My fourth trio of etudes for cello choir brings elements of the previous set to cello choirs at a much easier difficulty level. The etudes explore three primary chords in depth. Harmonics with varied uses in each etude lend both a shimmering tonal quality and significant range to the cello choir’s sound. This set is designed to feature lots of open strings played by less experienced cellists. There is still a mix of abilities across parts with the cello 1 parts at an intermediate level and the others in the beginner range. More-experienced ensembles can quickly prepare these etudes for performance.

The etudes may be performed individually or as a three-movement set. They also work well as warm-ups during rehearsals. All etudes for cello choir are published only as (two-page) scores to promote ensemble reading and part-switching opportunities (as is standard practice for choral music). These etudes work best for very large groups of cellists (more than two-to-a-part) and can also be played by groups as small as a quartet.

Etude #10 begins with an ephemerally-layered chord in harmonics. Slight variations in the cello 1 part introduce melodic interest. A later bass line in the cello 4 part grounds the texture. The “B” section features a harmonic vamp in the lower three parts. Cello 1 plays a series of two-bar melodic phrases over the top. The “A” section returns before a coda introduces the third chord. The final bars state the third chord simply, in three staggered expressions.

Etude #11 recalls the first trail of Many Trails, opening with an ambiguous tonal structure less rooted in harmonics. Two passing notes clarify the key as major. Selective harmonics in the first part lead into a sweeping repeated broken arpeggio in four octaves (with harmonics in the upper two). Slight variations and a slow crescendo lead into a final statement reflecting the end of Etude #10.

Etude #12 reflects on an introduction that I wrote to Simple Gifts. Cello 1 then plays a varied but repeated melody in harmonics as the other three parts play a chord progression with staggered evolution. The lower chords grow and cluster to aurally overtake the register of the harmonic part before releasing into an open arpeggiated conclusion similar to etudes #10 and #11.