Solos for Young Cellists Cello Part and Piano Acc., Volume 6: Cello Book

This volume arrives at a moment when young cellists need repertoire that honors both their technical growth and their emerging musical judgment. Cheney has selected works that span genuine stylistic range—from the introspection of Mendelssohn and Fauré to the rhythmic vitality of Forsyth's suite—while remaining focused on the specific pedagogical work of intermediate cellists. The inclusion of Boccherini's sonata with keyboard realizations and the Bloch prayer offers both historical substance and emotional depth that distinguish this collection from generic compilations.

This collection invites cellists into the emotional and technical world of genuine composers—the gentle melancholy of a Mendelssohn song without words, the architectural clarity of Boccherini's classical sonata, and the surprising energy of Forsyth's eclectic finale. Each piece unfolds with the character of real music rather than exercises, giving students the satisfying experience of performing substantial repertoire.

Intermediate to early-advanced cellists who have developed secure intonation across at least two positions and are ready to engage with genuine solo literature. This volume works equally well for private studio students preparing for recital and for young musicians in school settings who want substantive repertoire beyond study pieces. Teachers seeking to broaden their students' musical taste beyond a single tradition will find the stylistic breadth here rewarding.

• Work through the Boccherini Allegro first with attention to the keyboard realization's harmonic framework; Cheney's edition clarifies the relationship between cello and accompaniment, which becomes clearer when you understand the harmonic foundation from the start.
• Approach the Mendelssohn and Fauré selections as lyrical studies in phrase shaping and vibrato control; record yourself practicing to hear where the melodic line breathes most naturally.
• Use the Eclectic Suite's variety in tempo and character as an opportunity to shift your physical approach between movements; notice how 'Ripsnorter' requires a different energy from 'Song of Light,' and practice the transitions deliberately.
• When preparing any of these pieces with the companion CD accompaniment, rehearse without it first to establish your own tempo and phrasing, then check that stability against the recorded tempo before integrating them fully.

Draw from this volume throughout a school year or lesson sequence, spacing works across recitals to show your students' range and growth. The Forsyth suite's contrasting movements make an excellent concert closer or a demonstration of stylistic flexibility, while the Boccherini and Mendelssohn selections pair well in programs exploring classical and romantic cello repertoire. The Bloch prayer serves particularly well as a bridge piece in programs that move between lighter and more introspective material.

• Vibrato control and expressive phrasing in singing melodic lines
• Reading and playing in multiple positions (specifically higher positions across these pieces)
• Articulation variety across classical, romantic, and contemporary styles
• Accompaniment awareness and ensemble balance when practicing with recorded piano parts
• Stylistic distinction between classical, romantic, and modern musical languages
• Extended bow techniques and dynamic shaping required by each composer's voice