Cello Sheet Music

Richard Aaron’s Edition of the 40 Popper Etudes, op. 73
+ Franchomme’s 12 Etudes, op. 35
(with his original 2nd cello accompaniment)

Spiral-bound, shiny, new, and $10 off.

Music by Faure and Saint-Saens arranged for solo-cello accompaniment.

Allegro Appassianato | Apres un Reve |
Elegie | Papillon | Sicilienne | The Swan

The accompaniments are moderate to difficult.

Gabriel Fauré's "Après un Rêve, op.7 no. 1" arranged for 2 cellos by Eric Moore.

The second part is an accompaniment intended to be used instead of piano - it is staid and sparse.

Also look for the other standard French Showpieces arranged for 2 Cellos as a digital download!
Allegro Appassionato | Elegie | Papillon | Sicilienne | The Swan

Gabriel Fauré's "Élégie, op. 24" arranged for 2 cellos by Eric Moore.

The second part is an accompaniment intended to be used instead of piano - it is heavy and sorrowful.

Also look for the other standard French Showpieces arranged for 2 Cellos as a digital download!
Allegro Appassionato | Apres un Reve | Papillon | Sicilienne | The Swan

Gabriel Fauré's "Papillon, op.77" arranged for 2 cellos by Eric Moore.

The second part is an accompaniment intended to be used instead of piano - it's full of fast-changing chords.

Also look for the other standard French Showpieces arranged for 2 Cellos as a digital download!
Allegro Appassionato | Apres un Reve | Elegie | Sicilienne | The Swan

Gabriel Fauré's "Sicilienne, op.78" arranged for 2 cellos by Eric Moore.

The second part is an accompaniment intended to be used instead of piano - it is richly-orchestrated and floating.

Also look for the other standard French Showpieces arranged for 2 Cellos as a digital download!
Allegro Appassionato | Apres un Reve | Elegie | Papillon | The Swan

Auguste Franchomme's 12 Etudes, op. 35
with second cello accompaniment
Edited by Eric Moore

Written for an advanced high school cellist to play with his/her own school orchestra. This is a great way to feature a fantastic cellist while introducing the whole orchestra (and audience) to some accessible trends in contemporary music. 

The orchestra students were *very* excited and engaged with this piece, and the audience absolutely loved it.

Compositional goals included:
Accessible introduction to contemporary music.
Fun and engaging parts for each section of the orchestra
Highlight both cellist and orchestra with parts that sound difficult but are relatively simple.
Clear-cut form and motivic material as a starting point for discussion of composition.

Circles is 11:00 long, in 4 movements with no breaks.

Mvt I. Circles begins high-energy and includes sweeping arpeggio figures and measured tremolo oscillations. The energy dissipates and a simple lyrical theme emerges, battling complications as they arise in the orchestra.
Mvt II. Passacaglia is built over an exotic vamp and includes jete (to imitate castanets), col legno, snap pizz and instrument slaps. 
Mvt III. Lament begins with the soloist doing slow pizzicato arpeggiations while the orchestra bows weeping chords. Eventually, everyone is pizzicato, echoing and transforming the solo line. A cello cadenza recalls material from the Passacaglia. The soloist introduces triple-stop string crossings that lead into the fourth movement.
Mvt IV. Coda is fast, with the triple stops in the solo part as a moto perpetuo, while the string sections come in one-by-one underneath. By the end, everyone is bowing and we "circle" back to the opening material of the 1st movement.

The Soloist should be fluent through 3 octaves.

Orchestra parts are easier and generally require fluency through 4th position.

Written in 2011-12 and premiered by Eric with the Mountain View High School (Loveland, CO), Peter Toews conducting. Recording is of that premier.

Eric is happy to work with the orchestra via Zoom (or a similar arrangement).

Written for an advanced high school cellist to play with his/her own school orchestra. This is a great way to feature a fantastic cellist while introducing the whole orchestra (and audience) to some accessible trends in contemporary music. 

The orchestra students were *very* excited and engaged with this piece, and the audience absolutely loved it.

Compositional goals included:
Accessible introduction to contemporary music.
Fun and engaging parts for each section of the orchestra
Highlight both cellist and orchestra with parts that sound difficult but are relatively simple.
Clear-cut form and motivic material as a starting point for discussion of composition.

Circles is 11:00 long, in 4 movements with no breaks.

Mvt I. Circles begins high-energy and includes sweeping arpeggio figures and measured tremolo oscillations. The energy dissipates and a simple lyrical theme emerges, battling complications as they arise in the orchestra.
Mvt II. Passacaglia is built over an exotic vamp and includes jete (to imitate castanets), col legno, snap pizz and instrument slaps. 
Mvt III. Lament begins with the soloist doing slow pizzicato arpeggiations while the orchestra bows weeping chords. Eventually, everyone is pizzicato, echoing and transforming the solo line. A cello cadenza recalls material from the Passacaglia. The soloist introduces triple-stop string crossings that lead into the fourth movement.
Mvt IV. Coda is fast, with the triple stops in the solo part as a moto perpetuo, while the string sections come in one-by-one underneath. By the end, everyone is bowing and we "circle" back to the opening material of the 1st movement.

The Soloist should be fluent through 3 octaves.

Orchestra parts are easier and generally require fluency through 4th position.

Written in 2011-12 and premiered by Eric with the Mountain View High School (Loveland, CO), Peter Toews conducting. Recording is of that premier.

Eric is happy to work with the orchestra via Zoom (or a similar arrangement).

The Mantras After Bach are an ongoing project begun in 2021. I’ve performed Bach’s Cello Suites for over 20 years and inevitably as the fragments swirl around in my head on any give day, I hear alternative ways that the phrases could have played out.

I record myself improvising based on a fragment of a Bach Suite, then I transcribe the recording to sheet music (without altering them) and then perform the sheet music. So far I’ve written over a dozen Mantras, with the following naming convention:

#07 - the 7th of 36 movements by Bach, so the Prelude to the 2nd Suite. -01 - the first fragment of the piece.
-01 - the first time I use that fragment.

Each Mantra has a one-word title pertaining to performing the Bach Cello Suites. In this case, the word is Emote.

This Mantra was composed in 2021.

The Mantras After Bach are an ongoing project begun in 2021. I’ve performed Bach’s Cello Suites for over 20 years and inevitably as the fragments swirl around in my head on any give day, I hear alternative ways that the phrases could have played out.

I record myself improvising based on a fragment of a Bach Suite, then I transcribe the recording to sheet music (without altering them) and then perform the sheet music. So far I’ve written over a dozen Mantras, with the following naming convention:

#10 - the 7th of 36 movements by Bach, so the Prelude to the 2nd Suite.
-01 - the first fragment of the piece.
-02 - the first time I use that fragment.

Each Mantra has a one-word title pertaining to performing the Bach Cello Suites. In this case, the word is Anxiety.

This Mantra was composed in 2022.

Written with former Break of Reality cellist Martin Torch-Ishii, 2010-2013, these four duos are each totally different from the others.

Page turns are optimized for live performance from the score.

Darkness

In Darkness, one of Chopin’s Nocturnes meets Muse with a little Bartok thrown in for good measure. 

Simple form and soaring melodies make it expressive and audience friendly. 

Challenges include rhythmic control and flexibility, playing lyrical melodic lines and navigating some unusual octatonic harmony.

• As seen on YouTube: https://youtu.be/WVhzNP6l26M
• Buy the track: https://thecellodoctor.bandcamp.com/releases

Odyssey

In Odyssey, a meandering, pensive journey reaches a heavy, wild, driving tour-de-force. 

Two divergent paths stray apart but finally find each other as simple pizzicato lines evolve into a fast, frenzied arco ending.

• Watch it on Vimeo: https://vimeo.com/ericrmoore/odyssey

Reconciliation:

In Reconciliation, a romantic lament steels itself and turns power ballad to overcome its own remorse. 

Includes backbeat slaps, left hand hammer-ons and two vastly different endings.

• As seen on YouTube: https://youtu.be/KNveUM-kAxg
• Buy the track: https://thecellodoctor.bandcamp.com/releases

Vortex:

Vortex is a fast energetic piece with relentless intensity. 

Complex, interlocking rhythms meet heavy power chords to create a powerful barrage of sound.

• Watch it on Vimeo: https://vimeo.com/ericrmoore/vortex

Darkness For Two Cellos (2012)
- Video Below -

In Darkness, one of Chopin’s Nocturnes meets Muse with a little Bartok thrown in for good measure. Simple form and soaring melodies make it expressive and audience friendly. Challenges include rhythmic control and flexibility, playing lyrical melodic lines and navigating some unusual octatonic harmony.

Reconciliation for Two Cellos (2012)
- Video Below -

In Reconciliation, a romantic lament steels itself and turns power ballad to overcome its own remorse. Includes backbeat slaps, left hand hammer-ons and two vastly different endings.

Page turns are optimized for live performance from the score.

Odyssey for Two Cellos (2013)
- Video Below -

In Odyssey, a meandering, pensive journey reaches a heavy, wild, driving tour-de-force.  Two divergent paths stray apart but finally find each other as simple pizzicato lines evolve into a fast, frenzied arco ending.

Page turns are optimized for live performance from the score.

Vortex for Two Cellos (2014)
- Video Below -

Vortex is a fast energetic piece with relentless intensity. 
Complex, interlocking rhythms meet heavy power chords to create a powerful barrage of sound.
Page turns are optimized for live performance from the score.

A new edition by Richard Aaron (Professor at University of Michigan, The Juilliard School) that utilizes the latest philosophies about cello technique while helping students learn faster:
+clarified structure (repeats, DC’s, etc)
+rehearsal marks (to help memory)
+and Richard Aaron's "set shift" notation to enhance shifting accuracy.

Also available as individual etudes and as a printed edition.

A new edition by Richard Aaron (Professor at University of Michigan, The Juilliard School) that utilizes the latest philosophies about cello technique while helping students learn faster: clarified structure, rehearsal marks and Richard Aaron's "set shift" notation to enhance shifting accuracy.

Plus, spiral binding stays open on the stand. Hooray!

Also available as a Digital Download

Music by Faure and Saint-Saens arranged for solo-cello accompaniment.

Allegro Appassianato | Apres un Reve |
Elegie | Papillon | Sicilienne | The Swan

The accompaniments are moderate to difficult.

Camille Saint-Saens' "Le Cygne" (The Swan) from The Carnival of Animals, arranged for 2 cellos by Eric Moore. 

The second part is an accompaniment intended to be used instead of piano - it is lush and beautiful.

Also look for the other standard French Showpieces arranged for 2 Cellos as a digital download!
Allegro Appassianato | Apres un Reve | Elegy | Papillon | Sicilienne

Dreaming | Lonely Day | Revenga | Roulette | Streamline

Written for advanced cellists; performers need to be fluent through 3 octaves. Generally, one part is slightly easier.

By System of a Down
Arranged for 5 Cellos by Eric Moore

Chop Suey | Question!
By System of a Down

Written for advanced cellists. performers need to be fluent through 3 octaves.
Generally, two parts are slightly easier.

Arranged for 8 Cellos by Eric Moore