-page of the Cello Fingerboard Regions page. Between the "Neck Region" (the low regions) and "Thumb Region" (the high regions) there is a frontier zone, a strange no-mans-land, that we could call the "Intermediate Region". In this part of the fingerboard, the thumb has arrived at the end of the cello's neck
- [Upsidedown String Crossings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/upsidedown-doublestops-practice-material/) - As we go up the fingerboard on a lower string, we eventually will start to play notes that sound higher than the next open string. Many composers use this peculiarity to create special string crossing effects with the higher open string that are impossible to obtain on non-string instruments. The fact that the open string
- [Cello Left Hand Pizzicato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/pizzicato/) - The term "Left-Hand Pizzicato" is usually applied indiscriminately to two very different techniques: the normal "pluck-pizzicato" technique in which, instead of a right-hand finger, it is a left-hand finger which hooks itself around the string, pulls it and then releases it. These pizzicatos are often indicated with a "+" sign and this is a surprisingly
- [Cello Finger Articulation (and Release/Removal)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/finger-string-contact/finger-articulation/) - What is this movement of "finger articulation" that we are talking about here? The term "finger articulation" does not refer to the way in which we keep the string held down (see "pads or fingertips?" and "finger pressure"), but rather to the way (how and when) we place our fingers on the string. We will
- [Left Hand Warmup For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-warmup/) - This page is a sub-article of the Basic Warmup page. To play well, our left hand - just like an athlete's or a dancer's body - needs to be responsive, flexible, and above all .......... warm. Warmth loosens up muscles and articulations: it favours flexibility. Is it any wonder that people from hot climates are
- [Hora Staccato: Transcribed For Cello](https://cellofun.eu/hora-staccato/) - This is a classic of gypsy music. Written originally by Dinicu in 1906, but published most frequently in an arrangement by Heifetz (1932), this transcription for cello is based on the Heifetz version and is simply transcribed down one octave (the original violin key has been maintained). This transposition means that the piece lies one
- [Bach: Unaccompanied Violin Sonata Nº 3 BWV 1005: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-solo-violin-sonata-no-iii-for-cello/) - The source for this transcription is Bach’s autographed manuscript. In the “Literal Transcription” this manuscript has simply been copied and transposed down a fifth (plus an octave). All the bowings in the “Literal Transcriptions” are Bach’s. In the “Edited Concert Versions” however, Bach’s bowings have very often been changed. MOVT I: Adagio This is not
- [Jazz Classics Arranged For Cello](https://cellofun.eu/jazz/) - "somebody played a wrong note ...... and jazz was born" Here on this page you will find some classic jazz standards, transcribed and arranged for cello as the instrumental (melodic) protagonist. We can find many metaphors from the natural world with which to compare the creation and development of musical styles. A tree (or a
- [Stella By Starlight: Arranged for Cello](https://cellofun.eu/jazz/stella-by-moonlight/) - Here is the jazz classic “Stella by Starlight” transcribed and arranged for cello. Written originally in 1944 as part of a movie soundtrack, this piece has become one of the most popular jazz standards. Its composer, Victor Young (1900-1956) was an American classical violinist who switched over to pop in the 1930's. Because the melody
- [Donizetti: Dance No. 1 from "La Favorite" : For Cello Duo or Cello Trio](https://cellofun.eu/repertoire-library-transcriptions-for-cello/donizetti-on-the-cello/donizetti-dance-no-1-from-la-favorite-for-cello-duo-or-cello-trio/) - Here is the first dance (ballet) theme, Piece Nº 8A from Act II of Donizetti‘s opera “La Favorite”. Apart from being delightful, lively, sparkling italian music, it is also magnificent study material for fast, light, spiccato with many 2+2 bowings (two notes slurred followed by two notes spiccato) and also a lot of reverse bowings
- [Donizetti on the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/donizetti-on-the-cello/) - Gaetano Donizetti (1797-1848, Italy) was, like Verdi (1813-1901) and Puccini (1858-1924), primarily an opera composer. His "bel canto" opera style is characterised by the most beautiful arias but he also - like Rossini (1792-1868) - had a great sense of humour and his instrumental writing is very often also a delight. His opera "La Favorite"
- [Cello Spiccato: Practice Material for the Bounce](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bouncing-bow/spiccato-practice-material/) - The bouncing bow is not used much in great singing Romantic melodies. In fact it is not used much in melodies at all and, apart from some virtuoso spiccato showpieces (and the second movement of Elgar's Cello Concerto), most "solo repertoire" doesn't normally give us enough material to really dominate this technique, especially at faster
- [Donizetti: Dance Nº 2 from "La Favorite": Arranged as a Cello Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/donizetti-on-the-cello/donizetti-dance-no-2-from-la-favorite-arranged-as-a-cello-duo/) - Here is the second dance (ballet) theme of Piece Nº 8 from Act II of Donizetti's opera "La Favorite". Apart from being wonderful, lively, sparkling italian music it is also a magnificent study for fast binary dotted rhythms played mostly with hooked bowings but also with a variety of different articulations. Originally scored for wind
- [Romantic Period: History and Repertoire](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/romantic/) - For a discussion about Romantic Style and Interpretation, click on the highlighted link. Here below is a timeline for the Romantic Period composers (with some curiosities on either side of this period). Click on the link for each composer to see what pieces of theirs are available: Paganini 1782 ...................... 1840 Rossini
- [Interesting Websites](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/interesting-websites/) - FOR EVERYTHING CELLISTIC www.cellobello.org This site has taken over from the Internet Cello Society website, an international cyber-community of cellists, that seeks to "advance the knowledge and joy of cello playing around the world". They welcome cello enthusiasts of all ages and skill levels and currently have thousands of members representing 84 different countries of
- [Bow Speed](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/bow-speed/) - It is difficult to speak about Bow Speed in an isolated form. Before reading this page we need to read the preliminary page "Bow Pressure, Speed, Point of Contact and Hair Angle" which discusses the intimate interrelationships between these four bowing factors. It is also useful to read the specific pages dedicated to each one
- [Cello Fingerboard Regions and Position Numbering](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/) - FINGERBOARD REGIONS Ignoring for the moment the postural distortions of the extended positions, the cellist's left hand can be considered to have three different basic postures according to the part of the fingerboard in which we are playing. The differences between these three postures derive principally from the different ways in which the left thumb
- [Use Of Fourth Finger In The Cello's Intermediate Fingerboard Region](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/fourth-finger-in-the-intermediate-region/) - It is curious how traditional cello fingering makes such a sudden radical frontier break across a tiny semitone distance on the fingerboard at the start of the Intermediate Region. From the systematic use of the fourth finger for the top note of the first intermediate position (F, F#, G, G# on the A-string) we proceed
- [Domenico Scarlatti On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/baroque/domenico-scarlatti-on-the-cello/) - Domenico Scarlatti (1685-1757) and J.S. Bach (1685-1750) were almost exact contemporaries but the 1500km that separated their birthplaces represented a vast cultural difference. The sparkling colours, lively animation and sensory abundance of Scarlatti's Naples, Southern Italy are still today in total contrast to the grey skies and serious industriousness of Bach's Eisenach, in North Germany.
- [Contemporary Atonal Classical Music](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/20th-century-and-contemporary-music/) - ******* people don't really like music, they just like the sound it makes *********** ***** music is "organised" sounds ***** These two quotes are a very good starting point for this discussion about atonal, arrhythmic, non-melodic, and other deliberately ugly music with which our last hundred years abound and to which this page is
- [Pitch For Cellists (Ear Training)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/musical-notation-problems/ear-training/) - This article about "pitch" could also be called "ear training" or "aural training". On this page we will look uniquely at the pitch aspects of ear training. For a discussion of the rhythmic aspects of aural training click on the highlighted link. Specific pitch-reading problems derived from inappropriate notation are dealt with on the following
- [Mozart Clarinet Concerto: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-clarinet-concerto-for-cello/) - This magnificent concerto was one of Mozart's last works, completed just a few weeks before his death in 1791. If we transpose the clarinet part down an octave it actually lies very well for the cello. Played on the original basset clarinet for which it was written, the lowest clarinet note (transposed down an octave)
- [Urtext?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/urtext-which-edition-to-use/) - This page deals with the interrelated questions of: "which edition to use?" ..... "how do we know if the interpretative indications (tempo, articulations, expressions etc.) that are in our music are really what the composer wanted?" ........ "to what degree should we religiously obey all the indications that the composer wrote in his composition?" .....
- [Tips and Tricks for Practicing Fast and/or Tricky Passages](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/tricks-for-practicing-fast-passages/) - In order to be able to play a "fast/tricky passage" we need to be able to do several things: play the entire passage slowly and with ease. If we can't play a passage at a moderate speed with absolute ease, we will never be able to play it comfortably and securely at a fast speed.
- [Cello String Crossings: Three Strings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/3-strings/) - We can use Three-String Chord Charts to create our own bowing exercises to reinforce the different 3-string crossing bowing (and left-hand) problems that we will find in the repertoire. These chord charts are a lot nicer and more practical than the Sevcik charts (which were taken directly from the violin exercises and are thus not
- [Syncopations and Offbeats For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/rhythm/syncopations/) - THE DIFFERENCE BETWEEN SYNCOPATIONS AND OFFBEATS In syncopations, we don't just play off the beat but also play over the beat in the sense that we tie our notes over the beats. Because of this, it is a good idea to work on our "offbeat" playing as a preliminary (preparatory) phase to working on syncopations.
- [Reverse Bowings For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/choosing-bowings/reverse-bowings/) - "Reverse" bowings refer to those bowings in which the beats, pulses, or accented notes are played on the upbow. Although we won't be talking much about them here, there are many reasons why it feels most natural for string players to have the pulse (the accented beat) on the down bow, especially when we are
- [Bach: Sonata Nº 3 for Violin and Harpsichord BWV 1016: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonata-for-violin-and-harpsichord-bwv-1016/) - Here is the sheet music of Bach's Sonata Nº 3 BWV 1016 for violin and harpsichord, with the violin part now transcribed for cello and transposed down by one fifth (into A major). This transposition makes the sonata easily playable on the cello firstly because it brings the music down into a comfortable register and
- [J.S. Bach: Sonata for Violin and Harpsichord Nº 2 BWV 1015: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/j-s-bach-sonata-for-violin-and-harpsichord-no-2-bwv-1015/) - Here you will find the sheet music of a transcription for cello of Bach's second Sonata for Violin and Harpsichord BWV 1015. In this transcription for cello, it has been transposed down a fifth (see Transcribing Violin Music For Cello). For movements I, II and IV this means they are now in D major instead
- [Fast and/or Tricky Playing: Speed and Coordination](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/) - WALK, JOG OR SPRINT? Runners, swimmers, skiers and many other athletes can decide whether they want to specialise in marathons or sprints. We musicians don't have that choice: we need to be able to do the musical equivalent of both. Playing lyrical slow melodies beautifully is a huge and essential part of a cellist's required
- [Fast Playing: Exercises and Repertoire Compilations](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/fast-and-tricky-walk-jog-or-sprint/fast-playing-repertoire/) - There are so many fast passages in the repertoire to choose from and use as practice material. I hope to have time one day to make some proper compilations, which could be organised into some basic categories (outlined below) following an increasing order of difficulty. Of course, most "fast passages" (or any repertoire excerpts, in
- [J.S. Bach: Sonata for Violin and Harpsichord Nº 5 BWV 1018: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/j-s-bach-sonata-for-violin-and-harpsichord-no-5-bwv-1018/) - Here is Bach's Sonata for Violin and Harpsichord Nº 5 BWV 1018 with the violin part now transcribed for the cello. The original key of this sonata is F minor (with four flats). If we were to transpose it down by a fifth (as we often do with violin music) this would take us into
- [Bach: Sonata for Violin and Harpsichord Nº 6 BWV 1019: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/bach-sonata-for-violin-and-harpsichord-no-6-bwv-1019/) - Here is Bach's Sonata for Violin and Harpsichord No 6 BWV 1019, transcribed for cello. For the cello transcription this sonata has been transposed down a fourth from its original key of D major into G major. For each movement, two different keyboard scores are offered: the "Literal Transcription" in which all notes are taken
- [Transcriptions for Cello: Why and How?](https://cellofun.eu/repertoire-library-transcriptions-for-cello/transcriptions-for-cello-why-and-how/) - To extend and diversify our repertoire we have several possible options: compose new music ourselves commission other people to compose new music dig deeper into the catalogues of lesser-known composers to find more pieces originally written for cello make adaptations (transcriptions) for the cello of masterworks that were not originally written for this instrument By
- [The Retake as A Bowing Technique](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/choosing-bowings/the-retake/) - This page is a subdivision of the "Bow Trajectory In The Air" page. What is a "retake" ? Even though it sounds like something from Japanese cuisine (like shiitake mushrooms and the "sake" drink) it is actually a simple and fundamental bow technique. With a retake, instead of starting our new bow impulse from the
- [Classical Period: Style and Interpretation](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/classical-2/) - On this page we will be looking at elements of Classical style and interpretation. For more information about cello repertoire and technique in this period, see the page Classical Period: History and Repertoire The transition from the Baroque (1600-1760 approx) to the Classical period (1730-1820 approx) passes through the "Rococo" period (mid 1700's), which can
- [Cello Thumbposition: Why Is It Hard ? What Are The Difficulties ?](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/problems-of-thumb-position/) - There are many difficulties associated with the use of the thumb on the fingerboard (Thumbposition). Let's look at them one by one: 1: UNCOMFORTABLE, UNNATURAL, AWKWARD AND STRAINED POSTURES The first and most important problem is simply that it takes a lot of getting used to. Like a swimmer changing from freestyle (crawl) to the
- [The Anticipation Principle In String Playing](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/the-anticipation-principle/) - The orange (middle light) on traffic lights represents a giant evolutionary step forward in human intelligence. Only the most primitive human systems (and computers) function exclusively with a simple autistic binary logic of yes/no (or stop/go). Initially, the orange light was used only as an anticipation of the stop sign, but nowadays the most highly
- [Transcribing Wind and Brass Instrument Music for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/transcribing-clarinet-saxophone-and-flute-music-for-cello/) - THE FAST-BLOWING WINDS The clarinet, saxophone and flute (unlike the bassoon, oboe and horn) really flow, which is why they are so suited (unlike the cello) to jazz melodies and improvisations. Let's look first at some of these faster wind instruments: THE CLARINET The clarinet, when transposed down an octave, shares an almost identical register
- [Take Five: For Cello](https://cellofun.eu/jazz/take-five/) - Here is the jazz classic “Take Five” transcribed and arranged for cello. While this classic jazz number is strongly associated with Dave Brubeck, it was actually written by two lesser-known members of his group (quartet): Paul Desmond (1924-1977), the saxophonist, who came up with the melody, and Joe Morello, the drummer, who came up with
- [Danzi On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/danzi/) - See also “The History of Thumbposition” The following link opens up a compilation of passages from the music of Franz Danzi (1763-1826) for which we could, should, or must, use thumbposition: Danzi's Thumb
- [Mozart's Vocal Music: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozarts-vocal-music-transcribed-for-cello/) - Here you will find the sheet music and play-along accompaniments for a selection of Mozart's vocal music transcribed for cello. The subject of transcribing vocal music for cello is dealt with on its own dedicated page (click on the highlighted link). "Queen of the Night" Aria from "The Magic Flute" "Voi
- [Mozart's Violin Sonatas: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozarts-violin-sonatas-transcribed-for-cello/) - Here is the sheet music (and play-along accompaniments) for a selection of Mozart's Violin Sonatas, transcribed for cello. If you like these sonatas, you are in good company: Einstein loved them and played them often (apparently with great passion). This is not surprising as they really are extraordinary, beautiful, amazing etc ....... words simply fail
- [Scale/Arpeggio-Type Shifts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/scalearpeggio-type-shifts/) - In Same-Finger Shifts, there is no change of finger, thus the hand moves exactly the same distance as the musical interval. In Assisted Shifts, the change of finger is in the same direction as the shift, thus the hand actually moves less distance than the musical interval. But in this third type of shift (that
- [Neck Region: Doublestops In One Position: "Cossmann" Exercises](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/neck-region-foundation-technique-doublestopped-cossmann-style-exercises/neck-region-doublestops-in-one-position-level-4-cossmann-exercises/) - These are the ultimate exercises for developing strength and accurate finger placement (intonation) but at the same time they are tricky "tongue twisters" which also develop, in a very concentrated and efficient way the skills of finger cooordination and independence. We have several different levels of progressive preparatory exercises to build up slowly to these.
- [Chopin Waltz Nº 11 in A Minor (B150): Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/piano-music/chopin/chopin-waltz-no-11-in-a-minor-transcribed-for-cello/) - This lovely waltz is short, gentle, sweet and quite slow, unlike some of his more brilliant, sparkling and fiery "Grand Waltzes". The cello version offered here is transposed down a tone into the key of G minor. The accompaniment can be played on any chordal instrument. Edited Version Clean Version
- [Chopin for the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/piano-music/chopin/) - Frederik Chopin's (1810-1849) Introduction and Polonaise, Cello Sonata, and Piano Trio constitute an important part of our Romantic cello repertoire and need no introduction. But we are left wanting more. In addition to listening in ecstasy to his piano music and feeling extremely jealous of the world's pianists, we also can play some of this
- [Bach: Cello Suite Nº 1 in G BWV 1007](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suite-no1-in-g/) - This is the "easiest" of the six Bach Cello Suites. It has the least number of double stops and chords, and also the least number of extensions. The low number of extensions is thanks largely to the fact that this Suite is in the very comfortable key of G major. PRELUDE Edited Version Nº 1
- [Cello Thumbposition in the Neck Region](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumb-position-in-the-neck-region/) - Placing the thumb up on the fingerboard changes our hand's posture and alignment greatly. These changes are particularly disadvantageous in the Neck Region because of the larger distances between the notes (compared to in the higher registers). Those larger distances create a lot of extra tension for the fingers and hand, which is why thumbposition
- [Orchestral Playing](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/orchestral-playing-3/) - The defining - and unique - characteristic of "orchestral" playing is that here we play our musical line simultaneously with at least one other cellist. This has both advantages and disadvantages. On this page, we will look at a few ideas about how to make the most of the advantages of playing in unison with
- [Cello Pizzicato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pizzicato/) - The term "Left-Hand Pizzicato" is usually applied indiscriminately to two very different techniques: the normal "pluck-pizzicato" technique in which, instead of a right-hand finger, it is a left-hand finger which hooks itself around the string, pulls it and then releases it. These pizzicatos are often indicated with a "+" sign and this is a surprisingly
- [Changing Between Arco and Pizzicato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pizzicato/changing-between-arco-and-pizzicato/) - Doing pizzicatos is one thing, but the transition between arco and pizzicato (in either direction), especially when it has to be done quickly, can be quite problematic. Most of the difficult (fast) changes between arco and pizzicato that we will come across will be in the orchestral repertoire - especially in operas (and music by
- [Choosing Bowings for Unbalanced Figures](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/choosing-bowings/choosing-bowings-for-asymmetrical-figures/) - This article is a sub-page of the "Choosing Bowings" "Bowspeed" and "Bowdivision" pages. Sometimes the bowings/phrasings that composers specify have the deliberate effect of creating asymmetries in passages that would otherwise be simple and symmetrical. In these situations, changing the bowing to facilitate a more even distribution of bowspeed (bow division) may not be advisable:
- [Portato, Flying Staccato, and Hooked Bowings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/legato/portato-and-staccato/) - Usually, the start of a new bow articulation (impulse) coincides with a change of bow direction ………. but not always. It is very easy to think that, automatically after a downbow, the next bow stroke must be an upbow (and vice versa). But this is actually “thinking without thinking” (the worst type): an automated response
- [Bach Cello Suites: Chords and Double Stops](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/solo-bach-chords-and-double-stops/) - Rather than lyrical, vocal, melodic music played up and down one string, Bach’s unaccompanied string music tends to be more “harmonic”. On this page we will look at the Cello Suites from the point of view of their use of chords and double stops, but apart from these "official" chords and doublestops, there are enormous
- [Cello Artificial Harmonics](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/harmonics/artificial-harmonics/) - WHAT IS AN ARTIFICIAL HARMONIC? Whereas a natural harmonic requires only one finger touching the string, artificial harmonics require two fingers on the same string simultaneously. The lower finger needs to stop the string firmly, while we simultaneously gently touch a higher finger to the same string. In the most commonly used artificial harmonic the
- [Mozart: D Major Piano Sonata K576: Transcribed For Accompanied Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-adagio-from-piano-sonata-k576/) - For the cellofun transcription, this magnificent sonata - Mozart's last one for piano - has been transposed down a fifth in order to make it more easily playable. The accompaniment parts are offered in two versions: as a simple keyboard score in which the left-hand is normally the same as in the original piano part
- [Cello Technique (Instrumental Skills)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/) - When the cello is played well, it is an extraordinarily beautiful, wonderful instrument. But making it sound like that is not an easy task. In fact, playing the cello well is an extremely complicated activity requiring a combination of specific and highly developed physical, intellectual and emotional skills that very few other activities come anywhere
- [Cello Bowhold](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bowhold/) - Watching different fine cellists play, we might be surprised to see that there are such an extraordinary variety of ways to hold the bow and still play very well ....... and sometimes it even seems that the very best cellists have the strangest bowholds (Yo Yo Ma for example)! We can't fail to observe also
- [Extensions On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/) - In most areas of life, the word "extension" has positive connotations of freedom, looseness, success, expansion, improvement etc. When we "extend" something, we usually think that we are "opening it up" in an advantageous positive sense, for example "extending frontiers", "extending our gains", "extending our range of influence" etc. When we extend a muscle, we
- [Assisted Shifts on the Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/assisted-shifts/) - As explained on the "Shifting: Finger Coregraphy" page, an Assisted Shift is a position change in which the placement of the "new" destination finger actually reduces the shift distance. In other words, in an Assisted Shift, the distance that the hand must move is smaller (shorter) than the actual musical interval (this is why we
- [Lalo's Cello](https://cellofun.eu/lalo/) - While Eduard Lalo (1823-1892) is known mainly for his magnificent Violin Concerto (Symphonie Espagnole), his Cello Concerto (1877) is also a wonderful piece that no cellist should miss out on playing (play-along piano accompaniments are available on Youtube). How strange that such a fine composer is almost unknown except for these two magnificent pieces. Perhaps
- [Seating Posture For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/seating-posture/) - Some cellists can play the cello beautifully even while standing. Now that shows incredible natural talent (does anybody ever actually practice this?). Normally however, the cello is one of the few instruments that must be played from a sitting position - even keyboard players can play standing up, so long as the keyboard is also
- [Cellofun Repertoire Catalogue: Saint-Saens](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/saint-saens-repertoire-thumbposition-passages/) - It is incredible to think that Camille Saint Saens (1835-1921) was born just 8 years after the death of Beethoven yet died 20 years after Scott Joplin's invention of ragtime, just as Duke Ellington was rising to prominence and just a few years after the appearance of dodecaphonic (serial) music. What gigantic musical transformations he
- [Duos for Cello and Viola](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-cello-and-viola/) - TRADITIONAL FIDDLE TUNES The cellofun transcriptions of traditional fiddle tunes for cello have been systematically arranged also for cello and viola duos. These are equal-protagonism duos in which, in every piece, the melodies (and accompaniments) are played alternately by both instruments. When the viola has the accompanying bassline, it can be played with great vigour
- [Octaves](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/octaves/) - Passages in octaves are a regular occurrence in virtuoso cello pieces (including concertos) but are quite rare in the rest of the cello repertoire. This is probably because composers soon realised (heard) that passages in octaves for the cello, unlike for the piano and violin, had every chance of being played out of tune. If
- [The Beatles Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/) - In classical music circles, we sometimes hear the expression "The Three B's" (Bach, Beethoven and Brahms). If we open our horizons a little wider however, there is at least one "B" missing from this club of gigantic composers: The Beatles. The collaboration between Paul McCartney and John Lennon gives a powerful lesson to those of
- [Transcribing Violin and Viola Music for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/transcribing-violin-music-for-cello/) - The following link takes us to a list (catalogue) of all the cellofun transcriptions that are based on original music for violin and viola: Cellofun Transcriptions Of Violin/Viola Music Now let's have a look at some of the questions involved in making these transcriptions: TRANSCRIBING VIOLIN MUSIC FOR CELLO The violin repertoire is not just
- [Cellofun Repertoire Library: Italy](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/italy/) - Italian music seems to perfectly reflect its language, culture, weather and even its cuisine. In the Italian language, the alternation between highly articulated consonants and ultra-smooth vowels finds its mirror image not only in the frequent alternation between crisp spiccato and creamy legato in Italian music but also in Italian cuisine. In the Italian kitchen,
- [Mozart: "Queen of the Night" Aria: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-queen-night-aria-magic-flute/) - From the opera "The Magic Flute" here is the sheet music for one of Mozart's most dramatic and well-known opera arias, transcribed for cello with piano accompaniment. The title of this aria in german is "Hell's Vengeance" (Der Hölle Rache) and it certainly helps our interpretation to know the singer's words: "hell's vengeance boils in
- [Baroque and Pre-Baroque Period: Style and Interpretation](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/style-and-epoch-baroque-and-pre-baroque/) - On this page we will be talking about style and interpretation in the playing of music from the Baroque (1600-1750) and Renaissance (1400-1600) periods (all these dates are of course quite approximate). For a discussion of the history and repertoire of these periods, click on the highlighted link below. Baroque and Pre-Baroque Cello Music: History
- [Cellofun Repertoire Library: UK and Ireland](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/uk-and-ireland/) - William Byrd (1540-1623), John Dowland (1563-1626) and Henry Purcell (1659-1695) were astonishing English composers of the Pre-Classical period. We can't really count Georg Friedrich Händel (1685-1759) as British because although he worked most of his adult life in Britain, he was born, grew up and studied in Germany, only coming to the UK at the
- [Mozart: Piano Sonata K331 (with Rondo alla Turca): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-rondo-alla-turca-k331/) - Here is a transcription for cello (with simple accompaniment) of Mozart's magnificent piano sonata in A Major K331, transposed down by a major third into the key of F major. Many different instruments or ensembles can play the accompaniments. The accompaniments are also offered in a version for a second cello thus converting the piano
- [Technical Fingerings On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fingering/technical-fingerings/) - This is a sub-article of the page dedicated to fingerings. Here we will look at different ways in which we can use fingerings to make difficult technical passages physically easier to play. 1. FINGERINGS TO REDUCE THE USE OF EXTENSIONS: This is such a large and important subject that is has its own dedicated page
- [Bach: Cello Suite Nº 6 BWV 1012: Discussion](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suite-no-6/) - The sheet music can be downloaded here in four versions: transposed down a fifth and adapted for a 4-string cello the same, but with the addition of a "walking bass" line for a second cello (or any other bass instrument) a comparison of the four existing manuscript copies written out down a fifth, but for
- [Extensions on the Cello: Cello Size and Hand Size](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/cello-size-and-hand-size/) - This is a sub-page of the Extensions article. The relation between our hand's size and our cello's size is one of the most significant factors in determining the ease (or not) of our left-hand cello technique. A lack of hand size can be compensated for by its flexibility and strength and, ultimately, it is the
- [Beethoven Violin Sonata Nº 1 (Op 12 Nº 1): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/beethoven-violin-sonata-no-1-op12-no-1/) - This sonata is presented here in its original key. Playing virtuoso violin pieces in their original key is normally too difficult for the ordinary cellist, but "Classical Period" sonatas are, on the contrary, often quite playable in their original key. Of the 17 Mozart violin sonatas offered on this website, only two needed to be
- [Keyboard Music Transcribed for Cello + Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/piano-music/) - When we transcribe for cello a piece that was originally written for keyboard, the cello will normally be given the "melody line" and we will need another instrument to play the other notes. Sometimes this "other instrument" can be the same keyboard instrument but it can also be harp, guitar etc. And in the contrapuntal
- [Moving the Thumb On and Off the Fingerboard](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/moving-the-thumb-on-and-off-the-fingerboard/) - Releasing the thumb from its position behind the cello neck and bringing it up onto the fingerboard is not only an essential component of playing in thumbposition in the lower (Neck and Intermediate) fingerboard regions but is also an essential component of all our Shifting up into Thumbposition (in any region). When shifting up into
- [Trills and other Fast Ornaments in One Position For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/trills-turns-mordents-and-other-ornaments/) - On this page we will look at ornaments purely from a technical, mechanical point of view: how to play them fast, cleanly and effortlessly. We are concerned here only with fast ornaments: those fiddly little things that often resemble "tongue twisters". Usually, the difficulties derived from these ornaments are exclusively for the left hand, as
- [Cello String Crossings: Leaps Across Multiple Strings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/string-crossings-leaps-across-three-or-four-strings/) - Leaping across multiple strings is like jumping across a mountain creek - we normally don't want to get our feet wet (touch the middle strings). Let's continue with this hiking analogy. A leap is basically a combination of a horizontal step and a vertical jump (just like spiccato on one string). When we do a
- [Stravinsky: Suite Italienne: Transcription For Cello and Piano](https://cellofun.eu/repertoire-library-transcriptions-for-cello/stravinsky-suite-italienne/) - Although the first violin transcription of this piece (1925) preceded the cello version (1932) by several years, both the violin and cello versions are based on original material from Stravinsky's ballet "Pulcinella" (1920), written for small orchestra and for which Stravinsky adapted themes from the music of Pergolesi. The cellist Gregor Piatagorsky collaborated with Stravinsky
- [Ricochet and Flying Spiccato (Jeté) On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bouncing-bow/spiccato-practice-material/ricochet-practice-material/) - Often we need to play the cello as though we were a singer, but occasionally we need to open up our box of magic tricks, unwrapping our ricochet and flying spiccato bowings to become more like jugglers or circus acrobats. In both of these bowing styles, the bow bounces several times in the same bow
- [Bow Starts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/legato/bow-starts/) - This article is a continuation of the Bow Changes, Starts and Stops page. For a discussion about the different ways of starting our bowed sounds from a "Musical Language" point of view, see the "Articulation" article CLEAN, CRISP AND CLEAR "HARD CONSONANT" STARTS Clearly articulating a new bow stroke is the equivalent of tonguing for
- [Chopin: Walse Brilliante Op 18 in Eb: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/piano-music/chopin/chopin-walse-brilliante-op-18-transcribed-for-cello/) - Here is the downloadable sheet music for a transcription for cello and accompaniment (piano, guitar or harp) of Chopin's magnificent Walse Brilliante in Eb Op 18. Even though this is considered one "piece" (waltz) it actually contains seven different waltz themes, each of which has its own distinct character (and tempo). In this way it
- [Czardas (by V. Monti): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/czardas-by-v-monti/) - Here is the sheet music and a play-along accompaniment for Czardas, by V. Monti, in a version for cello and accompaniment. This spectacular piece has been transcribed and arranged for probably every instrument imaginable - and for good reason! We might think that this is authentic gypsy music from Eastern Europe but in fact, it
- [The Bouncing Cello Bow: Spiccato, Sautillé and Ricochet](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bouncing-bow/) - To go straight to Practice Material for Spiccato, click on the highlighted link. Typically, when we think of a cello, we imagine a rich, lyrical, legato, melodic (or harmony) line. For most people who pick up a cello and start improvising, this is the playing style that comes automatically and unconsciously. In fact, for most
- [Fourth Finger In Cello Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/fourth-finger-use-in-thumb-position/) - Because of its relative shortness, the fourth finger is not really optimal for use in thumbposition on the cello. This means that, when our thumb is up on the fingerboard, we will normally only use the little finger when absolutely necessary, as an "emergency" extra finger to get us out of a (very) tricky fingering
- [Shifting and Extensions On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/shifting-and-extensions/) - This is a sub-page of the Extension article. Comfortable, secure shifting (and playing in general) is greatly helped by having a totally relaxed left hand. When shifting to an extended position this relaxation is more difficult to achieve because of the hand strain created by the extension which follows the shift. Here, we so much
- [Sound, Resonance, and Acoustics](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/acoustics/) - " people don't really like music, they just like the sound it makes" (Thomas Beecham - conductor) "I don't care much about music, what I like is sounds" (Dizzie Gillespie - jazz trumpeter) These quotes are a good starting point
- [Slow Pizzicatos](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pizzicato/slow-pizzicatos/) - SLOW PIZZICATOS: ACCOMPANIMENT, PUNCTUATION "Slower" pizzicatos are both the most basic and the most important pizzicatos, and perhaps even the most common. Slower pizzicatos usually have a harmonic function and are used most commonly in the lower register (where the resonance continues for longer after the release of the string). Apart from a few notable
- [Debussy: Clair de Lune: For Cello and Piano](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/debussy/debussy-clair-de-lune/) - This magical little piece of heaven is stolen from Debussy's "Suite Bergamesque" for solo piano, composed originally in 1890 but then extensively revised in 1905. In this transcription, the cello takes all of the melodic material and the piano is relegated to a simple accompaniment role. The accompaniment can also be played on the harp
- [Mozart Violin Sonata K403 in C: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-in-c-k403-for-cello/) - Here is the sheet music for the first movement of Mozart's Violin Sonata in C K403 transcribed for cello and piano. As this transcription is in the original key, any standard piano part (available for free download from imslp.org) can be used. This sonata was written for his wife Constanza, never completed, and probably never
- [Mozart Violin Sonata K547: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k547-transcribed-for-cello/) - This three-movement Mozart Violin Sonata, of which only the second movement is here transcribed for cello, is not the complex, difficult "late" work that its high Köchel (chronological catalogue) number would suggest, but rather is one of Mozart's most simple violin sonatas, intended as a "beginners sonata". The first movement sounds quite childish while in
- [Mozart Violin Sonata K377 in F: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k377/) - FIRST MOVEMENT Surprisingly for a piece in 4/4 time, this movement is characterised above all by its energetic abundance of racing triplets, which come with all manner of different bowings (spiccato, legato and mixed). We can almost imagine Mozart's smile as he literally plays around with these different articulations: compare for example bars 39, 114
- [Mozart Violin Sonata K481 in Eb: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k481/) - This Mozart Violin Sonata is presented here in its original key of Eb major so any standard piano part can be used (see imslp.org). In the original autograph manuscript, Mozart wrote absolutely no dynamics or expressive indications for the violin but he did write plenty of them for the piano. Those shown here are taken
- [Mozart Violin Sonata K376 in F: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k376/) - This sparkling Mozart Violin Sonata is offered here in a transcription for cello. Because the transcription is in the original key, any standard piano part can be used (see www.imslp.org). For the cello, many passages lie in the higher registers and require the use of the thumb. Therefore, to produce the "Easier Versions" (which stay
- [Mozart Violin Sonata K306 in D: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k306/) - All of the preceding Mozart violin sonatas have been two-movement affairs. With this K306 sonata, however, we seem to be entering into a somewhat different world. Not only is this sonata made up of three movements, these movements are all quite "grand" in every sense: length, energy, expressiveness and virtuosity. Because this cello transcription is
- [Mozart Violin Sonata K296 in C: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k296/) - Composed in 1778 at the age of 22, this sonata is the first of Mozart's "mature" violin sonatas and is the earliest of the 17 Mozart Violin Sonatas transcribed for cello on this website. It is presented here in its original key of C major. Only the cello parts are offered because any standard piano
- [Mozart Violin Sonata K301 in G: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k301/) - This two-movement sonata, one of Mozart's most popular, is presented here in its original key. Only the cello parts are offered because any standard piano accompaniment part can be used (see www.imslp.org). In neither of the two movements have any notes been changed from the original violin version (apart from the octave down transposition). The
- [Mozart Violin Sonata K302 in Eb: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k302/) - Eb major is not an easy key on the cello. The fact of not being able to use the open A string or harmonic, together with the frequent and unavoidable use of extensions, makes some of the passages in this two-movement Sonata really quite awkward. Only the cello parts are offered because any standard piano
- [Mozart Violin Sonata K303 in C: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k/) - Although this charming sonata has only two movements, the first movement is almost like two movements in one as it contains both an Adagio and an Allegro Molto (both of which come twice). Only the cello parts are offered because any standard piano accompaniment part can be used (see www.imslp.org). FIRST MOVEMENT The double stops
- [Mozart: Violin Sonata in E Minor K304: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k304/) - Here is the free downloadable sheet music for Mozart's E Minor Violin Sonata K304, transcribed for cello. Only the cello parts are offered because any standard piano accompaniment part can be used (see www.imslp.org). This two-movement sonata is undoubtedly one of Mozart's best-known, most charming, and most loved violin sonatas. What's more, it is also
- [Left Hand Vertical Positional Sense I: KINESTHETIC](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/position-sense/kinesthetic-positional-sense/) - This article is part of a larger article dedicated to Left Hand Vertical Positional Sense in general. The kinesthetic sense, also called proprioception, is our primary (most primitive or most sophisticated?) Positional Sense. It refers to our ability to know (sense) at all times where our hands (and body parts in general) are, even when
- [Cello Reading Problems: Pitch](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/musical-notation-problems/reading-problems-pitch/) - On this page we will look specifically and uniquely at some of the most common problems that we might come up against in our reading of pitches. This article is an extension to both of the following articles: Pitch (Aural Training) Music-Reading and Notation Problems Problems in the reading and
- [Transcribing Vocal Music for Cello](https://cellofun.eu/transcribing-vocal-music-for-cello/) - From Renaissance madrigals to opera to lieder to pop and folk songs, much (if not most) of the most beautiful music ever written, was conceived for the voice. The cello is possibly the instrument that most resembles the voice but this is not only because of its unique register, which goes from the deepest bass
- [Debussy: Transcriptions For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/debussy/) - The music of Claude Debussy (1862-1918) reflects perfectly the golden age of pre-WWI Paris. These three miniatures, arranged for cello and accompaniment from Debussy's original piano versions, are pure magic ...... Reverie (Dreamtime) La Fille Aux Cheveux de Lin (The Girl With Flaxen Hair) Clair de Lune (Moonlight)
- [Mozart Violin Sonata in Eb K380: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k380/) - Here is the free, downloadable sheet music for Mozart's Violin Sonata in Eb K380 transcribed for cello. The engraving files (XML format) can also be downloaded at the bottom of the page. In spite of the fact that Eb major can be an uncomfortable key on the cello, this sonata is totally playable in its
- [Cello Vibrato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/vibrato/) - Vibrato is, like the canary in the coal mine, a very sensitive indicator of internal, invisible, subterranean conditions. Whereas a canary will die when the level of toxic gases rises in the coal mine, our vibrato may not actually die but - like handwriting - certainly tightens up and mutates into something very unpleasant as
- [Left-Arm Positional Sense: Shifts, Placements, Intermediate Notes and Distance Measuring](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/position-sense/) - In this article, we will look at different aspects of our left-arm positional sense. In other words, we will try to answer the question "how do we know where our left hand is on the cello fingerboard" ? Obviously, after sounding any one note, our ears tell us where our hand is on the fingerboard.
- [Cello Technique: Bow Trajectory In, From and To The Air](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bow-trajectory/bow-trajectory-in-the-air/) - The bow's "air time" - its silent choreography in the air - is as vital to our bowing technique as silence is vital to music. However, because the bow's movements in the air make no noise, this subject tends to be neglected in cello teaching. There are no instructions about aerial bow choreography written into
- [Body Language For String Players](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/body-language/) - ECONOMY OF GESTURE ..... OR DANCE ? We tend to think of music as being just sound, but when we go to a concert (or watch a video recording) a large part of our enjoyment comes not only from what we hear but also from what we see. For a live audience, musical performance -
- [The Cellist's Right Hand And Arm](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/) - Sometimes an artist's paintbrush, sometimes a hammer ......... sometimes a Ferrari, sometimes a steamroller ........ sometimes a microsurgeon, sometimes a butcher ........ sometimes a harpist and other times a rock bassist, our right-arm and bow need to be able to perform an incredible variety of movements, from the ultra-delicate to the savagely brutal. Although the
- [Tuplets, Bizarre Barlines, Exotic Time-Signatures and Crossrhythms](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/rhythm/crossrhythms-and-strange-rhythms/) - In this article, we will talk about some of the more irregular, complex elements of rhythm that we will come across in our musical journeys. We will order these elements in a list that follows an approximate pedagogical hierarchy of increasing complexity: tuplets irregular time signatures cross-rhythms irregular phrasing THE HISTORY AND GEOGRAPHY OF BIZARRE
- [Point of Contact of the Bow with the String](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/point-of-contact-of-the-bow-with-the-string/) - The term "point of contact" refers to the position of the bow relative to the bridge or, more precisely, the distance from the bridge (or from the edge of the fingerboard) at which the bow is touching the string at any given moment. If we continue with the painting analogy that we used to describe
- [Cello Harmonics](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/harmonics/) - "Harmonics" refer to the notes that sound when instead of stopping the string firmly with a finger, we just touch it lightly. Harmonics can be divided into "Natural Harmonics" (only one finger touches the string) and "Artificial Harmonics" (a lower finger - usually the thumb - stops the string firmly, while a higher finger just
- [The Cello Spike (Endpin)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/seating-posture/the-spike-endpin/) - The spike (endpin) was only invented in the 1830s. Just imagine: all the music of Bach, Haydn, Boccherini (see picture), Mozart, Beethoven, Schubert and even Rossini, was originally played "spikeless", with the cello supported only on the cellist's calves (lower legs). The humble endpin is the single most important element after the chair in determining
- [Shifting and the Right Hand](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/shifting-and-the-bow/) - SHIFTING AND PIZZICATO Probably the best way to learn the basic technique of ergonomic, relaxed shifting, is to play everything pizzicato at first. The fact that the bow is not maintaining the sound constantly, gives us more time in which to shift and so has the effect of allowing us to do our shifts slower
- [Mozart Violin Sonata in G Major K379: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k379/) - This Mozart Violin Sonata is presented here transcribed for cello but in the same key as the original violin version. This means that any standard piano part can be used (see imslp.org). Although the sonata is written in two movements, the long and deeply moving Adagio with which it begins is almost like a whole
- [Finger Pressure](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/finger-string-contact/finger-pressure/) - Stopping the string with a finger is not a binary question (yes-no, either-or, off-on etc). Finger pressure can - and should - be varied, according to both musical and technical factors. We will look principally at two questions relating to finger pressure: how much pressure should we use what type of pressure: the pinch (between
- [Mozart Violin Sonata In A K526: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-violin-sonata-k526/) - Although there are two Mozart Violin Sonatas with higher Köchel numbers (composed supposedly after this one), this is in fact Mozart's last "great" violin sonata, those other later works being a sonata for beginners (K 547) and an arrangement of a piano sonata (K570). Not only is this sonata "great" in every sense of the
- [Telemann Violin Fantasias Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/telemann-fantasias-for-cello-solo/) - Here below, you will find free sheet music downloads for the 12 Telemann Fantasias for Unaccompanied Violin, transcribed for cello. The XML engraving files are also offered at the bottom of the page. Compared to the violin, the Baroque repertoire for unaccompanied cello is quite limited. Fortunately, Bach left us six cello suites, but unfortunately
- [Dotted Rhythms](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/rhythm/dotted-rhythms-2/) - Dotted rhythms are a curious phenomenon from several different points of view: technical, musical, mathematical, …......... and perhaps even philosophical. What then is the significance of dotted rhythms in the musical language? Which bowings are best and why? Why are they considered “French Style”? Are they always "French Style"? Are there different degrees of dottedness
- [Sing-Speak ? Rubato and Rhetoric in Musical Interpretation](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/sing-or-speak/) - When we think of "music" we think usually of singing melodies. But music does not only sing. It also very often "talks", and also even shouts, whispers, screams, sighs, pleads, laughs, cries and generally mimics all types of human (and animal) communication including body language. We can call these declamatory, dramatic (or spoken/conversational) aspects of
- [Whole-Hand and Non-Whole-Hand Shifts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/non-whole-hand-shifts/) - In a "normal" shift, the hand and arm move together as a unit. This is why we call them "Whole-Hand" shifts. But we can also do shifts in which one part of the hand doesn't move at all. We will call these "Non-Whole-Hand" shifts. The part of the hand that stays "fixed" serves as an
- [The Cello In The Romantic Period: Style and Interpretation](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/romantic-style/) - The Romantic Period in music can be considered as roughly starting with Chopin, Schumann and Mendelssohn, all born around 1810. In this article, we will discuss Romantic style and interpretation. For a discussion of the History and Repertoire of the Romantic Period click on the highlighted link. The Romantic Style represents such a radical evolutionary
- [Fingering For Thumbposition: Shift Up and Down On Same String or Cross Strings In Same High Position ?](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/fingering-in-and-to-thumb-position-one-string-or-across-strings/) - Two main criteria determine how we will finger a passage in (or to) thumbposition: technical ("which fingering is the most secure?") and stylistic ("which is the most appropriate?") The difference in style (aesthetics) between the Romantic Period's tendency to swoop and soar, and on the other hand, the Classical Period's discretion and "cleanliness" (see Pedagogical
- [Paganini: "Moto Perpetuo": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/paganini-for-cello/paganini-moto-perpetuo/) - Here is a new transcription for cello of Paganini's "Moto Perpetuo". Originally written for violin, this piece has previously been transcribed, edited and published for cello by at least two cellists: Julius Klengel (1859-1933) and Leonard Rose (1918-1984) and is not only a very enjoyable piece of music but also excellent study material, especially for
- [Fingertips or Pads? Elbow Height?](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/finger-string-contact/fingertips-or-pads/) - DUCK FOOT OR EAGLE CLAW? As a general rule, we cellists - unlike violinists and ballet dancers - need to stop the strings more with the pads of the fingers rather than the fingertips. The softness and size of the finger pad (in contrast to the fingertip) is ideal for making a warm, juicy, rounded
- [Shifting On String Instruments: Finger Choreography](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/shift-types/) - Shifts on any one string can be divided into three different categories depending on the finger choreography. Each one of these shift types is explained in greater detail on its own page (click on the highlighted link). 1: SAME-FINGER SHIFTS The most basic, most simple, and most important shifts are Same-Finger Shifts. In these shifts,
- [Extensions in the Different Fingerboard Regions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/extensions-in-the-different-fingerboard-regions/) - The problem of extensions is dealt with in greatest detail on the Extensions page. Below, we will compare the differences between extensions in the three different fingerboard regions. As we go higher up the strings, the distances between the notes become smaller and thus it becomes theoretically easier to do extensions. In the higher Thumb
- [Shifting On The Cello (or on any string instrument)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/) - "Shifting" is a huge subject so it has been broken up into several different pages. On this page we will discuss some general concepts concerned with shifting, but other more specialised aspects of shifting have their own dedicated pages (click on the highlighted links). Finger Choreography The Glissando: Expressive Tool and Technical Aid
- [Miscellaneous](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/) - Here we discuss subjects that cannot be categorized exclusively as "Technique" or "Musicality and Interpretation": Amateur Or Pro? Breathing Instrument And Bow Memorisation Musicians Injuries Orchestral Playing Practice Pedagogy Sound Warmup Interesting Websites
- [Psychology For Musicians](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/) - It is not enough to play well mechanically and intellectually. Music is primarily an emotional language and most people do not listen to it to be impressed by mechanics, knowledge or sophistication. They want to be touched and entranced: to be emotionally moved. We need the mechanics to be able to play the notes, and
- [Musical Language: Style and Epoch](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/) - A major component of our intellectual interpretation of any piece of music is our understanding of its historical and social context. It is very useful - for both performers and listeners - to know in what epoch the music was composed, and for whom. Musical language has evolved and transformed itself gradually over time in
- [Rhythm](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/rhythm/) - Before launching into a discussion of various aspects of rhythm, here are some pages dedicated to some of our most common specific practical rhythmical problems: Dotted Rhythms Syncopations and Offbeats Tuplets, Exotic Rhythms and Crossrhythms Of the three principal elements of the musical language - rhythm, melody, and harmony - rhythm is
- [Musicality and Interpretation](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/) - We can analyse and dissect the different components of musical interpretation in the same way that we analyse and dissect the elements of Instrumental Technique and Musical Language. When we watch a musician play, it looks as though it is the fingers, hands and arms that are playing the instrument. Of course, it does take
- [Musical Language](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/) - Although music is an intensely emotional language, it is not constructed uniquely with emotions. In the "Musicality and Interpretation" section of this website, we look at the emotive aspect of playing music, but in this "Musical Language" section we will look at the language of music in the same abstract, academic, scientific way that philologists
- [Cello Bow Trajectory](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bow-trajectory/) - When we think about "bow trajectory", we almost invariably think only about what the bow (and right arm) does while in contact with the strings. The bow does however also spend a lot of time in the air and, because this aerial choreography is inaudible, it can be easily overlooked, ignored, neglected and forgotten. This
- [Basic Principles of Technique](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/) - On this page, we will look at certain fundamental, overriding principles/elements that apply equally well to the technique of both hands, and often even to life in general. These concepts are like the soil in which the roots of technique can grow and deepen, or like the foundations on which a magnificent building can be
- [The Beatles: "Penny Lane": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-penny-lane/) - Here is another miniature masterpiece from our Beatles collection for cello: Edited Version Clean Version And here is a play-along accompaniment track:
- [The Beatles: "Let It Be": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-let-it-be/) - Here is "Let It Be", one of the Beatles' most famous and most beautiful songs, in a version for cello. What a shame the cello can't sing the lyrics ! Edited Version: Somewhat Square Clean Version: Somewhat Square Edited Version: More Syncopated Clean Version: More Syncopated And here is a play-along piano accompaniment:
- [The Beatles: "Lady Madonna": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-lady-madonna/) - Here is the sheet music for a cello transcription of the Beatles' song "Lady Madonna": Edited Version Clean Version And here is a play-along accompaniment:
- [The Beatles: "Hey Jude": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-hey-jude/) - Here is the sheet music and a play-along accompaniment for the Beatles' song "Hey Jude", transcribed for cello. Edited Version Clean Version
- [The Beatles: "Help": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-help/) - It is often difficult to find bowings that mimic on a string instrument the variety of articulations that the singing voice has when it articulates the lyrics of a song. This is especially so when there are many syllables sung on just one note (pitch) because we can't use slurs between notes that have the
- [The Beatles: Hard Days Night: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-hard-days-night/) - Edited Version Clean Version And here is a play-along audio accompaniment:
- [The Beatles: "Get Back": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-get-back/) - Here is the sheet music and a play-along accompaniment for the Beatles‘ song “Get Back”, transcribed for cello. Curiously, this song only has two basic chords the tonic (I) and the subdominant (IV). In our transcription, despite the fact that the tonic (fundamental key) is "C", every B in the melody is a Bb which
- [The Beatles: Eleanor Rigby: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-eleanor-rigby/) - Here is the sheet music and a play-along accompaniment for the Beatles‘ song “Eleanor Rigby”, transcribed for cello. Edited Version Clean Version And here is an audio play-along accompaniment backing track:
- [The Beatles: "Can't Buy Me Love": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/20624-2/) - Here is the sheet music and a play-along accompaniment for the Beatles‘ song, “Can't Buy Me Love”, transcribed for cello. Edited Version Clean Version And here is an audio play-along accompaniment (backing track):
- [The Beatles: And I Love Her: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-and-i-love-her/) - Here is the sheet music and a play-along accompaniment for one of the Beatles‘ most beautiful songs, “And I Love Her”, transcribed for cello. Edited Version Clean Version And here is an audio play-along accompaniment backing track:
- [The Beatles: "All My Lovin": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/the-beatles/the-beatles-all-my-lovin/) - Here is the sheet music and a play-along accompaniment for the Beatles‘ song, “All My Lovin”, transcribed for cello. Edited Version Clean Version Totally Syncopated Version Totally "Square" Easier Version And here is an audio play-along accompaniment (backing track):
- [Traditional Fiddle Tunes: "Turkey In The Straw": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/turkey-in-the-straw-for-cello/) - This classic traditional fiddle tune is offered here, transcribed for cello, in several different versions: for solo cello with piano (or any chordal) accompaniment as a duo with violin, viola or with another cello In the solo cello version, it starts slowly and gently before we play it in its usual lively rendition, but in
- [Traditional Fiddle Tunes: "New Century": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/traditional-fiddle-tunes-transcribed-for-cello-new-century/) - This little tune is so similar to "Hunting The Hare" that we might consider them as non-identical twins. The similarity of their openings makes it very easy to get confused and forget what the differences between them are. As with many of the Traditional Fiddle Tunes that we have transcribed for cello, the simple original
- [Traditional Fiddle Tunes: "Hunting the Hare": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/traditional-fiddle-tunes-transcriptions-for-cello/traditional-fiddle-tunes-for-cello-hunting-the-hare/) - This very simple little traditional fiddle tune, here transcribed for cello, is presented in a sequence of four different interconnected variants (styles). The notes in the four variants are always identical but the tempo and the articulations of melody and accompaniment change, each variant being increasingly lively. We start off with a slow, very gentle,
- [Van Morrison: "Moondance": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/van-morrison-moondance/) - Here is the magnificent "Moondance" by Van Morrison, transcribed for cello. Is this catchy little tune jazz, pop, or irish/celtic folk music ? It takes inspiration from all of those, fusing and blending the different styles to make a (miniature) masterwork. Edited Version Clean Version And here is a play-along audio of the
- [Leonard Bernstein For The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/bernstein/) - Clicking on the highlighted links will open up pages with the sheet music and play-along accompaniment audio tracks for three of the most popular songs from Leonard Bernstein's (1918-1990) musical West Side Story (1957): "Maria", "Somewhere", and "Tonight". "Somewhere" and "Tonight" are combined in a medley, with the slow "Somewhere" being treated as an introduction
- [Killing Me Softly: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/killing-me-softly/) - This beautiful song, composed in 1972, was a collaboration between three contributors, all Americans of Eastern European Jewish origins: Charles Fox (the composer), Norman Gimbel (lyrics), and Lori Liebermann (lyrics and performer). In a beautiful act of multicultural enrichment - very typical of the USA - it became famous in a jazz/pop version by the
- [George Gershwin: "I Got Rhythm": Transcribed For Cello](https://cellofun.eu/jazz/i-got-rhythm-george-gershwin/) - Here is the jazz classic “I Got Rhythm” transcribed and arranged for cello. Published in 1930, this catchy tune was written by George Gershwin (1898-1937) for his musical "Girl Crazy". We play it here in its original key of Bb major, with our usual alternation of octaves for the repeating verses. The "Easier Version" stays
- [Gershwin: "Summertime" Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/gershwin-summertime-from-porgy-and-bess/) - Here is a transcription for cello of George Gershwin's (1898-1937) famous aria "Summertime" from the opera "Porgy and Bess" (1935). In this version, we play the melody twice, first in the tenor range on the D-string, and then one octave higher on the A-string, as though we were now a soprano. The "Easier Version" simply
- [George Gershwin: Transcriptions for Cello](https://cellofun.eu/classical-region-usa/george-gershwin/) - George Gershwin (1898-1937), American composer who brilliantly crossed the lines between jazz and classical styles, was born to Russian jewish immigrants and originally named Jakob Gershowitz. He was given a "classical" music education but left school at the age of 15 to become a composer, supporting himself through his work as a bar pianist. He
- [Jazz Classic "Caravan": Transcribed and Arranged for Cello](https://cellofun.eu/jazz/caravan/) - Here is the jazz classic "Caravan" transcribed and arranged for cello. Written in 1936 by the Puerto Rican trombonist Juan Tizol (1900-1984), member of Duke Ellington's band, this exotic little piece is considered one of the first examples of "Latin Jazz". The Latin influences are easy to hear but sometimes we could also perhaps hear
- [Body and Soul: For Cello](https://cellofun.eu/jazz/body-and-soul-2/) - Here is the jazz classic "Body and Soul" transcribed and arranged for cello. This beautiful, slow, languid, ultra-relaxed piece, written by Johnny Green (1908-1989) in 1930, is presented here in the key of D major/B minor because this key signature allows us to play the melody most comfortably in both the tenor and soprano register.
- [Alone Together: Transcribed for Cello](https://cellofun.eu/jazz/alone-together/) - Here is the jazz classic “Alone Together” transcribed and arranged for cello. Like so many other composers of the great jazz classics, Broadway musicals and Hollywood movies, Arthur Schwartz (1900-1989) was an American of Eastern European Jewish origins. A friend of George Gershwin, he graduated from university with degrees in English and Architecture before achieving
- [Debussy: The Girl With The Flaxen Hair: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/debussy/debussy-la-fille-aux-cheveux-de-lin-the-girl-with-the-flaxen-hair/) - Published in 1910 as the eighth piece of the collection of "Preludes" for piano by Claude Debussy (1862-1918), this beautiful miniature ("La Fille Aux Cheveux de Lin") has been transcribed for many different instrumental combinations. The transcription offered here, for cello with piano (or harp) accompaniment, is based on the excellent violin transcription by Arthur
- [Debussy: Reverie: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/debussy/debussy-reverie/) - The melody of this beautiful piece, originally for piano solo, can be played perfectly on the cello. The original piano part is used for the accompaniment, but almost all the notes that are now played by the cello (usually the highest, melodic, notes) have been removed from the accompaniment. This makes the accompaniment very simple
- [Richard Strauss: "Morgen": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/richard-strauss-morgen-for-cello/) - This cello transcription of "Morgen" (Tomorrow), a sublime song (lieder), composed in 1894 by Richard Strauss (1862-1949), is presented here in the original key so it can be played with any of the standard vocal-accompaniment piano parts (available on imslp.org). Just like with many of the cellofun song transcriptions, here, in the Performance Versions, some
- [Puccini: "Un Bel Dí Vedremo": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/un-bel-di-vedremo/) - This is one of the most beautiful arias from Puccini's opera "Madame Butterfly" Clean Unedited Version
- [Puccini: "Recondita Armonia": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/recondita-armonia/) - From Puccini's opera "Tosca": Clean Unedited Version
- [Puccini: "Ch'Ella Mi Creda": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/chella-mi-creda/) - From Puccini's opera "La Fanciulla del West": Clean Unedited Version
- [Puccini: "Nessun Dorma": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/nessun-dorma/) - From Puccini's opera "Turandot": Clean Unedited Version
- [Puccini: "Senza Mamma": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/senza-mamma/) - From Puccini's opera "Suor Angelica": Easier (Lower) Version (original key) Solistic Register Version (one fifth higher)
- [Puccini: "Vissi d'Arte": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/vissi-darte/) - From Puccini's opera "Tosca": Clean Unedited Version
- [Puccini: "O Mio Babbino Caro": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/o-mio-babbino-caro/) - From Puccini's opera "Gianni Schicci" here is the sheet music for the aria "O Mio Babbino Caro" in a transcription for cello. Clean Unedited Version
- [Puccini: "Quando Men Vo": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/puccini-quando-men-vo-la-boheme/) - From the opera La Boheme (1896), this aria ("When I Go Out") can be comfortably played in its original key of E major but it is offered here in three different keys. Using the original key gives us our highest, culminating note on a "B", which is quite low, but playing it in this key
- [Puccini: "In Quelle Trine Morbide": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/in-quelle-trine-morbide/) - This aria - "Behind Those Soft Curtains" - is from the opera "Manon Lescaut" (1893), Puccini's third opera and his first great success. Finding "the best" key for this aria is not an easy choice. In the Ricordi/Hal Leonard edition (with play-along piano accompaniment CD) the aria has been transposed to a key one tone
- [Puccini: "Lucevan le Stelle" from "Tosca": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/puccini-aria-cello/) - Here is the sheet music for a cello transcription of "E Lucevan le Stelle" (And The Stars Were Shining) from Puccini's (1858-1924) opera Tosca (1900). This tragic but sublime aria is sung by the male protagonist just before his execution. Here we are at the absolute pinnacle of Romanticism - does music get any more
- [Puccini](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/puccini/) - Giacomo Puccini (1858 - 1924) was perhaps the last of the great "Romantic" composers. He composed almost exclusively operas, and his deeply lyrical operatic style and gorgeous, soaring vocal melodies are well suited to being played on string instruments - especially perhaps on the cello because of its similarities in range and timbre to the
- [Sarasate: Zapateado (Spanish Dance Op 23 Nº 2): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/sarasate/sarasate-zapateado-cello/) - Here is a free sheet music download of Sarasate's "Zapateado" from his Spanish Dances Op 23 (originally for violin and piano), arranged here for cello. “Zapato” means “shoe” in Spanish and when we hear this piece it is easy to imagine that “Zapateado” might mean “foot-tapping”. This is the partner piece to Sarasate’s “Playera”. Although
- [Sarasate: Romanza Andaluza: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/sarasate/sarasate-romanza-andaluza/) - Here is a free sheet-music download of Sarasate's Romanza Andaluza, transcribed for cello from its original violin version. What a delight to be able to play this magnificent, deeply passionate piece on the cello. And what a surprise to see how well it lies for our instrument: we can even play it in the same
- [Sarasate: Playera: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/sarasate/sarasate-playera/) - Here is the sheet music for Sarsate's magnificent "Playera" in a transcription for cello. Composed in San Sebastian (Donostia) in the summer of 1879, "Playera" captures perfectly the magical shimmering languid atmosphere of summer at the shell-shaped beach ("Playa de la Concha") around which this beautiful city is built. That same summer in San Sebastian, Pablo
- [Sarasate](https://cellofun.eu/repertoire-library-transcriptions-for-cello/sarasate/) - Pablo de Sarasate y Navascués (Pamplona 1844 - Biarritz 1908), was one of the most famous violinists of his time. He was also a magnificent composer. Like Paganini and Kreisler, Sarasate wrote mainly violin pieces which he himself played. Below are the available pieces by Sarasate. Playera Romanza Andaluza Zapateado Here also is a
- [Tchaikovsky And The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/tchaikovsky-thumbposition-repertoire-passages/) - Instead of using Popper's studies as a way to work intensively on our thumbposition, we can also choose to work on repertoire excerpts. Here below is a link to an extensive compilation of repertoire passages in thumbposition from the music of Tchaikovsky. Tchaikovsky's Thumb Many of the passages compiled here come from his "Rococo Variations".
- [Bizet: "Habanera" from the Opera "Carmen": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/bizet-habanera-from-the-opera-carmen/) - Here is the sheet music for Bizet's famous aria "Habanera" from his opera "Carmen" (1875) in a transcription for cello. Bizet died very shortly after the dismal failure of the first performance of his opera "Carmen". The conductor had been drunk, the rehearsals had been insufficient, and the social content of the opera was judged
- [Verdi: "Brindisi" from La Traviata: Transcription for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/verdi-brindisi-from-la-traviata/) - Here is the sheet music for a cello transcription of Verdi's famous aria "Brindisi" from the opera La Traviata (1853). In this transcription the cellist is quite the megalomaniac, taking the vocal parts of the tenor, the soprano and the choir, all for our own glory and pleasure. Also, the piano accompaniment has been significantly
- [Verdi: "Donna é Mobile" Transcribed for Cello](https://cellofun.eu/donna-e-mobile-from-rigoletto/) - Here is the sheet music to Verdi's "Donna È Mobile" ("Women are Fickle") from the opera "Rigoletto" (1851), transcribed for cello. This wonderful little aria is one of Verdi's most popular and it is offered here in several different versions: in two different keys, with or without cadenzas, and either with a play-along audio track
- [Verdi: "Tace la Notte": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/verdi/verdi-tace-la-notte-from-il-trovatore/) - Here is the sheet music for the aria "Tace La Notte" from Verdi's opera "Il Trovatore", in a transcription for cello. The title of this aria translates to something like "the night goes silent". In fact, in this transcription our night is transformed in quite the opposite way: while we start off in a very
- [Verdi For The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/verdi/) - Here are the available opera arias by Giuseppe Verdi (1813-1901): Tace la Notte (from Il Trovatore [1851]) Donna è Mobile (from Rigoletto [1852]) Brindisi (from La Traviata [1853])
- [Schumann: Two Songs from "Dichterliebe" Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/schumann/schumann-hor-ich-das-liedchen-klingen-from-the-song-cycle-dichterliebe/) - Does music get any more beautiful than this? From Schumann's song cycle "Dichterliebe" here are two "slows" of profound depth of feeling: "Hör Ich Das Liedchen Klingen" ("When I Hear the Song") and "Am Leuchtenden Sommermorgen" ("On A Bright Summer Morning"). These are presented here together because each song only occupies three or four lines
- [Schumann On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/schumann/) - Robert Schumann (1810-1856) was definitely not suited to the post of General Music Director of a busy opera house. His appointment in Düsseldorf, and the political, human and administrative conflicts that inevitably go with the job, were too much for his hypersensitive artistic nature and were quite probably major contributing causes of his mental breakdown,
- [Mendelssohn: "On Wings Of Song" For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mendelssohn-on-wings-of-song-for-cello/) - Here is the sheet music for Felix Mendelssohn's (1809 -1847) sublimely beautiful "On Wings Of Song" transcribed for cello. This is the second song in his short volume of "Sechs Gesänge (Six Songs) Op. 34, written in 1834. Whereas this piece is often played on the cello in a higher key, we offer it here
- [Schubert: "The Miller and the Stream": Transcription For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-der-muller-und-der-bach-the-miller-and-the-stream/) - From Schubert's song cycle "Die Schöne Müllerin" (The Pretty Miller's Girl [1823]) here is the sheet music for "Der Müller und der Bach" (The Miller and the Stream), transcribed for cello. No notes have been changed from Schubert's original vocal version but many small changes have been made to the rhythm of the melody in
- [Schubert: "Litanei" D343: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-litanei/) - Here is the sheet music for Schubert's song "Litanei" (from Am Tage Aller Seelen) in a transcription for cello. This heavenly song lies perfectly for the cello in the original key. In fact, we can even play it in both the tenor and soprano octaves, which is what we do in our Performance Versions. In
- [Schubert: "Auf dem Wasser zu Singen" D774: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-auf-dem-wasser-zu-singen-d774/) - Here is the sheet music for a cello transcription of Schubert's delightful song "Auf dem Wasser zu Singen" ("Singing On The Water"). It has been transposed down a semitone from Ab minor into G minor in order to allow us to use open strings and natural harmonics. Curiously, Schubert notated the entire song in Ab major,
- [Schubert On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/) - Franz Schubert 1797-1828 has to be one of the gentlest, kindest, most sensitive, most tender and most inspired of all the great classical composers. Is there any composer more lovable? Certainly, no other composer used as many p's and pp's in their music as Schubert did. If musicians were to receive sainthoods, Schubert would undoubtedly
- [Schubert: Der Erlkönig (The Elfking): Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-der-erlkonig-the-erlking/) - Here is the sheet music for one of Schubert's most famous and dramatic songs: Der Erlkönig (The Elfking) in a transcription for cello. Composed by Schubert when he was only 18 years old, the transcription from voice to cello is perhaps not very appropriate, but does at least allow us to try and play this
- [Schubert: Violin Sonata in D: D384: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-violin-sonata-in-d-op-137-no-1-dv-384/) - Here is the sheet music for Schubert‘s Violin Sonata (often called "Sonatina") in D major, D384 in a transcription for cello. This magnificent three-movement sonata lies mostly quite well for cello in the original key which means we can use the piano accompaniment part from any violin edition. None of Schubert's notes have been changed
- [Schubert: Arpeggione Sonata: Transposed Down a Fifth](https://cellofun.eu/repertoire-library-transcriptions-for-cello/schubert/schubert-arpeggione-sonata/) - The Arpeggione was a strange mixture of guitar, viola da gamba, and cello. It had six strings, of which the top one was a high E-string one fifth above the pitch of the cello A-string (giving it an enormous pitch range). It was tuned in fourths and thirds (giving it great left-hand ease and fluency)
- [Rossini On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/rossini/) - Although Rossini died in 1869, he basically stopped composing in 1829, two years after the death of Beethoven and one year after the death of Schubert. Born in 1792, twenty years after the birth of Beethoven and five years before Schubert, we could consider Rossini as one of the last "Classical Period" composers and also
- [Paganini: Cantabile: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/paganini-for-cello/paganini-cantabile-transcribed-for-cello/) - Listening to this piece without knowing who wrote it, it is quite difficult to identify the composer. Its sublime melodic lyricism and deep expressivity are easier to associate with the ultra-romantic Tchaikovsky (1840-1893) than with the sparkling, virtuosic Paganini (1782-1840) who was born 60 years earlier and actually died in the same year that Tchaikovsky
- [Paganini On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/paganini-for-cello/) - Practicing and playing the music of Paganini, on any instrument, is the essence of "fun" in music - or it would be if only it wasn't so difficult ! Perhaps it is unfortunate that Paganini was such an extraordinary violinist because, while we tend to associate his music with great virtuosity and extreme difficulty, he
- [Dushkin/Von Paradis: Sicilienne: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/paradis-sicilienne/) - Here you will find the free downloadable sheet music for this beautiful "Sicilienne" which although attributed to the blind Austrian pianist/composer Maria Theresa von Paradis (1759-1824) was actually composed by its supposed discoverer, arranger, and principal player, the violinist Samuel Dushkin (1891-1976) in the middle of the 20th-century. Just as with the many works that
- [Mozart: "Voi Che Sapete": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/mozart/mozart-voi-que-sapete-for-cello/) - The famous aria "Voi Che Sapete" from Act II of Mozart's opera "The Marriage Of Figaro" is offered here in a transcription for cello and piano. Fortunately, being in the original key, we can play this transcription with any other published piano (or orchestral) accompaniment as well as with the piano accompaniment sheet music presented
- [Classical Period: History and Repertoire](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/the-classical-period-repertoire/) - The birth and death dates of Vivaldi (1678-1741), J.S. Bach (1685-1750) and Handel (1685-1759) define the beginning of the end of the Baroque period (and consequently the beginning of the transition to the Classical period). Let's look now, in chronological order, at the birth and death dates of some of the composers who came after
- [Haydn and the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/haydn/) - The following link opens up a compilation of all the thumbposition passages from Franz Joseph Haydn's (1732-1809) two concertos (C major and D major) as well as from his Sinfonia Concertante: Haydn's Thumb HAYDN AND THE FIVE-STRING-CELLO? Is it possible that Haydn intended some of his soloistic higher register cello compositions (D major Cello Concerto, Sinfonia
- [History of Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/the-baroque-thumb/) - Since the "discovery" of thumbposition in the mid 18th century, its use - and the use of the higher cello registers in general - has progressively increased through the musical and historical epochs. For compilations of repertoire excerpts in thumbposition, grouped by composer and in approximate chronological order, click on the following link Repertoire Compilations
- [Cello Thumbposition: How To Make It Easy (Or At Least Easier !)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/making-thumb-position-easy-practice-material-and-repertoire-compilations/) - For cellists, the discovery of the enormous possibilities of thumbposition was like the discovery of oxygen tanks for mountaineers (see History of Thumbposition). While Everest can be climbed without oxygen tanks, it is (so they say) much easier to do it with. But simply discovering the thumb is not enough. We need to master its
- [Martin Berteau: Cello Fingering Discoveries](https://cellofun.eu/repertoire-library-transcriptions-for-cello/baroque/berteau/) - The french cellist-composer Martin Berteau (1691-1771) was not only the composer of "Sammartini's" famous G major sonata, and the teacher of both Jean-Pierre Duport and Breval, he was also one of the inventors of thumbposition. Here are some extracts from movements of his Opus 1 Cello Sonatas in which he makes use, in 1748, of
- [Telemann for the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/telemann/) - Georg Philipp Telemann (1681-1767) was a contemporary and friend of J.S. Bach (1685-1750). Together with both Bach and Vivaldi (1678-1741), he was one of the most prolific composers in music history ..... but, sadly, not for the cello. Of his approximately 70 known concertos, only two include a cello as soloist, and both of these
- [Vivaldi/Giacomelli: "Sposa, Son Disprezzata": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vivaldi-for-cello/vivaldi-giacomelli-sposa-son-disprezzata-for-cello/) - Here is the sheet music for the transcendental aria "Sposa, Son Disprezzata" ("As a Wife, I am Scorned") in a transcription for cello that is copied from the version that Cecilia Bartoli sings on her album "Se Tu M'Ami" ("If You Love Me"). Apparently, the composer of this aria was not in fact Vivaldi but
- [Vivaldi: Agitata da Due Venti: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vivaldi-for-cello/vivaldi-agitata-da-due-venti/) - Here is the sheet music for a cello transcription of the virtuoso aria "Agitata da Due Venti" ("Buffeted By Two Winds") from the opera “Griselda” (1735) by Antonio Vivaldi (1678-1741). This edition is a transcription of the magnificent version sung by Cecilia Bartoli (viewable here on YouTube). The words describe an imminent shipwreck provoked by
- [Purcell: "Dido's Lament": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/purcell-didos-lament/) - Here is the sheet music to Purcell's aria "Dido's Lament" from the opera "Dido and Aeneas", transcribed for cello. Henry Purcell (1659-1695) was the leading english baroque composer of his time. This aria comes from his opera “Dido and Aeneas”, one of the first english operas, first performed around 1688 by the students at a
- [John Dowland (1563-1626): Transcriptions for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/renaissance/john-dowland-1563-1626/) - The vocal music of John Dowland (1563-1626) lends itself beautifully to being played on the cello. The 88 songs with lute accompaniment that were published in several volumes starting with his "Firste Booke of Songes or Ayres" in 1597 are presented by Dowland simultaneously also as four-part madrigals. While the songs can be transcribed as
- [Music Of Diego Ortiz: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/renaissance/diego-ortiz-1510-1576/) - Diego Ortiz (approx. 1510–1576) was a Spanish composer and music theorist who worked in Naples. Ortiz published the very first manual on ornamentation for bowed string instruments, but the following transcriptions for cello come from his Trattado de Glossas (modern Spanish spelling Tratado de Glosas) published in Rome in 1553. The word "glosas" certainly shares
- [Beethoven Violin Sonata Op 24 in F "Spring": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/beethoven/beethoven-violin-sonata-op-24-in-f-spring/) - This extraordinary sonata is here transcribed in the original key. If we were to take it down a fifth then it would lie in a much easier register (almost always in the Neck Region with very occasional forays up into the Intermediate Region). However many of the lower passages would then lie on the two
- [Bach: Canon In Hypodiatesseron Al Rovescio: For Cello and Violin](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-violin-and-cello/bach-canon-in-hypodiatesseron-al-rovescio-for-cello-and-violin/) - Here is the sheet music for this curious duo by Bach in a version for cello and violin. This piece is discussed on its own page: Bach: Canon in Hypodiatesseron Al Rovescio "Equal" Duo for Violin and Cello "Unequal" Duo for Violin and Cello
- [Bach: Canon In Hypodiatesseron Al Rovescio: For Cello and Viola Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-cello-and-viola/bach-canon-in-hypodiatesseron-al-rovescio-for-cello-and-viola-duo/) - Here is the sheet music for this curious duo by Bach in a version for cello and viola. This piece is discussed on its own page: Bach: Canon in Hypodiatesseron Al Rovescio "Equal" Duo for Viola and Cello "Unequal" Duo for Viola and Cello
- [Bach: Canon In Hypodiatesseron Al Rovescio: For Cello Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/2-cellos/bach-canon-in-hypodiatesseron-al-rovescio-for-cello-duo/) - Here is the sheet music for this curious duo by Bach in a version for two cellos. This piece is discussed on its own page: Bach: Canon in Hypodiatesseron Al Rovescio "Equal" Duo for Two Cellos: CLEAN VERSION "Equal" Duo for Two Cellos: EDITED VERSION "Unequal" Duo for Two Cellos
- [Bach: Badinerie: Arranged As A Duo For Cello And Violin](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-violin-and-cello/bach-badinerie-arranged-as-a-duo-for-cello-and-violin/) - Originally for solo flute and string orchestra, Bach's original flute part is played in this arrangement by either the violin or the cello. For a perfectly equal duo, with a democratic distribution of both the difficulties and the protagonism (and for added interest), the solo part can change between the two instruments at each repeat.
- [Bach: Badinerie: For Cello and Viola Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-cello-and-viola/bach-badinerie-for-cello-and-viola-duo/) - In this arrangement, the viola and cello are equal protagonists and alternate the melody line (top voice) at each repeat. If one player finds the solo part too difficult then he/she should just always play the continuo (simpler) line. The "Easier Version" is simply transposed down one tone (into A minor) but apart from that
- [Bach: Duetto Nº 3 BWV 804 from Clavierübung Vol III: String Duo With Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-duetto-no-3-bwv-804-from-clavierubung-vol-iii-transcribed-as-a-string-duo/) - Many of the pieces available on this website are masterpieces (albeit often miniatures) or curiosities. But this little two-part contrapuntal piece by Bach, originally written for organ, is neither. It is, rather, an exercise, both for Bach (hence its title as "Übung" which means "Exercise") and also for us, for whom it is an exercise
- [Bach: Duetto Nº 3 BWV 804 From Clavierübung Vol III: Duo For Cello And Viola](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-cello-and-viola/bach-duetto-no-3-bwv-804-from-clavierubung-vol-iii-duo-for-cello-and-viola/) - This little two-part contrapuntal piece by Bach, originally written for the organ, is discussed on its own page: Bach: Duetto Nº 3 BWV 804 from Clavierübung Vol III Here, we offer the sheet music of a version for cello and viola. This cello/viola duo version has been transposed into C major in order for the
- [Bach: Duetto Nº 3 BWV 804 From Clavierübung Vol III: Duo For Cello And Violin](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-duos-for-cello-and-another-instrument/duos-for-violin-and-cello/bach-duetto-no-3-bwv-804-from-clavierubung-vol-iii-duo-for-cello-and-violin/) - This little two-part contrapuntal piece by Bach, originally written for the organ, is discussed on its own page: Bach: Duetto Nº 3 BWV 804 from Clavierübung Vol III Here, we offer the sheet music of a version for cello and violin (or any treble-clef instrument): Clean Version Edited Version
- [Bach: Duetto Nº 3 BWV 804 (Clavierübung Vol III): Cello Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/2-cellos/bach-duetto-no-3-bwv-804-from-clavierubung-vol-iii-cello-duo/) - This little two-part contrapuntal piece by Bach, originally written for the organ, is discussed on its own page: Bach: Duetto Nº 3 BWV 804 from Clavierübung Vol III Here, we offer the sheet music of a version for cello duo: Edited Version Clean Version
- [Bach: Canon In Hypodiatesseron Al Rovescio](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-canon-in-hypodiatesseron-al-rovescio/) - Here is a very curious work, the exact title of which is "Canon in Hypodiatesseron al Rovescio e per Augmentionem Perpetuus", from Bach's masterwork of counterpoint "The Art of Fugue". By definition, in a canon, the second voice plays exactly the same notes as the first voice. In this canon, the second voice does exactly
- [Bach: Badinerie from Orchestral Suite Nº 2: For Cello Duo](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/2-cellos/bach-badinerie-from-orchestral-suite-no-2/) - Originally for solo flute and string orchestra, the flute part is given here (transposed down two octaves) to the top cello voice. The second cello part is unchanged from Bach's original. For a perfectly democratic distribution of both the difficulties and the protagonism, the solo part can be shared by simply swapping voices (lines) at
- [Bach: Badinerie Arranged For String Duo With Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/bach-badinerie-for-viola-and-cello-duo/) - Originally for solo flute and string orchestra, the flute part can be played in this arrangement by either the violin, the viola, or the cello. At each repeat, the solo part can change between the two instruments for a perfectly democratic distribution of both the difficulties and the protagonist. Alternatively, the entire piece can be
- [Bach (Johann Sebastian) On The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/) - Bach for One Unaccompanied Cello Bach for Other Combinations Involving Cello
- [Bach: Sonata Nº 4 for Violin and Harpsichord BWV 1017: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/bach-sonata-violin-harpsichord-bwv-1017/) - Here is the sheet music of Bach's Sonata for Violin and Harpsichord No 4 BWV 1017, transcribed for cello. In its original key of C minor, this sonata uses a relatively high register, going up to "E" on the "A-string" and making frequent use of Thumb Position. Unfortunately (from the point of view of technical
- [Bach: Sonata for Violin and Harpsichord Nº 1 BWV 1014: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/bach-music-for-cello-with-other-instruments/bach-sonatas-violin-harpsichord-basso-continuo/bach-sonata-for-violin-and-harpsichord-bwv-1014/) - Here is the first of Bach's six Sonatas for Violin and Harpsichord, transcribed for cello and harpsichord and transposed down a fifth into E minor in order to make the cello part comfortable. The transposition of a fifth is chosen because this allows us to keep the same use of open strings as for the
- [Bach: Unaccompanied Violin Partita Nº 3 BWV 1006: Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/solo-violin-partita-no-3-for-cello/) - Here is the free, downloadable sheet music of Bach's Unaccompanied Violin Partita Nº 3 BWV1006, transcribed for cello. The source for these transcriptions is Bach’s autographed manuscript. In the “Literal Transcription” all of the notes have simply been transposed down into the new cello key (either A major or G major). All the bowings and
- [Bach: Cello Suite Nº 5 BWV 1011: Discussion](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-suite-no-v/) - Click here for the downloadable sheet music. DISCUSSION Bach also arranged this suite for lute. The lute arrangement is - unlike the cello suites - in Bach's own handwriting (manuscript) and this autograph manuscript is available on www.imslp.org. The lute arrangement is catalogued as BWV 995 and is in G minor (instead of our BWV
- [Bach: Cello Suite Nº 5 BWV 1011: Sheet Music](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-suite-no-v/bach-cello-suite-no-5-sheet-music/) - For a discussion of the peculiarities of this Bach Cello Suite as well as about the relative advantages and disadvantages of the scordatura and non-scordatura versions, click on the following link: Bach Suite Nº 5: Scordatura Or Not ? (And Other Peculiarities) At the bottom of this page is a compilation of the obligatory note
- [Bach: Cello Suite Nº 4 BWV 1010](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suite-no-4-in-eb/) - The key of Eb major, with its three flats, is notoriously uncomfortable for the cello, not only because it requires extended position in the First Position on the three higher strings but also (and especially) because the open A string is normally not available for the crossing between A and D strings (because the A
- [Bach: Cello Suites](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suites/) - Bach's six cello suites lend themselves to a division into two groups. The first group, to which belong the first three suites, can be considered the "simple, straightforward ones" while the second group, composed of the last three suites, can be considered as the "complicated ones" as each of these suites presents a particular, unique
- [Music for One Unaccompanied Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/) - On this page can be found links to music (original repertoire and transcriptions) for one unaccompanied cello by the following composers: Bach Telemann Tiersen DISCUSSION Pianists are used to playing on their own, because their instrument is a one-man band. Not only can they play with their ten fingers all at once, they also have
- [Cellofun Repertoire Library: Instrumental Combinations](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-instrumental-combinations/) - Any one piece of music could be arranged to be played by a huge variety of instrumental combinations ranging from an unaccompanied solo instrument to a symphonic rendition. The cellofun editions offered on this site are classified according to the instrumental combination of the final cellofun arrangement/edition but also according to the principal instrument of
- [Cellofun Repertoire Library: Russia and USSR](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/russia-and-ussr/) - Here you will find cellofun editions of music by the following russian and soviet composers: Stravinsky
- [Cellofun Repertoire Library: Latin America](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/latin-america/) - For the moment, all of the Latin American music edited on this website is of the "popular" genre. Deciding into what sub-groups to classify this music is a little more complex than for most other areas of world music. This is because of the influence of European colonisation. Classification according to country of origin does
- [Cellofun Repertoire Library: USA](https://cellofun.eu/traditional/usa/) - TRADITIONAL AND FOLK "Tis a Gift To Be Simple" Oh Susanna Shenandoah Shortnin' Bread Traditional Fiddle Tunes RAGTIME AND JAZZ Alone Together Body and Soul Caravan Stella By Starlight Take Five ROCK Rock Around The Clock POP Killing Me Softly (Roberta Flack version) We’ve Only Just Begun (Carpenter’s version) MUSICALS/SHOWS "Maria", "Somewhere" and "Tonight" (Bernstein)
- [Cellofun Repertoire Library: Spain and Portugal](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/spain-and-portugal/) - The Baroque and Classical periods in the Iberian peninsula were perhaps not as rich as the Pre-Baroque, Romantic, and Post-Romantic periods. Here you will find cellofun editions of music by the following spanish and portuguese composers: Albeniz Falla Granados Ortiz Sarasate
- [Central, East and Southeast Europe](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/central-east-and-southeast-europe/) - Here you will find cellofun editions of music by the following composers: Bartok: Romanian Dances Monti: Czardas Dinicu: Hora Staccato
- [Cellofun Repertoire Library: France and Belgium](https://cellofun.eu/traditional/west-europe-french/) - Here you will find cellofun editions of music composed by the following french and belgian composers: Berteau Bizet Debussy Fauré Franck Lalo Ravel Saint Saens Satie
- [Cellofun Repertoire Library: Germany/Austria](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/west-europe-germanic/) - Here you will find cellofun editions of music by the following german and austrian composers: Bach Beethoven Brahms Haydn Kreisler Mendelssohn Mozart Schubert Schumann Telemann Von Paradis
- [Cellofun Repertoire Library: Geographical Region](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/) - In the "Geographical Region" category of the cellofun Repertoire Library both "popular" and "formal" ("Classical") styles appear together for each region. Here then are our main geographical regions: France/Belgium Germany/Austria Italy Spain/Portugal UK/Ireland Central, East, and Southeast Europe Northern Europe Latin America North America Russia/Soviet Republic This category of "Geographical Origen", has, like all the
- [Rock Music Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/rock/) - Here is the sheet music for a selection of rock hits, transcribed for cello. The first big hit of “rock" music, released in 1954, was "Rock Around The Clock" and we can only wonder if the term “rock music” was actually created and established by its success. With its high energy and driving rhythms, it
- [Brasil: Bossa Nova for Cello](https://cellofun.eu/jazz/bossa-nova/) - Bossa Nova is a most extraordinary musical style that originated in Brasil in the 1950/1960's. This music takes us on a dream-like holiday: we can almost feel the sunshine, the warmth, the gentle breeze, the luxuriant tropical flora, the sparkling blue ocean lapping at the shore. Not only does it reflect perfectly Brasil's climate but
- [Bossa Nova: "Wave": For Cello](https://cellofun.eu/jazz/bossa-nova/bossa-nova-wave-for-cello/) - Here is the evocative Bossa Nova piece by Antonio Jobim, “Wave" in a version for cello: Edited Performance Version Clean Performance Version Video
- [Bossa Nova: "Triste": For Cello](https://cellofun.eu/jazz/bossa-nova/26370-2/) - Here is the beautiful Bossa Nova number by Antonio Jobim, "Triste" ("Sad") in a version for cello: Edited Performance Version Clean Performance Version Easier Version Video
- [Bossa Nova: "The Girl From Ipanema": For Cello](https://cellofun.eu/jazz/bossa-nova/bossa-nova-the-girl-from-ipanema-for-cello/) - Here is the classic Bossa Nova number by Antonio Jobim, "The Girl From Ipanema" in a version for cello: Edited Performance Version Clean Performance Version Easier Version Literal Transcription Video
- [Bossa Nova: "Desafinado": For Cello](https://cellofun.eu/jazz/bossa-nova/bossa-nova-desafinado-for-cello/) - Here is the classic Bossa Nova piece "Desafinado" (out of tune) in a version for cello: Edited Performance Version Clean Performance Version Easier Version Video
- [Corcovado: For Cello](https://cellofun.eu/jazz/bossa-nova/corcovado-for-cello/) - Here is the beautiful Bossa Nova piece "Corcovado" in an arrangement for cello: Edited Performance Version Clean Performance Version Easier Version Video
- [Pop Dance Music For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-dance/) - Rock Around The Clock Gimme Some Lovin'
- [Pop Ballads Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-ballad/) - Killing Me Softly (Roberta Flack version) We've Only Just Begun (Carpenter's version) Send In The Clowns (Sondheim) Your Song (Elton John)
- [Pop Music Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/) - Ballad Beatles Dance Reggae Others
- [Light Classical: Vienna](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-vienna/) - Charm, delicacy, flirtatious sensuousness, frequent rubatos, lightness, and a beautiful sound (and vibrato) can be considered as some of the typical features that characterise Viennese style in light classical music. But let's not forget that many other composers whose works do not necessarily reflect this "Light-Classical Viennese Style" lived and worked in Vienna (Haydn, Mozart,
- [Light Classical: Films](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-films/) - A large part of the music composed by Astor Piazzolla was composed for films.
- [Cellofun Repertoire Library: Shows and Musicals](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-shows/) - Don't think that composers who write for shows are inferior in any way to those who write "serious" operas. Here below are some quotes by Stephen Sondheim: ..... "I just wanted to study composition, theory, and harmony without the attendant musicology. And I knew I wanted to write for the theatre, so I wanted a
- [Light Classical](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/) - Films Operettas Shows/Musicals Vienna
- [Traditional Folk Songs: Transcribed For Cello](https://cellofun.eu/traditional/traditional-folk-songs-transcribed-for-cello/) - Here are some traditional folk songs, transcribed for cello. In some of these, the cellist can both sing the tune and play the accompaniment: Oh Susanna Shenandoah Shortnin’ Bread Tis A Gift To Be Simple
- [Cellofun Repertoire Library: "Popular" Music](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/) - The cellofun repertoire library has two separate catalogues: one for “Formal” (“Classical”) and another for “Popular” music. We have used the term “formal music” rather than “classical music” in order to avoid confusion with music of the “Classical Period“. There are, of course, many pieces for which it is not absolutely clear to which category
- ["Other" Formal Music Genres](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/other-formal-music-genres/) - This page is where we classify pieces of "formal" (in contrast to "popular") music that don't have their origin in the standard categories of "Opera", "Songs/Lieder", "Violin/Viola", or "Solo Piano". Piazzolla Arpeggione Viola da Gamba
- [Songs (Lieder) Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-songs-lieder/) - Here, first of all, is a collection of german lieder (art songs) transcribed for cello: MENDELSSOHN On Wings Of Song (Op 34 Nº 2) SCHUBERT: Der Erlkönig (The Earlking) Auf dem Wasser zu Singen (Singing on the Water) Litanei Der Müller und der Bach (The Miller and the Stream) SCHUMANN:
- [Opera Arias Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/genre-opera/) - The vocal melodies of many of the most beloved opera arias are often well suited to playing on the cello. The operatic repertoire - lyrical, dramatic, soaring, deeply expressive and emotive - provides us with a huge source of magnificent music, just waiting to be transcribed. Playing vocal music on the cello encourages us to
- [Classical Repertoire: Genre](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/) - On this page, our formal ("Classical") sheet-music catalogue for one accompanied cello is categorised according to the type (genre) of the source material and the instrument(s) for which the piece was originally written. Opera Arias Songs (Lieder) Violin/Viola Solo Keyboard Other
- [Cellofun Repertoire Library: Post-Romantic Period (20th Century)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/modern/) - While the transformations between the principal musical periods were normally quite gradual evolutions (see Historical Periods), the transition from the Romantic to the Post-Romantic (or Modern) period in musical history was particularly radical. In the "Classical" music department, rather than a stylistic evolution this was a revolution, tipping the musical language upside-down and questioning the
- [Cellofun Repertoire Library: Renaissance Period](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/renaissance/) - The Renaissance (original Italian: "Rinascimento", from rinascere "to be reborn") was a cultural movement that spanned the period roughly from the 14th to the 17th centuries, beginning in Italy and then spreading to the rest of Europe. In so far as music is concerned, the consensus among music historians has been to start the era around 1400
- [Cellofun Repertoire Library: Historical Periods](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-catalogue-historical-period-ambiguity/) - The transitions between the different major stylistic periods in the history of music rather than happening overnight were normally rather gradual transformations, mirroring other similar transformations in society and the arts. The last composers of some of the principal musical epochs were sometimes also the ground-breaking first composers of the new epochs. For example, Schubert
- [Repertoire Catalogue: Formal ("Classical")](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/) - The cellofun repertoire library has two separate catalogues: one for “Formal” (“Classical”) and another for “Popular” music. We have used the term “formal music” rather than “classical music” in order to avoid confusion with music of the “Classical Period“. The many pieces for which it is not absolutely clear to which category they belong have
- ["Clean" Version: Explication](https://cellofun.eu/repertoire-library-transcriptions-for-cello/clean-version-explication/) - In the "Clean" Performance (or Concert) Version of sheet-music on this website, the notes and layout are identical to the "Edited" Performance Version but all bowings, fingerings and other editorial suggestions have been eliminated. Sometimes - often even - the composer's slurs, bowings, dynamics and expressive markings have also been eliminated from the "Clean" version
- [Test page](https://cellofun.eu/26218-2/) - Why playing cello is fun This is my paragraph. Most of the pieces available in this Repertoire Library were not originally written for the cello. They can be considered "stolen treasures": interesting, spectacular, dramatic, or simply beautiful pieces, transcribed from the repertoire of other instruments (including the voice). Perhaps we could call this transcription idea
- [USA: Traditional Folk Music: Oh Susanna](https://cellofun.eu/traditional/usa/usa-traditional-folk-music-oh-susanna/) - Here is this lively USA folk tune in a duo version for cello + singer, another cello, or any other instrument. This piece can also be played as a one-man band: singing the melody while playing simultaneously the accompaniment. Doing it in this way is a great test of our ability at the cello as
- [Latin American Folk Music](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-geographical-region-ambiguities/latin-america/latin-america-folk/) - The following pieces are taken from the Play-Along Album for violin "World Music -Argentina" (Universal Editions), which I recommend purchasing because it really is an excellent collection. These are compositions or arrangements by Diego Collati but are presented here in versions for cello, with some "improvements" and modifications in the cello part as compared to
- [Music: Hobby Or Profession ?](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/pro-or-amateur/) - For the uninitiated, the glamour and glory of being onstage and soaking up the applause of a rapturous audience must seem like a wonderful dreamworld. In reality, the world of professional music-making (just like the world of the professional sports player) is a minefield of potential problems for the musician's physical and mental health. Does
- [Sexuality-Sensuality In String-Playing](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/sexuality/) - This article is part of the Psychology section. Both music and sexuality take us into a world of powerful emotional and physical (tactile) sensations. Even just listening to music can take us into this intensely emotional world. But when we actually play music, combining these intense emotions with the physical acts required to produce them, we
- [Simple Extensions in Neck Position: EXERCISES](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/simple-extensions-in-neck-region-exercises/) - This page is a sub-page of the Extensions In Neck Position article. Here you will find an enormous amount of exercises for working on our simple extended position all over the Neck Region. This material is especially useful for small-handed cellists. Sometimes these exercises also take our hand up into the lower Intermediate Region but
- [Thumb Position On The Cello: Practice Material In One Position (No Shifts)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/playing-in-thumb-position-practice-material/thumb-position-pracice-material-in-one-position-no-shifts/) - The thumbposition practice material offered here is divided into several types: slower doublestopped material (including arpeggios across the strings) stepwise flowing, single-note (no doublestops) material, suitable for practice at all speeds repertoire excerpts in one position 1: SLOWER DOUBLESTOPS We will start with the doublestopped material because this is absolutely the best and most fundamental
- [Tremolo For String Players](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/tremolo/) - The word "tremolo" comes from the italian verb "tremere" which means to tremble/shiver/shake. Like pizzicato, it is a technique (musical effect) that is rarely used in solo music but it is very commonly used in orchestral music, most especially in opera and in music of the Romantic Period and later. TREMOLO SPEED By definition, tremolo
- [The Right Wrist: Whips, Motors, Flicks, Flaps, Loops and Glue](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/the-right-wrist/) - Although we talk a lot about the wrist in the articles dedicated to Bow Changes, Bow Trajectory and Bow Hold, the wrist deserves its own special page because this complex articulation connecting the hand to the arm, is like a magic key that unlocks the door to the wonderful world of right-arm (bow) flexibility and
- [Cello: Instrument, Bow and Setup](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/instrument/) - WHY PLAY AN INSTRUMENT? In the beginning was .......... the voice. And a few sticks and stones for percussion, but definitely not the cello (nor any of our other sophisticated melodic and harmonic instruments). We are all originally, naturally, potentially, singers: born with a most beautiful instrument (the voice) attached. Our voice, unlike all other
- [Cello Thumb Horizontal Choreography (across the strings)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumb-on-which-strings-thumb-horizontal-choreography/) - The thumb, just like the other fingers of the left hand, doesn't only need to move up and down the strings "vertically" (shifting) but also often has to be moved "horizontally" across the strings (see Left-Hand String Crossings). This is because, unlike the guitar capo, most peoples' thumbs can effectively only stop two strings at a time.
- [Shifting On and To the Thumb](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-to-the-thumb/) - The side of the thumb (that part of the thumb that we use to stop the strings) is a very poor substitute for the fingertips. It not only has many fewer nerve endings than the finger pads but also has much less soft cushioning (meat) on it. These factors mean that it can seem (feel)
- [Shifting Into (and Out Of) Thumbposition: Practice Material](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-to-and-from-thumb-region/shifting-into-and-out-of-thumb-position-practice-material/) - Here is a large variety of practice material (exercises and drills, but also repertoire excerpts) for perfecting the skills required for comfortable shifting up into (and down out of) Thumbposition. We will separate this material into two sections: shifts to (and from) the thumb shifts to any other finger (not the thumb) These skills can
- [Traditional and Folk Music Transcribed for Cello](https://cellofun.eu/traditional/) - We have divided our cello transcriptions of Traditional/Folk Music into two main categories: Folk Songs Fiddle Tunes "Traditional" music is usually strongly characterised by its country (or region) of origin so most traditional/folk repertoire can also be found in the "Geographical Regions" section of the Repertoire Catalogue. In relation to the geographical origin of the
- [Cellofun Repertoire Library: North America](https://cellofun.eu/classical-region-usa/) - CELLOFUN REPERTOIRE LIBRARY: NORTH AMERICA For the moment, all of the cellofun editions of music from North America are very much in the "popular" genres although Bernstein and Gershwin definitely belong in both the "popular" and "classical" categories. Here below is a list of the available pieces transcribed for cello: Body and Soul
- [The Singing Cellist: Sing While Playing](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/control-or-overcontrol/sing-while-playing/) - This page could be a sub-page of many others: Aural Training Control/Overcontrol Tension/Relaxation Coordination Singing at the same time as we are playing is not only a wonderful way to develop our aural (hearing) skills but is also a great tension-reducer as well as being a test for how much brainpower we have to spare
- [Gluck: "Che Faró" from the opera "Orfeo ed Euridice": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/gluck-che-faro-from-the-opera-orfeo-ed-euridice/) - Here is the sheet music for the famous aria "Che Faró?" ("What Shall I Do")" from Gluck's (1714-1787) opera "Orfeo ed Euridice" (1760) in a transcription for cello. The aria is preceded by a powerful "recitativo" where Orfeo, sometimes sobbing, sometimes shouting, overwhelmed by pain, laments the death of his beloved, caused by his own
- [Kreisler: Schön Rosmarin: For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vienna-kreisler/kreisler-schon-rosmarin/) - This delightful violin piece, composed by Fritz Kreisler in 1905, is perfectly playable on the cello in the original key with no note changes necessary. The original violin articulation (bowing) features a lot of flying portato which is considerably harder to do on the cello than it is on the violin. In both the Edited
- [Rossini: "Una Voce Poco Fa": Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/rossini/rossini-una-voce-poco-fa-aria-from-the-barber-of-seville/) - This transcription for cello of Rossini's aria "Una Voce Poco Fa" from the opera "The Barber of Seville" (1816) is based on the version sung by Maria Callas (video visible here). This version incorporates considerable "improvements" on Rossini's original version, including notably several brilliant little cadenza passages. We have taken the liberty of double-dotting many
- [Lloyd-Webber: "Memory" from "Cats": Transcribed For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/lloyd-webber-memory-from-the-musical-cats/) - This beautiful song comes from the musical "Cats" (1981). Our cello version is presented in the key of C major, mainly because this key allows us to repeat the opening melody in two different registers, first in the lower tenor octave and then in the higher soprano octave, as though we were two different singers.
- ["We've Only Just Begun": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-ballad/weve-only-just-begun/) - To think that this beautiful pop ballad, composed in 1970 by Roger Nichols, began its life as an advertisement for a bank! It was made famous in a version by "The Carpenters", which is the basis for our cello transcription. Edited Performance Version Clean Performance Version Here below is a play-along accompaniment:
- ["Send In The Clowns": Transcription for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-shows/send-in-the-clowns-sondheim/) - Here is a cello transcription of this lovely, tender song from Stephen Sondheim's (1930-2021) musical "A Little Night Music" (which translates into german as "Eine Kleine Nachtmusik"), written in 1973. The use of climactic 9/8 bars interspersed within the normal 12/8 time signature gives the song a feeling of freedom, of improvisation, intimacy and spontaneity,
- [Rock Around The Clock: Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/rock-around-the-clock/) - Here is the sheet music for the rock classic "Rock Around The Clock" in a version for cello. This high-energy piece, written by Max Freedman and James Myers in 1952 and made famous in a version by Bill Haley and His Comets in 1954, was the first big hit of "rock music". We can only
- [Gimme Some Lovin': Transcribed for Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/rock/gimme-some-lovin/) - Here is the sheet music for a cello transcription of the rock hit "Gimme Some Lovin". This catchy tune was composed and sung by Stevie Winwood and The Spencer Davis group in the UK in 1967. Edited Performance Version Clean Performance Version And here is a play-along audio accompaniment to go with the cellofun
- [Your Song (Elton John): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-ballad/your-song-elton-john/) - This beautiful song, composed in 1970 by Elton John (1947), is offered here in a version for cello, transposed up a major third into G major from the original Eb major. We are always in a very comfortable register in this transcription, with our highest note being the first G on the "A"-string (in "fourth"
- [Piazzolla: Ausencias: Transcribed for Cello](https://cellofun.eu/latin-america-tango/piazzolla/ausencias/) - Here is the sheet music for Astor Piazzolla's (1921-1992) "Ausencias" in a version for cello. Piazzolla composed the music for more than 40 films and this slow tango appeared as part of the soundtrack for one of his last ones: "Tango: The Exile of Gadel" released in 1986. "Ausencias" translates from spanish into english as
- [Piazzolla: Libertango: For Cello](https://cellofun.eu/latin-america-tango/piazzolla/libertango/) - Written in 1974, this is one of Astor Piazzolla's most well-known works. The version offered here for cello (+ accompaniment) is more like an arrangement rather than a simple transcription. The characteristic rhythmic/melodic motif of this tango never stops during its entire duration even though it is easy to forget that it is there, in
- [Piazzolla: Mumuki: Transcribed for Cello](https://cellofun.eu/latin-america-tango/piazzolla/piazzolla-mumuki/) - This little piece of magic appeared on the record "New Tango: Zero Hour" (Nuevo Tango: Hora Zero), released in 1986 and which Piazzolla considered his greatest album. The cellofun transcription is a very loose adaptation with a 45-second guitar solo introduction followed by a simple piano accompaniment to the cello's thematic singing. Piazzolla plays this
- [Piazzolla Transcribed For Cello](https://cellofun.eu/latin-america-tango/piazzolla/) - Born to Italian parents in Argentina, Astor Piazzolla (1921-1992) grew up in New York before returning to Argentina at the age of 16. After eclectic studies of jazz, tango and classical music (especially Bach) he eventually went to study composition in Paris at the age of 32, where he discovered and developed his personal style
- [Piazzolla: Oblivion (Transcribed for Cello)](https://cellofun.eu/latin-america-tango/piazzolla/astor-piazzolla-oblivion/) - This little miniature is perhaps one of Astor Piazzolla's best known and most loved works. Written in 1984 as part of the soundtrack to the film "Henry IV" (Enricho IV), it has long since taken on a life of its own in arrangements for every imaginable instrument and ensemble. It is presented here for accompanied
- [Kreisler: Liebesfreud (transcribed for cello)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vienna-kreisler/kreisler-liebesfreud/) - "Love's Joy" is the english translation of this charming little viennese miniature which Kreisler wrote in 1905, along with its sister pieces Schön Rosmarin and Liebesleid, all published together in a collection called "Three Old Viennese Dances". Here is a link to an audio recording of Kreisler himself playing this piece: Kreisler playing "Liebesfreud" No
- [Kreisler: Liebesleid (For Cello)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vienna-kreisler/kreisler-liebesleid/) - Perfectly playable in the same key as the original violin version, no notes have needed to be changed for the cello performance versions. Written in the same year (1905) as Schön Rosmarin and Liebesfreud these three little miniatures were published together as "Three Old Viennese Dances" and have quite a lot in common, starting with
- [Bernstein: "Somewhere" + "Tonight" (Westside Story): For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/bernstein/bernstein-somewhere-and-tonight-from-west-side-story/) - "Somewhere", and "Tonight" are two of the most popular songs from Leonard Bernstein's (1918-1990) musical West Side Story (1957). These two songs are combined here in a medley, with the slow "Somewhere" being treated as an introduction to the livelier "Tonight" Edited Performance Version Clean Performance Version Easier Version Here below is a "play-along" audio accompaniment
- [Bernstein: "Maria" from "West-Side Story": For Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/bernstein/bernstein-maria-from-west-side-story/) - "Maria", from Leonard Bernstein's (1918-1990) musical West Side Story (1957) is a miniature, but a masterpiece nevertheless and probably the best known and most popular of all his compositions. Some liberties have been taken with the notation of the rhythms in the Performance Versions. Whereas Bernstein notates the song quite "squarely", here we have tried
- [Extensions in Cello Thumb Position](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/extensions-in-thumb-position/) - When we place the thumb ON the fingerboard, we gain an extra "new finger". But this new finger is not just an ordinary finger. The thumb, unlike the "ordinary" fingers, has an enormous (and effortless) range of movement in relation to the rest of the left hand. When we start to exploit this mobility of
- [Left-Hand String Crossings](https://cellofun.eu/traditional/left-hand-string-crossings/) - WHAT ARE "LEFT-HAND STRING CROSSINGS" While the word "shifting" describes the vertical displacement of the left-hand up and down the fingerboard, the term "left-hand string crossing" refers to the horizontal displacement of the fingers across the fingerboard, between the different strings. The left hand's "vertical" positional sense ("how far up the string am I?") is
- [Shifts Involving Open Strings and/or the Midstring Harmonic](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/shifting-during-an-open-string/) - USING THE OPEN STRING AS A SHIFT FACILITATOR Very often we will use an open string to shift on (in other words, we will shift while we are playing an open string). This has the huge advantage of giving us extra time (the duration of the open string note) to get into the new position.
- [Separating The Hands For String Players](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/separating-the-hands-for-string-players/) - While the coordination of the movements of our left and right hands/arms is one of the greatest and most constant challenges of string playing, there are many benefits to be had - as a practice technique - from making a total separation of the work of each hand. To isolate the righthand we will play
- [Cello String Crossings: The Bow's Natural Tendencies](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/string-crossings-the-bows-natural-tendencies/) - GRAVITY AND CENTER OF GRAVITY. HOW DOES THE BOW "FEEL" ABOUT STRING CROSSINGS? Even though the bow is an inanimate object it does however have its definite preferences when it comes to string crossings. Going against the bow's wishes is definitely possible - and very often unavoidable - but we can make life much easier
- [Bow String Crossings On The Cello: Two Strings: Study Material](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/2-strings/) - On the Basic String-Crossing page, the mechanics of simple crossings to a neighbouring string are dealt with in great detail, so we won't repeat that discussion here. We will instead look now at specific examples of tricky (for the bow) string crossing passages over any two strings, and different ways of working on them. On
- [Same-Finger Shifts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/same-finger-shifts/) - SHIFT DISTANCE AND MUSICAL INTERVAL It is only in same-finger shifts that the shift distance corresponds exactly to the musical interval (see Shift Choreography). SAME-FINGER SHIFTS AS THE ESSENTIAL FOUNDATION OF ALL SHIFTS These are the most basic, fundamental and useful shifts. In fact, all shifts are ultimately basically "same finger shifts". Assisted Shifts and
- [Cello Thumbposition: Vibrato On The Thumb](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumb-vibrato/) - Thumb vibrato is not easy or natural. When we use the thumb to stop our notes, we have no soft juicy fingerpad with which to make a beautiful vibrato. In fact our thumb's vibrato is a little like the Achilles heel of a hero: along with "shifting to the thumb" its vibrato definitely tends to
- [Shifting On The Cello: Same-Finger Shifts On The Thumb](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-thumb-position/shifting-on-the-cello-shifts-on-the-thumb/) - Here you will find practice material (both exercises and repertoire excerpts) to develop the skill of shifting on the thumb. This article is a sub-article of the Shifting Within Thumbposition and the Shifting On And To The Thumb pages. Here, we will be looking exclusively at same-finger shifts on the thumb. Same-finger shifts in thumbposition
- [Shifting On The Cello: Shifting Within Thumb Position](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-thumb-position/) - Here we are talking exclusively about shifts within thumbposition, independently of which fingerboard region (Neck, Intermediate or Thumb) we might be in. In other words, the defining characteristic of the shifts that we will discuss here, is that the thumb remains on the fingerboard before, during, and after the shift. Shifts On (and To) the
- [Assisted Shifts In Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-thumb-position/assisted-shifts-in-thumbposition/) - This article is a sub-article of the Shifting Within Thumbposition page. Here, we will be looking exclusively at assisted shifts involving the thumb, which means: shifts up from the thumb to another finger, and shifts down to the thumb from another finger Assisted shifts in thumbposition that do not involve the thumb are dealt with
- [Phrasing in Music](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/phrasing/) - WHAT IS PHRASING? A beautiful sound is the basic raw material of music. With this raw material, we produce notes - the building blocks (bricks) of music. But once we know how to find our notes and make them sound beautiful, we then need to organise them, structure them, assemble them together into meaningful groups
- [Cello Technique: Bow Trajectory On The String](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bow-trajectory/on-string/) - There are several main concepts that we can look at in a discussion of the cello bow's trajectory on the string. Please note that bow changes and bow trajectory in the air are not discussed here: they have their own specific pages (click on the highlighted links). "UP" AND "DOWN" BOWS: THE CONFUSIONS OF LANGUAGE
- [Left Hand Vertical Positional Sense III: VISUAL](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/position-sense/left-hand-vertical-positional-sense-iii-visual/) - This article is part of a larger article dedicated to our Left Hand's Vertical Positional Sense in general. Before talking about the use of our eyes to help us know where our hand is on the cello fingerboard we can do some experiments to discover just how important our visual positional sense is in other
- [Pizzicato Chords On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pizzicato/pizzicato-chords-on-the-cello/) - Unlike with bowed chords, we can pluck all of the notes of a pizzicato 3-or-4-string chord simultaneously, although this task is made much harder (and is actually impossible for 4-string chords) if we have to hold the bow at the same time. We can also alternatively choose to "spread" our chords, strumming them like a
- ["Popular Music": Interpretation, Playing Styles and Technique](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/popular-music-playing-styles-and-technique/) - When playing popular music we need to make some major changes to our mindset and playing style. If we play jazz, pop and swing music like "classical" musicians, as though we were interpreting Brahms or Beethoven, we are not going to be very popular. Stephane Grappelli and Yehudi Menuhin playing jazz together provide a lot
- [Freedom-Obedience ?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/freedom-or-obedience/) - This article is part of the Psychology section and deals with the question of: "to what degree should we religiously obey all the indications that the composer wrote in his composition?" Or, to state this same question in different words: "how much freedom can we allow ourselves to contradict the composer's original exact instructions?" **************************************************************************
- [Dvorak For The Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/dvorak/) - The following link opens a compilation of passages from the cello music by Dvorak in which we could, should, or must, use the thumbposition: Dvorak's Thumb
- [Jean Luis Duport: Cello Studies](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/pedagogy-sources/jean-luis-duport-cello-studies/) - The volume of 21 Studies by Jean Luis Duport (1749-1819) is frequently used as pedagogical material by cellists and cello teachers all over the world. This is often a shame, for the following reasons: FINGERINGS The fingerings found in almost all of the available editions come from a time when cello fingerings were still in
- [Major Third Extensions On The Cello: Lighten the Load](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/making-extensions-easier/) - Extensions on the cello share certain characteristics with practice in general: both are an unavoidable (and potentially irritating) constant in our cellistic lives. In the same way that we try to make our practice as interesting and enjoyable as possible, there are many ways by which the small-handed cellist can lighten the load of our
- [Rococo Style](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/musical-language/style-and-epoch/rococo-style/) - Also called "gallant style" in France and Italy, or "sensitive style" (empfindlich) in Germany and Austria, this ornate, highly decorated, elegant, light, playful, gentle, somewhat effeminate (even "camp") style came to its peak in music, architecture, painting, sculpture, fashion, decoration etc in the second half of the 1700s. The "Rococo" style was like a stepping
- [Bach: Cello Suites: Violin Fingerings, Thumbposition, Extensions and Cello Size.](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/solo-bach-extensions-cello-size-and-violin-fingerings/) - VIOLIN FINGERINGS AND THE USE OF LOW-REGISTER THUMBPOSITION IN THE BACH SUITES Even though the Bach Cello Suites normally stay in the Neck Region, certain passages in the Cello Suites are impossible to play without using thumbposition because of the extensions required. Here are just a few of those passages (a link to an entire
- [German Baroque: Phrasing, Rhetoric and Sewing Machines](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-for-solo-cello-phrasing-and-the-sewing-machine/) - In much of the music of the Baroque Period, notably in the music of Bach and Telemann, the lines of music sometimes seem almost endless. In the faster movements, the uninterrupted flow of equal note values can make the music sound sometimes a little mechanical, somewhat like a sewing machine (or a keyboard), especially when,
- [Doublestops: Practice Material: Shifting All Regions: No Extns](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/double-stops/doublestopped-shifting-practice-material-all-regions-no-extensions/) - Rolling Doublestopped Arpeggio Exercises: NO EXTNS: NO THUMB: Hand Moves Perfect Fourth Non-Rolling Doublestopped Arpeggio Exercises: NO EXTNS: NO THUMB: Hand Moves Perfect Fourth
- [Bach: Rhythmic Factors](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/rhythmic-factors-in-solo-bach/) - On this page, we will look at Bach's music for unaccompanied cello and violin from the point of view of rhythm. We will look at two main subjects: Bach's use of dotted rhythms, and then his various rhythmical "curiosities". 1. THE USE OF DOTTED RHYTHMS The following table shows the frequency of use of dotted
- [Solo Bach: The Movements](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-for-solo-cello-the-movements/) - The 6 Cello Suites and 3 Violin Partitas - unlike the 3 Solo Violin Sonatas - are collections of dance movements. Each of the 6 Cello Suites has 6 movements which always follow the same order of Prelude, Allemande, Courante, Sarabande, two short contrasting dances in A-B-A form (collectively called Galanteries: Minuets for Suites 1
- [Bach Cello Suites: Comparison of Sources (Manuscripts)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-cello-suites-source-manuscript-comparisons/) - Bach's own original manuscripts of his Cello Suites have been lost. The most "authentic" original source material that we have are therefore the following four surviving historical manuscript copies, published together in a wonderful facsimile (scanned) version by Barenreiter. copy by Anna Magdalena Bach (Bach's wife), dated approximately 1727-1731 copy by Johann Peter Kellner, 1726
- [Chromatics For Cellists](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/chromatics/) - The difficulty of reading chromatic passages is discussed in Music Reading and Notation Problems. The difficulties of hearing (imagining the pitches with our internal ear) chromatic passages are looked at on the Ear Training page. Here however we will look at the mechanical problems associated with playing chromatic passages. We are so used to playing
- [The First Finger](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/the-first-finger/) - ARTICULATION-ON-DEMAND OR LADY-IN-WAITING? THE DIFFERENCE BETWEEN HOW WE SOUND OUR HIGHER AND LOWER FINGERS The higher the finger (using standard notation of thumb,1, 2, 3 and 4) the more it is played by active finger articulation as compared to being played by the release of a higher finger. The thumb almost never needs to be
- [Boccherini](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/boccherini/) - Luigi Boccherini (1743 - 1805) may not have "discovered" thumbposition for cellists (see "History Of Thumbposition"), but he certainly made a sensational career out of this "invention". In his many (almost 40) cello sonatas and concertos (at least 12) he requires the cellist to spend more time with the thumb up on the fingerboard than
- [Gamba, 5-String Cello and Arpeggione Music on the Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/transcribing-5-string-cello-and-arpeggione-music-for-4-string-cello/) - The "Violoncello Piccolo", an instrument for which Bach wrote quite considerably (Sixth Solo Cello Suite and at least twenty Cantatas) has five strings: the four normal cello strings plus a higher E string. The "Arpeggione", instrument for which Schubert wrote his extraordinary Arpeggione Sonata, is very different. While it has the same additional high E
- [Left Hand Vertical Positional Sense II: TOUCH](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/position-sense/left-hand-vertical-positional-sense-ii-touch/) - This article is part of a larger article dedicated to Left Hand Vertical Positional Sense in general. Guitars have frets, keyboards have spaces between the keys, and wind instruments have holes, keys, or valves. And what does the cello have as clearly defined tactile reference points for the left hand's navigation up and down the
- [Basic Simple Extension Exercises](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/extension-exercises/) - The hand is most stable, and the fingers are strongest, when the fingers are bunched up close together. When, on the contrary, we extend the fingers away from this stable centre, this requires new strength and flexibility in the hand that no other movements from ordinary life have prepared it for. We need to build
- [Bach's Keyboard Music Transcribed As Chambermusic With Cello](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-repertoire-genre/piano-music/bachs-keyboard-music-transcribed-for-cello-plus-another-instrument/) - This page is a subpage of the Keyboard Music Transcribed For Cello article. There is a huge amount of Bach's keyboard music, especially the contrapuntal pieces, that can be very easily transcribed for different small chamber ensembles including the cello. As Bach's keyboard writing seldom used slurs, we will need to invent our own. Canon
- [The Contact Principle](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/the-contact-principle/) - While our eyes and kinesthetic sense do help us to know where we are, we depend very much on the physical points of contact of our hands with the instrument to give us the exact spatial references (feedback, information) from which we orient and calculate our subsequent movements (see Positional Sense). It is only when
- [Articulation](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/articulation/) - In music, the word "articulation" refers not only to how we start our notes but also to how much we separate them. Whereas left-hand articulation refers to how (and when) we place our fingers on the string, on this page we will look at how we start (and separate) our notes with the bow. Articulation
- [Music for One Cello + Accompaniment](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cellofun-repertoire-library-music-for-cello-solo-accompaniment/) - Because such a large proportion of the music in the cellofun edition Repertoire Library (catalogue) is for one solo cellist + accompaniment, we don't have a separate catalogue for this category: it is the "default" category. Just search by composer or the title of the work. Every piece in the cellofun library is classified also
- [Transposition as a Practice Technique](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/transposition/) - Transposing a passage into neighbouring keys is a very useful practice device for the left hand. Rather than practicing the same difficult passages over and over, we can create some useful variety by transposing them into neighbouring keys. This serves to reinforce our technical mastery while at the same time, it stops us from getting
- [Tension or Relaxation? The Relaxation Principle](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/the-relaxation-principle/) - The word "relaxation", like many of our most significant words (for example "god", "love", "freedom", and even "music"), is often seriously misinterpreted. We are at our most relaxed when we are asleep (or dead!), however we don't want our music to be either. While playing music, our objective is not to go to sleep nor
- [Scale/Arpeggio-Type Shifts in Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-thumb-position/scale-arpeggio-type-shifts-in-thumbposition/) - This page is a sub-article of both the "Scale/Arpeggio-Type Shifts and "Shifting Within Thumbposition" articles. Before looking at larger (arpeggio interval) shifts, we will look at the smaller, stepwise shifts of scales. SCALIC SHIFTS: From the point of view of scale fingerings, in thumbposition, the cello becomes like a violin. In thumbposition, because we have
- [Breathing](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/breathing/) - Like digestion, heart function, and other inner workings of the body, we tend to take our breathing for granted. We usually consider it as just another involuntary, unconscious, automatically-controlled bodily process that doesn't need any contribution from our conscious mind to regulate or control it. Our reasoning is “the body knows what it is doing
- [Bow Division](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/bow-division/) - The ultimate objective of our different choices of bow speed, pressure and point of contact together with our choice of bowings (bow directions) is to be in the best possible part of the bow at every moment. This "best" part of the bow is that part where we can achieve most easily both the musical
- [Bach: Cello Bowings and Articulations](https://cellofun.eu/repertoire-library-transcriptions-for-cello/bach/solo-bach-bowings-and-articulations/) - The lack of written articulation instructions that is a feature of a large amount of Bach's music, and the bowing inconsistencies and ambiguities in the four surviving manuscript copies of the Cello Suites (none of which are in Bach's handwriting), make Bach's cello suites absolutely the best music for making us think creatively about articulations
- [Fascism in Music](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/fascism-or-fuzziness/) - This article is part of the Psychology section. What is fascism? Hundreds of books have been written about this subject, but let's start with a few general ideas. Some of the characteristics often associated with fascism are: strict rules, obedience to authority, military discipline, machine-like toughness under pressure, homogeneity, absolute precision, perfection, infallibility, vertical power
- [Simple Extensions on the Cello In All Of The Fingerboard Regions: Different Extended Hand Postures](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/cello-size-and-hand-size/extensions-different-hand-postures/) - On this page, we will look at our simplest extensions: those of a major third between the first and top fingers (with the corresponding whole tone normally between the first and second fingers). These general observations are in principle, valid for all the fingerboard regions (Neck, Intermediate, and Thumb). EXTENSION LABORATORY Before we start any
- [Classical (Formal) Music Compared to "Popular" Music](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical-formal-music-compared-popular-music/) - WHAT IS "CLASSICAL"(FORMAL) MUSIC AND HOW IS IT DIFFERENT TO "POPULAR" MUSIC? As with so many distinctions that we are obliged to make in life, there is very often no clear dividing line between "popular" and "classical" ("formal") music. So much music in fact crosses any supposed boundaries between "popular" and "classical" that this division is
- [Finger-String Contact](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/finger-string-contact/) - Music is an extremely powerful means of communication, but it acts at a distance. While we do hope to "touch" our listeners, "move" them, "grip" them, and "hold" their attention, we have to do all this indirectly, at a distance, via our instrument. "Touch" has been called "the mother of all the senses" and bowed
- [Cello Fingering](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fingering/) - For all string players, choosing fingerings, just like choosing bowings, is a very important part of both our interpretative and technical mastery. But choosing fingerings for the cello is considerably more difficult than it is for the violin and viola because: we don't have as many notes under our hand and are unable (except for
- [Scale/Arpeggio Type Shifts To and From the Thumb in Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-thumb-position/scale-arpeggio-type-shifts-to-and-from-the-thumb-in-thumbposition/) - Here we are looking at Scale/Arpeggio-type shifts, to and from the thumb, within Thumbposition, meaning that the shift does not involve the placing (or removing) of the thumb from its position on top of the fingerboard. In other words, in these exercises the thumb is up on the fingerboard at all times: before, during and
- [Cello First Position (Traditionally "Half Position")](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/half-position/) - What is traditionally called "Half Position" really should be called "First Position" because it is in fact exactly that. There is no possible lower position, unless we consider "Zero Position" in which the first finger is placed on the nut at the start of the fingerboard, above all to make trills on the open string
- [Cello String Crossings: Four Strings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/4-strings/) - This page deals only with the right-hand (bow) aspect of cello string-crossings. To look at the lefthand string-crossing factors click on the highlighted link. For practice purposes we can divide string-crossing passages involving four strings into several different types: 1: REGULAR: chords (and broken chords) in which there is one note per string: 2: IRREGULAR:
- [Three-String Chord Sequences](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/3-strings/three-string-chord-charts/) - We can use the following three-string chord sequences as the basis for Sevcik-type exercises, practicing them with a large variety of different bowings and rhythms that will reinforce and automate the different string-crossing skills (for both right-hand and left-hand) that we will need in order to be able to comfortably play all the different three-string
- [The Instrumentalist as a Highly Skilled Manual Worker](https://cellofun.eu/home/cello-blog-encyclopaedia/the-instrumentalist-as-a-highly-skilled-manual-worker/) - Let's compare cello playing with the worlds of architecture, building construction, and manual labour. A piece of music could be thought of as an architectural creation - a beautiful (or ugly) building - but made only with sound. The composer is the "architect" of the music: the original creative source who leaves behind only the
- [Bow Pressure](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/bow-pressure/) - This article is a sub-article of the Bowspeed, Pressure, Point of Contact and Bowhair page. Bow-pressure and bow-speed are so intimately related that this page needs to be read together with the page dedicated to Bowspeed. Bow-pressure corresponds to two elements in painting: darkness and paint quantity (thickness). When we play with the lightest bow
- [The Secret Power of the Cellist's Thumbs](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/the-secret-power-of-our-invisible-thumbs/) - Apart from those times when our left-hand thumb is being used in thumbposition, both thumbs are more or less invisible, hidden from view under the hand, behind the cello neck (for the left hand), and tucked away against the frog of the bow (for the right hand). The fact that we can't see them doesn't
- [Stage Fright](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/stage-fright/) - There are two principal "curses" that weigh on a musician's life: practice and stagefright. But while we can't do anything to avoid the curse of practice, there are many things that we can do to avoid the curse of stagefright. Deactivating the potential bomb of stagefright is probably the hidden goal not just of the
- [Celloblog Homepage](https://cellofun.eu/home/cello-blog-encyclopaedia/) - Former UK prime minister Winston Churchill declared: "when I die and go to heaven, I want to spend the first million years painting – so I can get to the bottom of the subject." Rather than waiting such a long time, this "Celloblog" is a living attempt to understand and explain, as well as possible,
- [Cello Double-Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/extensions-1-4-perfect-fourth/) - When we stretch a perfect fourth between the first finger and the top finger, in any fingerboard region, we will call this a double-extension. In the Intermediate Region we can often avoid 1-3 perfect fourths by using the thumb on the lower note instead of the first finger. In the Thumb Region it is also
- [Cello History](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/instrument/cello-history-draft/) - Here is a chaotic list of quotes and references to articles and books dealing with the early history of the cello, most especially relating to its initial development at the end of the 17th century and beginning of the 18th century. Alessandro Sanguineti article: "Unearthing Forgotten Treasures ...." Recent studies by Marc Vanscheeuwijck and Brent
- [Doublestopped Practice Material: All Regions: With Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/double-stops/doublestopped-practice-material-all-regions-with-extns/) - EXERCISES Doublestopped Arpeggio Exercises: Hand Moves Fourth: ALWAYS EXTENDED STUDIES These studies are presented here in the scanned versions of the Grutzmacher edition. Although Grutzmacher's fingerings are often better than Duport's original suggestions, many are still unpractical or unplayable for smaller hands and will need to be seriously refingered. These studies were originally published with
- [Musician's Injuries](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/musicians-injuries/) - String players, like athletes, can easily hurt themselves at the instrument. Not because the instrument has sharp edges or a tendency to fall onto us, but rather because we tend to push ourselves to the limit and beyond (that's one sure way to find where the limit is!). Usually, injuries come from an excess of
- [The Cellist's Shoulders](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/the-cellists-shoulders/) - Although definitely appropriate in some exceptional situations requiring additional engagement, raising the shoulders creates (and requires) muscular tension and as a general rule should be avoided. Keeping our shoulders low, at the cello and in normal life, does not however mean letting them collapse: we need muscle tone and postural alertness, but what we don't
- [Bow Changes, Starts, and Stops](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/legato/) - WHAT IS A BOW CHANGE ?? When we “run out of bow” (reach the end of it) we have to “change it”. Fortunately for our economic situation, these terms “changes of bow” or “new bow/old bow” refer only to changes in the bow's direction rather than buying a new one ......... If we were to
- [Strength - Flexibility - Stability - Security - Freedom](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/strengthflexibility-a-healthy-balance/) - A healthy balance of these fundamental elements of engineering, ergonomics and life in general, is vital for good cello playing. Too much, or too little, of any one of these elements, can be a problem for our playing. Let's look at them one by one: STRENGTH "Strength" can be usefully divided into two types: endurance
- [Pattern Fingerings On The Cello](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fingering/pattern-fingerings/) - This page is a sub-article of the Cello Fingerings page. Here we are looking at fingerings which, by repeating constantly the same pattern, make it easier for our brain. One of the most common examples of pattern fingerings occurs when we use the same finger sequence for passages that repeat themselves identically while moving through
- [Rossini: Duetto for Cello and Doublebass](https://cellofun.eu/repertoire-library-transcriptions-for-cello/repertoire-catalogue/rossini/rossini-duetto-for-cello-and-doublebass/) - Having been in love with this magical, delightful piece for 45 years and quite unhappy with the available sheetmusic editions, it was finally time (now or never) to make a personalised edition: Cello Part: EDITED VERSION Cello Part: CLEAN VERSION Cello Part: EASIER VERSION Doublebass Part
- [Bizarre Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/3-4-tone-extension/) - This page is a sub-article of the "Extensions" page. On that page we looked mainly at the extension that occurs when we go from a minor third to a major third hand-frame. The "double-extended" perfect fourth hand-frame is looked at on the "Double-Extensions" page. Here, now, on this "Bizarre Extensions" page we will look at
- [Expressive Fingerings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fingering/expressive-fingerings/) - On this page we will look at how we can change the finger, position, or string (or all three), even when not technically necessary, in order to make an expressive effect. The use of expressive fingering devices is mainly useful in slower passages. In rapid, virtuosic passages our top priorities are normally clarity, accuracy and
- [Fingerings to Avoid Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/fingerings-to-avoid-extensions/) - This is a sub-page of both the Extensions and the Fingering pages. Traditional fingerings, as seen especially (but not exclusively) in many older editions of cello music (repertoire, methods, studies etc), often favour stretching (extensions) over shifting. Basically, according to tradition, if we can reach a note by stretching for it, then that's what we
- [Van Morrison](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/van-morrison/) - Moondance (1970) by Van Morrison
- [Tango](https://cellofun.eu/latin-america-tango/) - In this "Tango" category, Piazzolla definitely merits a page of his own. Piazzolla Traditional Tangos
- [Miscellaneous Right Hand](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/miscellaneous-right-hand/) - Click on the following links for discussions of these different right-hand subjects Right Hand Warmup Pizzicato Choosing Bowings
- [Stamitz](https://cellofun.eu/repertoire-library-transcriptions-for-cello/stamitz/) - See also “The History of Thumbposition” The following link opens up a compilation of passages from the music of Stamitz for which we could, should, or must, use thumbposition: Stamitz's Thumb
- [Lanzetti](https://cellofun.eu/repertoire-library-transcriptions-for-cello/lanzetti/) - See also “The History of Thumbposition” The following link opens up a compilation of passages from the music of Lanzetti for which we could, should, or must, use thumbposition: Lanzetti’s Thumb
- [Breval](https://cellofun.eu/repertoire-library-transcriptions-for-cello/breval/) - See also "The History of Thumbposition" The following link opens up a compilation of passages from the music of Breval for which we could, should, or must, use thumbposition: Breval's Thumb
- [Shostakovitch](https://cellofun.eu/repertoire-library-transcriptions-for-cello/shostakovitch/) - The following link opens up a compilation of passages from the music of Shostakovitch for which we could, should, or must, use thumbposition: Shostakovich's Thumb
- ["Formal" (Classical) Repertoire](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/) - The cellofun repertoire library has two separate catalogues: one for "formal" ("Classical") and another for "popular" music. We have used the term "formal music" rather than "classical music" in order to avoid confusion with music of the "Classical Period". There are, of course, many pieces for which it is not absolutely clear to which category
- [Elgar](https://cellofun.eu/repertoire-library-transcriptions-for-cello/elgar/) - Here is a compilation of passages from the music of Edward Elgar (1857-1934) which could, should, or must, be played in thumbposition. Most of these passages come from his magnificent cello concerto (1919): Elgar's Thumb
- [Cellofun Repertoire Library: France and Belgium](https://cellofun.eu/repertoire-library-transcriptions-for-cello/classical/classical-region-france/) - CELLOFUN REPERTOIRE LIBRARY: FRANCE AND BELGIUM Here you will find cellofun editions of music composed by the following french and belgian composers: Berteau Bizet Debussy Fauré Lalo Ravel Saint Saens Satie
- [Bow Changes](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/legato/bow-changes/) - This article is a continuation of the Bow Changes, Starts and Stops page. THE IMPORTANCE OF USING THE FLEXIBILITY OF THE HAND ARTICULATIONS Making the most of the movement possibilities of the wrist, knuckle and finger joints is vitally important for achieving beautiful bow changes, both legato and non-legato. How do we do this then?
- [Cesar Franck (1822-1890)](https://cellofun.eu/repertoire-library-transcriptions-for-cello/cesar-franck/) - Cesar Franck's violin sonata is a masterpiece, and how lucky we are that he also transcribed it for cello. Because it is in exactly the same key as for the violin, we need to use our higher registers quite a lot. Here below is a link to a compilation of passages from the cello transcription
- [Bowhair: Tension, Angle etc](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/pressure-and-point-of-contact/bowhair-tension-angle-etc/) - The bow hair corresponds not only to the hairs on the artist's paintbrush but also is the "right-hand equivalent" to the fingertips for the left hand: it is that part of our "body" that actually touches the string. We will continue to use these analogies to discuss the significance of the different bowhair variables: tension,
- [Information About Play-along Accompaniments](https://cellofun.eu/repertoire-library-transcriptions-for-cello/information-about-prerecorded-accompaniments/) - Ideally, all of the pieces for cello and accompaniment available in the Repertoire Library will come either with a play-along accompaniment audio file or with a link to another website from where this audio file can be obtained. If the audio accompaniment is made by cellofun.eu, then it will be downloadable for free on this
- [Time Spent in the Different Fingerboard Regions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/time-spent-in-the-different-fingerboard-regions/) - On this page we will look at different pieces of standard cello repertoire to see just how much time we spend in each of the different fingerboard regions. We will also look at how much time we spend in thumbposition (all regions combined) in each piece. We have considered the different fingerboard regions as follows:
- [Thumbposition: Pedagogical Order by Epoch](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumb-position-pedagogical-order-by-epoch/) - Is there a useful pedagogical "order" in which to practice our repertoire thumbposition material?? YES ! It is very convenient to practice thumbposition material (repertoire at least) in chronological order: starting with the Baroque, then Classical, followed by Romantic and finishing with the 20th century. This is because it is not only the quantity of
- [Shifting Up To (and Down From) Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-to-and-from-thumb-region/) - Accustoming the hand to the thumbposition postures in all the fingerboard regions requires many hours of practice. This is not just a vital skill in itself but is also a prerequisite for comfortable and secure shifting into (and to a lesser extent, out of) thumbposition. As a general rule, only when we have achieved comfort
- [Advantages of Thumbposition](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/advantages-of-thumb-position/) - This page, part of the large section devoted to thumbposition, is actually longer than the page dedicated to "problems of thumposition". Well this is not surprising .......... because if the difficulties of using the thumb outweighed the advantages then we just wouldn't use it! The thumb is undoubtedly the most useful finger in the higher
- [Thumb Region](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-region/) - The “Thumb Region” is the highest fingerboard region, starting approximately from 1st finger on B on the "A" string (and its equivalent on the other strings). From here on upwards, our hand is so high up the fingerboard that the thumb can no longer reach under (behind) the cello neck nor to the cello rib,
- [Miscellaneous Left Hand](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/) - Here, we are looking at all those left-hand factors that didn't fit in the main drop-down menu for Left-Hand Technique: Chromatics Contractions Fifths Finger Spacings Fingering First Finger Fourth Finger Harmonics Left-Hand Pizzicato Transposition
- [Fourth Finger](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fourth-finger/) - There are very few human activities, apart from music-making, for which a perfectly functioning fourth finger is absolutely and totally necessary. But for cello playing it is not even sufficient that our little finger be simply "well-functioning": we need it to be super-functioning, enhanced, turbo, bionic etc to make up for its innate lack of
- [The Chair](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/seating-posture/the-chair/) - This is a sub-article of the "Seating Posture For Cellists" page. Straight lines and 90-degree angles are very impressive achievements from an engineering point of view ..... but are completely inappropriate (and even harmful) for the human body. Some people say that the traditional chair - full of straight lines and 90º angles - is
- [Control or Overcontrol](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/control-or-overcontrol/) - When we are sounding great then we don't need to ask ourselves any questions about "control" (or about anything else for that matter). But when we start to sound not so great then we might need to ask ourselves if the problem is one of simple "lack of control" ........ or perhaps its opposite: too
- [Trying too Hard](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/try-too-hard/) - This article is part of the Psychology section. Western society likes to believe that we can achieve anything we want, if only we try hard enough. While this idea encourages enthusiasm, engagement, determination, ambition, dynamism and many other positive mindsets and actions, it has some very significant limits and also comes with some very significant
- [Think-Feel ?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/think-feel/) - This article is part of the Psychology section "Feeling" is a wonderful word, because the way we use it - to describe at the same time both our physical and emotional worlds - reveals beautifully the intimate connection between our emotions and our bodies. Intellectual thinking, on the other hand, although it can have a
- [Strength (Psychological)](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/strength/) - This article is part of the Psychology section. Here, we will talk about the psychological aspects of the most common socially accepted strength models. For a discussion about our needs for physical strength and stamina, see Strength-Flexibility (Mixed Hands Technique). In both the physical and psychological domains, the strength models suggested by most popular culture
- [Serious-Fun?](https://cellofun.eu/home/cello-blog-encyclopaedia/serious-or-fun/) - This article is part of the Psychology section. Dustin Hoffmann talks about how, at the school where he studied acting, there were basically two types of students: the serious ones and those who just wanted to have a good time. The best actors (performers) often came from the second group! If we take ourselves too
- [Preparation or Spontaneity ?](https://cellofun.eu/home/cello-blog-encyclopaedia/preparation-or-spontaneity/) - This article is part of the Psychology section. We don't actually need to choose between these two concepts, because both are completely necessary. The only question we have to answer is "when" do we prioritise one or the other? And this "when?" is a very interesting question because it leads us to discover that, in
- [The Now](https://cellofun.eu/home/cello-blog-encyclopaedia/the-now/) - This article is part of the Psychology section. Playing music is a lesson for life. It brings us into the "Now", focusing our concentration and energy on the present moment, which we try to make as wonderful as possible. When we achieve this extraordinary focus, we discover the origin and meaning of the word "momentous"!
- [Mind-Body](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/mind-body/) - This article is part of the Psychology section. It is the intellectual, mental, capacity of humans that most differentiates us from our fellow living creatures. Compared to humans: cats are more agile, birds are faster, fish swim better, gorillas are stronger etc. Animals also feel emotions, but their capacity for thought is nowhere near as
- [Male-Female ?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/male-female/) - This article is part of the Psychology section. There is no doubt that neither James Bond nor Barbie could be good classical musicians. James would have to soften up and loosen up, both physically (especially his right wrist) and emotionally. Barbie would need to toughen up and get serious. They could do several years of
- [Introvert-Extrovert?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/introvertextrovert/) - This article is part of the Psychology section. Introvert or extrovert, that is NOT the question! Leaving aside the extremes of the hermit (who wants to be left alone, always) and the hero (who needs an audience, always), introversion and extraversion are just different styles of communication. Many fine musicians are quite introverted - shy,
- [Intimacy or Performance? Sincerity or Show?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/intimacy-or-show-2/) - This article is part of the Psychology section. "When I play in public, am I an actor ?" This is a profoundly important question for musicians. It basically asks us "what is your essential motivation for playing in public"? But this is not an academic, theoretical discussion, as it has major consequences on
- [Hermit-Hero?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/hermit-or-hero/) - This article is part of the Psychology section. Individualism is a disease of modern western society. It is also a recipe for guaranteed unhappiness. The hermit and the hero are two sides of this same individualistic coin: one is adulated by crowds while the other shuns them. In the classical music world we also have
- [Focused or Fuzzy ?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/focus-or-dreamtime/) - The concepts of "focus" and its opposite, "fuzziness" or "diffuseness" are often used to describe characteristics of light. But they can also be used to describe ways in which we use our attention, our concentration, or even more generally to describe our approach to music and life. At the one extreme, we focus our concentration
- [Confidence](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/confidence/) - This article is part of the Psychology section. "that which doesn't kill us makes us stronger" - Friedrich Nietzche. German philosopher 1844 - 1900 This quote has become a part of popular "wisdom". This is very unfortunate because while it does contain a grain of truth and also sounds as catchy as an advertising slogan,
- [Communication](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/communication/) - This article is part of the Psychology section. The single most important factor that will determine our "success" as a performing musician, apart from our mechanical mastery of the instrument, is our ability as a communicator. The ease with which we establish genuine relationships, the comfort we feel with other people, and the pleasure we
- [Calm or Excited?](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/relaxation/) - Do we favour tranquility, calm and relaxation .......... or excitement and activity ? This is an absolutely fundamental question, for cello-playing and for life in general. Sometimes we need excitement, activity, "tension" (and their associated adrenalin) ............. but at other times we need the opposite: calmness, peace, quiet and relaxation. It is the inability to change
- [Audience Contact](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/human-contact/) - This article is part of the Psychology section. Singers are lucky. Not only do they have the most beautiful instrument but also it is also given to them for free. They have no expensive trips to the luthier, no strings, no bows, no accessories to buy. Their instrument weighs nothing, occupies no space (a dream
- [Chamber Music](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/chamber-music/) - Chamber music is the foundation on which all other types of music-making are built. Why is this ? In chamber music, we have our own voice for which we are uniquely responsible, but at the same time, we are part of a conversation, in which we are participating, usually as a more-or-less equal protagonist with
- [Orchestral Playing: Special Difficulties](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/orchestral-playing-3/orchestral-playing-special-difficulties/) - Orchestras come in many different sizes, but what differentiates an orchestra from other large musical groups is the fact that here we are sharing the same musical line with at least one other cellist, and are almost always sharing a music stand also. Chamber orchestras can be almost like large chamber groups, so to look
- [Left Hand Vertical Positional Sense IV: AURAL SENSE](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/position-sense/left-hand-vertical-positional-sense-iv-aural-sense/) - This article is part of a larger article dedicated to Left Hand Vertical Positional Sense in general. What do string players have in common with bats and sharks ...... we also locate our target principally with our ears (hearing). Whereas our eyes are our principal navigational aid on earth, it is our ears that give
- [Claws or Paws ?](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/basic-principles-of-technique/claws-or-paws/) - For both hands, it seems that the "paw" is a much more practical and expressive tool than the "claw". For both holding the bow (right hand) and stopping the strings (left hand), having the fingers in a tightly curled "claw" posture is a recipe for stiffness, rigidity and tension, all of which in turn leads
- [Eastern Europe: Gypsy](https://cellofun.eu/traditional/eastern-europe/east-europe-gypsy/) - GYPSY MUSIC "Gypsy" music tends to come more from the south of Eastern Europe (most notably Rumania, Bulgaria and Hungary) but the composer of the most-popular Czardas (offered here below) was actually italian! Hora Staccato (Dinicu) Czardas (Monti)
- [East Europe Folk](https://cellofun.eu/traditional/eastern-europe/east-europe-folk/) - EASTERN EUROPE: FOLK Bartok: Romanian Dances
- [USA Traditional Folk: "Tis A Gift To Be Simple"](https://cellofun.eu/traditional/usa/usa-traditional-folk-tis-a-gift-to-be-simple/) - Here is this beautiful traditional quaker song from the USA, in various different versions: Duo Version Cellist Sings Melody While Accompanying Themselves Pizzicato
- [The Editing Process](https://cellofun.eu/repertoire-library-transcriptions-for-cello/the-editing-process/) - Bowings - but more especially fingerings - are very personal, very subjective. But the criteria for determining what are "good" or "bad" choices are not only influenced by our own unique individual characteristics (hand size, temperament, mood etc) but also will vary according to the acoustic, the characteristics of our instrument and bow, what the
- [Mental Practice](https://cellofun.eu/home/cello-blog-encyclopaedia/neither-body-nor-psychology/practice/mental-practice/) - We can't build strength, flexibility or position sense in our bodies just by imagining, but, practising a piece in our head - imagining every fingering and bowing, either from memory or while reading the written music - can be a very useful practice method. Psychologists say that imagining something is often almost (or equally) as
- [Doublestopped Shifting: All Regions: With Thumb](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/shifting-to-the-thumb/doublestopped-shifting-all-regions-with-thumb/) - Chromatic Doublestopped Scales With Thumb: EXERCISES Major and Minor Doublestopped Scales With Thumb: EXERCISES Rolling Doublestopped Arpeggio Exercise: All Regions With Thumb
- [Thumbposition: In One Position: Doublestopped Exercises: Part 3](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/playing-in-thumb-position-practice-material/thumb-position-pracice-material-in-one-position-no-shifts/thumb-position-in-one-position-doublestopped-exercises-part-3/) - On this page we present the "Cossmann-style Doubletrill" exercises which are so good for finger strength, agility, coordination and placement (intonation). In these exercises we have two fingers moving on each string. These are the ultimate level exercises for doublestops in one position, which is why we will ideally practice the two previous preparatory level
- [Thumbposition: Basic Doublestops in One Position (No Shifts)](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/thumbposition-basic-doublestopped-material-in-one-position-no-shifts/) - Doublestopped practice material in one position (without shifts) is absolutely the best and most fundamental material for establishing the basic comfort, strength and security of our left hand in any position on the cello fingerboard (see here for a more detailed explanation as to why this is). 1: DOUBLESTOPPED EXERCISES EXERCISE 1: ALL FINGER COMBINATIONS
- [Intermediate Region: Basic Doublestopped Exercises: No Shifts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/intermediate-region-basic-doublestpped-positional-exercises/) - These exercises use the six possible finger combinations across any two strings, shown here below in approximate order of diminishing ergonomic comfort. There are no shifts in these exercises: they move up and down chromatically through the entire Intermediate Region exclusively by crawling (snakewise) movements. This will give us great comfort, familiarity and security in
- [Neck Region: Basic Doublestopped Exercises In One Position](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/neck-region-foundation-technique-doublestopped-cossmann-style-exercises/) - The cellist Bernhard Cossmann (1822-1910) “discovered” and published some wonderful little doublestopped exercises in his “Studies for Developing Agility, Strength of Fingers, and Purity of Intonation for Cello” in the late 19th century. On the cellofun.eu website these exercises have been developed, elaborated, and extended, to ultimately constitute one of the basic pillars of our
- [Neck Region: Doublestopped Exercises: No Shifting: Part 3](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/neck-region-foundation-technique-doublestopped-cossmann-style-exercises/neck-region-doublestopped-exercises-no-shifting-part-3/) - This page concerns the third level of preparatory exercises for the “Cossmann Doubletrills”. In the first level we used one finger fixed on one string while on the other string we used all the other fingers as well as the open string. In the second level exercises we used one finger and the open string
- [Neck Region: Doublestopped Exercises: No Shifting: Part 2](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/neck-region-foundation-technique-doublestopped-cossmann-style-exercises/neck-region-doublestopped-exercises-no-shifting-part-2/) - This page concerns the second level of preparatory exercises for the "Cossmann Doubletrills". In the first level we used one finger fixed on one string while on the other string we used all the other fingers as well as the open string. In those exercises there were no coordination problems between the two strings. Here,
- [Hand Independence Exercises for Vibrato](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/vibrato/hand-independence-exercises-for-vibrato/) - While maintaining a steady, relaxed, warm, rhythmically controlled vibrato on any finger anywhere on the fingerboard, do all sorts of unrelated movements with the right hand: 1: without holding the bow (tap your head, scratch your leg etc) 2: holding the bow, but without it touching the strings 3. bowing on the strings with the
- [test page - general](https://cellofun.eu/test-page-general/) - [column col="1/3"][youtube width="300" height="225"]http://www.youtube.com/embed/GCeJBBGI2mo[/youtube][/column] [column col="2/3"][/column] Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vivamus sodales, purus ut venenatis feugiat, diam lacus eleifend nulla, sed vehicula massa orci eget nunc. Phasellus posuere condimentum vulputate. Nulla sit amet scelerisque felis. Mauris et nulla tortor. Suspendisse ac mauris id nibh dapibus commodo. Donec venenatis nisi eu orci
- [Kreisler](https://cellofun.eu/repertoire-library-transcriptions-for-cello/vienna-kreisler/) - FRITZ KREISLER (1875-1962) Here are the available pieces by Kreisler. Liebesleid Schön Rosmarin Liebesfreud
- [Upsidedown String Crossings: Chord Charts](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/string-crossings/upsidedown-doublestops-practice-material/upsidedown-string-crossings-chord-charts/) - These chord sequences are to be played with different rhythms and with different bowing combinations. They can be played also on the lower strings and in the minor keys.
- [Neck Region: Basic Doublestopped Exercises In One Position: Level 1](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/neck-position/neck-region-foundation-technique-doublestopped-cossmann-style-exercises/neck-region-basic-doublestopped-exercises-with-open-string-part-1/) - In this first, easiest level of doublestopping exercises in any one position we will use one finger fixed on one string, and all other fingers improvising on the other string. These are the most basic intonation exercises, very good for our basic finger spacing and with no problems of finger coordination to deal with. We
- [Cello Trios: Bach Adagio from Violin Solo Sonata Nº 3 in C](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-2-cellists/3-cellos/cello-trios-bach-adagio-from-violin-solo-sonata-no-3-in-c/) - This extremely chordal movement is written originally for one unaccompanied violin. Of its 141 quarter-note beats, no less than 121 (more than 85%) have at least one doublestop or chord on them. In fact 85% of all the notes in this movement are part of either a doublestop or a chord. There are often four
- [Intermediate Region: Doublebass Fingerings to Avoid Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/intermediate-region-doublebass-fingerings-to-avoid-extensions/) - Exercises Repertoire Examples
- [Intermediate Region: Use of Thumb to Avoid Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/intermediate-position/intermediate-region-use-of-thumb-to-avoid-extensions/) - Exercises Repertoire Examples
- [Fauré: Berceuse Op 16](https://cellofun.eu/repertoire-library-transcriptions-for-cello/faure-berceuse-op-16/) - Gabriel Faure (1845-1924) composed this Berceuse Opus 16 for violin (or cello) in 1879. It is presented here in its original key of D major, so the accompaniment can be played from any violin edition. "Berceuse" means "lullaby" in french and in the original source for this transcription ("Les Soirées Intimes" - a collection of
- ["Easier" Versions: Explanation](https://cellofun.eu/repertoire-library-transcriptions-for-cello/easier-versions-explanation/) - For most of the pieces in the cellofun Repertoire Library, a simplified version is also offered, in which the most difficult passages are made easier. This process of simplification however, is not always as straightforward as it might seem, because it is often not easy to decide what to change, what to leave and how
- [Original, Literal Version of Sheet Music: Explication](https://cellofun.eu/repertoire-library-transcriptions-for-cello/original-literal-version-of-sheet-music-explication/) - The "Original Versions" (or "Literal Transcriptions") of the repertoire available on this webpage are always direct transcriptions, taken from the most authentic source available (ideally manuscript or Urtext), transposed into the cello-version key, but with no other modifications or additional editing.
- [Bach For Solo Cello: Style and Interpretation](https://cellofun.eu/repertoire-library-transcriptions-for-cello/music-for-one-unaccompanied-cello/bach/bach-for-solo-cello-style-and-interpretation/) - The music of Bach is the perfect example of why "personal" interpretation should not be taught. If we listen to 20 recordings of the same piece of solo Bach, we will probably hear 20 completely different versions. In solo Bach, more perhaps than for any other composers, the same music played by different musicians can sometimes be
- [Tiersen, Yann](https://cellofun.eu/repertoire-library-transcriptions-for-cello/tiersen-yann/) - Que Reste-t-Il
- [Chromatic Notation Experiments](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/musical-notation-problems/chromatic-notation-experiments/) - Experiment 1: No key signature 1A: Always use the simplest possible accidental (the choice between Ab and G# will depend on whether the neighbouring notes are flats or sharps). No remembering of accidentals during the bars. Note: with this system, Eb and C# will often be juxtaposed (Bb - G# will be always Bb -
- [Bach: Courante Suite IV: With a Maximum of Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/bach-courante-suite-iv-with-a-maximum-of-extensions/) - Here is the Courante of Bach's Fourth Suite fingered in such a way as to use a maximum number of (simple) extensions. To download this page of sheet-music, click on the following link: COURANTE: SUITE IV: WITH MAXIMUM NUMBER OF SIMPLE EXTENSIONS
- [Bach: Courante Suite IV: With Minimum Extensions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/extensions/bach-courante-suite-iv-with-minimum-extensions/) - Here is the Courante from the Fourth Suite, fingered in such a way as to avoid as much as possible the use of the normal extended position (1-2 tone). To download thi s music click on the following link: COURANTE SUITE IV: MINIMUM OF EXTENSIONS
- [Narcissism and Autism](https://cellofun.eu/home/cello-blog-encyclopaedia/musicality/more-psychology/narcissism-and-autism/) - Successful musicians at at risk of becoming narcissistic, egotistical, ambitious and competitive. Frustrated, struggling, unsuccessful musicians are at risk of becoming depressed and somewhat autistic. In all cases, musicians are at serious risk for becoming self-centered and self-absorbed, where elements of both narcissism and autism are combined in different proportions. There are, I believe, several reasons for
- [Boccherini: Time Spent in Thumb Position](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/left-hand-regions/thumb-position/boccherini/boccherini-time-spent-in-thumb-position/) - [table id=1 /]
- [Traditional Tangos](https://cellofun.eu/latin-america-tango/traditional-tangos/) - The following pieces are taken from the Play-Along Album for violin "World Music -Argentina" published by Universal Editions. These are compositions or arrangements by Diego Collati but are presented here with some minor "improvements" and modifications for cello. The original CD accompaniments are still however perfectly valid. Milonga Tango
- [Overture to A Midsummernights Dream](https://cellofun.eu/latin-america-tango/piazzolla/overture-to-a-midsummernights-dream/) - Overture: literal transcription from "Vuelvo al Sur" Overture arranged version, unedited
- [Duo from A Midsummer Night's Dream](https://cellofun.eu/latin-america-tango/piazzolla/duo/) - Duo I from Midsummer Nights Dream: unedited version
- [Street Tango](https://cellofun.eu/latin-america-tango/piazzolla/street-tango/) - Piazzolla has a lot of trouble staying rough and raunchy. This piece starts off all fire and "street tango" ....... but quickly melts into a beautiful lyrical slow Pizzolla-esque dreamtime. The rough stuff only returns near the end for a fired up finish. Street Tango: edited version Street Tango: literal transcription from "Vuelvo al Sur"
- [Sin Rumbo](https://cellofun.eu/latin-america-tango/piazzolla/sin-rumbo/) - Sin Rumbo: literal unedited version Sin Rumbo: arranged and edited version
- [Milonga Picaresque](https://cellofun.eu/latin-america-tango/piazzolla/milonga-picaresque/) - Milonga Picaresque: unedited version
- [Sustainable Fingerings](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/miscellaneous-left-hand/fingering/sustainable-fingerings/) - In the same way that we talk about "sustainable" agriculture, "sustainable" economies etc we can talk about "sustainable" fingerings. Sustainable fingerings are those that don't require us to practice 6 hours a day in order to be sure that we can do them successfully. Sustainable fingerings are defensive, safe, secure, reliable, low-risk fingerings. A "sustainable"
- [Finger Substitutions](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/scalearpeggio-type-shifts/finger-substitutions/) - As discussed in the SCALE/ARPEGGIO -TYPE SHIFT section, finger substitutions are an intermediate phase along the continuum that exists between a semitone hand contraction and a fully fledged scale/arpeggio-type shift. WHY (AND WHEN) DO WE USE FINGER SUBSTITUTIONS? It is very hard to disguise (camouflage, hide) shifts that occur during slurs. Therefore, in passages that
- [Ragtime](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/ragtime/)
- [Eastern Europe: Traditional](https://cellofun.eu/traditional/eastern-europe/) - We can see at least three distinct categories in traditional popular (folk) music from Eastern Europe. GYPSY music, which tends to come more from the south of Eastern Europe (most notably Rumania, Bulgaria and Hungary). KLEZMER (Jewish) music, which tends to come from the more northern areas of Eastern Europe. all other types of EAST
- [Sautillé: Practice Material](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bouncing-bow/spiccato-practice-material/sautille-practice-material/)
- [Left Hand Staccato Shifting](https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/left-hand-homepage-a-musician-is-an-athlete-of-the-small-muscles/shifting/same-finger-shifts/left-hand-staccato-shifting/) - This is a special effect which could be considered the Left Hand equivalent of the bow's flying staccato. Here, the left hand does a glissando up or down the string, but rather than sliding smoothly, it does it with machine-gun-like impulses. As with the bow's flying staccato, this is the perfect opposite of a smooth
- [communication draft](https://cellofun.eu/communication-draft/) - It's not even a question of being introverted or extroverted but rather of having something to say through the music, wanting to share it, and of course, having the self-confidence and relational skills to be able to share it in the moment. Claudio Arrau: extremely centered but always aware of the publics presence (respect). Music
- [Orchestral Playing Draft](https://cellofun.eu/orchestral-playing/) - Very difficult for control freaks and perfectionists because so many people and elements are impossible to control. 3. STRANGE HUMAN emotional CONTACT Imagine: doing something very difficult and quite emotionally charged and completely together with the same people every day and night but never really having any close personal contact with them (only musical) -
- [Search by Duration](https://cellofun.eu/search-by-duration/) - Search by the duration of a piece in minutes: 1+ 2+ 3+ 4+ 5+ 6+ 7+ 8+ 9+ 10+
- [Search by Speed](https://cellofun.eu/search-by-speed/) - SLOW MEDIUM FAST MIXED
- [Search by Composer](https://cellofun.eu/search-by-composer/) - Click on the first letter of the surname of the composer you want to search for: A B C D E F G H I J K L M N O P Q R S
- [Search by Difficulty](https://cellofun.eu/search-by-difficulty/) - Difficulty Level: 1 2 3 4 5 6 7 8 9 10
- [Purchase History](https://cellofun.eu/purchase-history/) - [download_history]
- [Purchase Confirmation](https://cellofun.eu/purchase-confirmation/) - Thank you for your purchase! You will shortly receive a confirmation email containing the download link. Simply click on the link to download and save you purchase. You are also able to click on MY DOWNLOADS to see and download your purchases. If you have any problems, please contact us
- [Traditional Others](https://cellofun.eu/traditional/traditional-others/) - OTHERS
- [Pop Others](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-others/) - OTHERS
- [Pop Reggae](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/pop/pop-reggae/) - REGGAE
- [Light Classical Operettas](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-operettas/) - OPERETTAS
- [Vienna Others](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-vienna/vienna-others/) - OTHERS
- [Vienna J. Strauss](https://cellofun.eu/repertoire-library-transcriptions-for-cello/popular/light-classical/light-classical-vienna/vienna-j-strauss/) - J. STRAUSS
- [East Europe Klezmer](https://cellofun.eu/traditional/eastern-europe/east-europe-klezmer/) - KLEZMER
- [Information About Videos](https://cellofun.eu/information-about-videos/) - The video performances are available so that you can see (and hear) what each transcription sounds like on the cello. For simplicity I have recorded them myself, but listening to (or watching) these same pieces played (or sung) in the original version by great musicians will certainly be far more instructive and enjoyable. I will
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