The expanded dynamic range of the men's chorus, including high falsetto, translates particularly well to works which exploit the wide tessitura of the violoncello. Recognizing a similarity between men's voices and cello ensemble, Berkey has arranged many of his male chorus works for cello ensemble.
Cello (I-II-III-IV-V-VI-VII-VIII), Solo Cello3.5' SDG 07-204 Conductor's Score and PartsThe work opens with the original Ascendit Deus Gregorian chant transliterated from the Liber Usualis and progresses tonally and rhythmically into a contemporary climactic peak.
Cello (I-II-III-IV-V-VI-VII-VIII), Solo Cello 1-2-36' SDG 07-206 Conductor's Score and PartsVaried tempi and notation styles relative to an eclectic mix of historic periods define this work based on Berkey's Nunc dimittis.
Cello (I-II-III-IV), Solo Cello3.5' SDG 07-203 Conductor's Score and PartsGod Be In My Head is structured around original chant-like melodic fragments. The expressive melody exploits dynamics and tessitura while exploring both mixtures of tertian and quartal harmonic structures.
Cello (I-II-III-IV-V-VI), Piano, Opt. Bass, Guitar Ensemble4' SDG 07-207 Conductor's Score and PartsBerkey's setting of Cibola and the Seven Cities of Gold masterfully captures the essence of Native American Phillip White Hawk's style from a bold dynamic timbre to the highest range. It can be performed in combination with a single acoustic guitar or larger guitar ensemble.
Cello (I-II-III-IV-V-VI-VII-VIII)7' SDG 07-205 Conductor's Score and PartsThe emotions expressed in this piece based on Weepe Not contrasts sombre reflection on lost love and determined stoicism. Using extended divisi and range, the work connects with the listener through its deep expression.