This is the sixth volume in a series of cello duets published by Schott, covering a diverse range of pop music and featuring online backing-tracks. The arrangements, by Michael Zlanabitnig (a graduate of Popakademie Mannheim), come with two different versions of the audio: one with two cellists playing along with the synthesised backing, and the other offering just the backing, so that players can play along. This allows the cellist to learn the pieces by ear, if preferred, rather than being reliant on the rhythmic detail captured in a score. When written out, pop music sometimes looks fussy and difficult, and the ‘feel’ can be lost.
The collection of songs is certainly eclectic, covering pop classics from across the decades. There is a mixture of songs that will appeal to older adults, particularly those who enjoy music of the 1960s and '70s, and to today's teenagers, who will be very familiar with some of the contemporary songs. As such, one wonders who exactly the target audience is for these volumes. The 1960s classics include ‘The Lion Sleeps Tonight’ and Bob Dylan's ‘Blowin’ in the Wind'. From the 1970s we find Gavin Sutherland's ‘Sailing’, which appeals to the singing quality of the cello, and Eric Clapton's ‘Wonderful Tonight’. A favourite hit from the 1980s is The Bangles' much-loved ‘Eternal Flame’, which will doubtlessly be familiar across the generations. Up-to-the-minute favourites include ‘As It Was’ by Harry Styles and Adele's ‘Easy on Me’, both vehicles for more motivic lines and the ‘long build’. Elton John's ‘Cold Heart’, meanwhile, has a rhythmically driving accompaniment, with some nice opportunities for tremolo. ‘Hold my Hand’ from Top Gun: Maverick offers the chance to explore a current-day movie soundtrack and the pop-anthem style. All arrangements have the words included, meaning you have the chance to sing along as you play!
The backing-tracks are varied in their use of different sounds, textures and styles, and offer an appealing option for playing along with the recorded cello (in addition to learning how the piece goes). At the same time, these bring an authentic flavour. The track for Bob Dylan's ‘Blowin’ in the Wind' uses acoustic guitar, capturing something of the style of the original, and Elton John's ‘Cold Heart’ contains the familiar synthesised strings for a driving feel. In ‘The Lion Sleeps Tonight’, we are transported to the jungle with a range of exotic animal sounds and shakers. The track to Adele's ‘Easy on Me’ is musically effective with just the sound of an electric piano. Gentle synthesised strings and drum-kit bring ambience and some dramatic moments to the arrangement of The Bangles' ‘Eternal Flame’.
In terms of technical level, the range of notes in these arrangements falls within the scope of approachable keys. It includes forward and backward extensions in first position, and goes up to fourth position. These could, therefore, offer useful sight-reading material for students or developed players – provided they are capable of reading rhythms that contain ties and syncopations, along with the slurred bowing patterns and string crossings. These require some degree of developed technical proficiency.
For people who prefer to learn by ear, the range of notes is easily accessible, and can be navigated once they know how the piece should sound. If the tunes are already familiar, then the player will be well on their way, enjoying playing while guided by the sounds in their head. No fingering guides are offered, so the player will have to work out their own plans to get around the notes – which might be a good exercise for those learning about different hand positions. More experienced players should be able to take (and finger) the pieces in their stride.
This is a fun collection of pieces to explore, and the backing-tracks offer an attractive dimension in support. The question of which age-group the publisher had in mind remains, but there's much to savour here, including material for lighter moments to be enjoyed between cello friends!
