Recordings of Folk and Beyond – the new cello and piano collection for cellists Grades 4 – 8 – are now on You Tube: Folk and Beyond
You can buy the music here: Folk and Beyond
Folk and Beyond is a collection of twelve cello and piano pieces ranging from around Grades 4 – 8. Special effects – such as col legno, snap pizz,tremolo bowing, ponticello, stamping and harmonics – are used to enhance character, and the music has a strong sense of narrative.
Kevin Mayhew Publishers has just released this interview about Folk and Beyond – my new cello and piano collection. I hope you like it:
All the music in the collection has been recorded and can be heard on the Kevin Mayhew website or on my Soundcloud site here: Folk and Beyond
If you have any questions about the music that aren’t covered in the interview please email at: jbcontact@btinternet.com
If you feel like trying some new duets we have plenty of sheet music in our shop which is not too demanding technically and is fun to play. Here are some relaxing, summer choices :
Tambourin
A lively, happy piece with straightforward parts for both instruments.
My Love is like a Red, Red, Rose
Who doesn’t enjoy this well known, romantic folk tune?
Over the Hills and Far Away
Another vibrant, happy piece with lots of open string double stopping that is easier than it sounds!
Arrival of the Queen of Sheba
One of the most popular pieces ever written? Here’s the chance to try a duet version instead of playing it in an orchestra.
As for cello duets Non Piu Andrai is a bit harder than the violin and cello duets mentioned above, but aims to have a sense of humour! And here’s the cello duet version of My Love is Like a Red, Red Rose.
If you want to know more about the standard of our music just email us at info@fedorastrings
How important is it to stick to authenticity when creating violin and cello duet arrangements – or indeed adapting a book for film or theatre? If you change too much you can lose the whole point of the music. However, if you are altering a piece dramatically anyway – say arranging an operatic work for violin and cello duet – trying to aim for complete accuracy doesn’t always work. In many ways you need to accept that the medium is so different the whole thing needs to be re-imagined to come to life. Simply copying and necessarily leaving a lot out can result in a lack of vitality.
Red Priest create hugely imaginative Baroque arrangements
Copying alone doesn’t work
Adding new ideas true to the spirit and character of a work can hugely increase the energy and excitement of performance. How far you should go with this is a matter of individual taste, but not morally wrong. Shakespeare’s plays will never be diminished no matter how many varied interpretations they are given; and Bach will never be a lesser composer no matter how many styles his music is played in. Performance and interpretation are about re-creating music, not just copying notes – and this also makes the process a lot more fun.
Mel Gibson and Glenn Close’s oedipal interpretation of Hamlet
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