Solos for Young Cellists Cello Part and Piano Acc., Volume 2: Cello Book

This collection draws from Cheney's quarter-century of research into what actually works for developing cellists, blending canonical stepping-stone pieces with newly composed works that keep the repertoire fresh. The variety of keys, positions, meters, and musical styles means each student finds something that speaks to their interests while advancing their technique in specific, measurable ways.

These solos span intimate character pieces like the gentle Cradle Song and Berceuse alongside more playful selections such as Running of the Bulls and Elfintanz, offering emotional range within accessible technical demands. The collection feels like discovering a personal library of trusted pieces, each one revealing something new about tone control, phrasing, and musical storytelling at this level.

Young cellists working at the elementary to intermediate level who are ready to expand beyond simplified arrangements into genuine solo literature. Teachers will find this book essential for students preparing for festival competitions, recitals, or the natural progression from foundational studies into more substantial repertoire.

• Prepare the accompaniment recording before the first rehearsal. Playing with the recorded piano part helps you internalize the tempo and phrasing expectations from the start, reducing rehearsal time later.
• Mark the score where position shifts occur, noting whether each move follows a descending or ascending passage. This visual preparation prevents hesitation during performance.
• Work through the fingering and bowing choices methodically before speed. Many pieces in this collection benefit from consistent bow distribution across phrase lines rather than rushed passages.

Build a solo recital by selecting three to four pieces that create contrasting moods and keys, using Cheney's variety to avoid monotony across a 20 to 30-minute performance. The collection works equally well as a year-long source of rotating pieces for winter and spring recitals, or as supplementary material supporting your studio's concurrent technical studies.

• Playing in multiple positions with secure intonation
• Executing style-specific bowing techniques across baroque, classical, and contemporary idioms
• Reading and performing in varied time signatures and key signatures
• Sustaining lyrical phrasing in slower movements
• Performing with rhythmic precision against recorded accompaniment
• Building confidence in chamber music contexts through piano collaboration