Sheku Kanneh-Mason: Song: Cello Book

This collection captures something rare: arrangements and selections from a working professional cellist's own album, curated specifically for the qualities that define cello as a singing instrument. The mix of classical standards, art songs, and popular music in cello-friendly keys gives students a program that feels contemporary and purposeful rather than purely pedagogical. You can build a complete recital around this book without reaching for ten other sources.

Intimate and conversational, like overhearing a musician's personal playlist rather than a formal recital program. The cello speaks directly, whether in spiritual arrangements like 'Deep River,' the yearning of Bacharach's popular song, or the nostalgia of Welsh and classical standards. There's a deliberate warmth throughout that invites listeners into the cellist's own relationship with these pieces.

Intermediate cellists with solid intonation and some facility in higher positions will find repertoire here that rewards focused practice. This works equally well for solo recital preparation, chamber ensembles, or string program concert programming. It's especially valuable for students and teachers looking to program music beyond the traditional sonata and concerto circuit.

• Study the original vocal and piano versions of pieces like 'I Say a Little Prayer' and 'Myfanwy' before diving into the cello arrangements. Understanding the text and lyrical shape will inform your phrasing choices even when singing on strings.
• Focus on tone production in the upper positions, especially in the duet and trio movements where the cello's soprano register needs to carry the melody without strain. These arrangements sit higher than much cello repertoire at this level.
• Balance carefully in the ensemble pieces. The writing often gives cello the primary voice, but resist oversinging. Let the other lines breathe and support the overall texture.
• Lean into the personal quality of this collection. These are pieces Kanneh-Mason selected because they speak to him; invite your students to find what speaks to them within each work.

Open a concert or chamber recital with the lighter, more contemporary arrangements and shift into classical territory, using the shift in tone and era to mark the program's arc. The solo pieces offer flexibility for featuring a principal cellist mid-program, while the duets and trio create natural opportunities for rotating ensemble spotlights. This works especially well as a full program for a cello studio recital or as a thematic programming choice around 'music for singing.'

• Navigating upper register positions with secure intonation
• Shaping lyrical phrases drawn from vocal and song traditions
• Balancing tone production across different tessituras within a single piece
• Playing in varied ensembles (solo, duet, trio) without losing musical coherence
• Interpreting arrangements by understanding original compositions across genres