Duo for clarinet and cello

Keane Southard

Duo For

Bb Clarinet and Cello

(2007) (Duration: c. 8 mins.)

Program notes: My Duo for Bb Clarinet and Cello was completed in early 2007. It consists of two contrasting movements. The first is slow, rhapsodic, and expressive. It is influenced by the organum purim of Leonin and Perotin of the medieval period. The music is entirely in the diatonic of C yet explores the more dissonant areas of this key. The second movement, in stark contrast with the first, is fast, metric, and freely chromatic.

Keane Southard 2007

Performance instructions: 1. A portamento differs from a glissando in that a portamento is a

quick slide to the next note at the end of the duration of the note, whereas a glissando is a slide from note to note at a constant velocity. A note followed by a glissando should not be held any longer than any other pitch within the glissando but should be only a starting point for the glissando. When a note is both the end of a glissando and the beginning of another, the note should only act as a change of direction and should not be held longer than any of the notes within the glissando.

2. All trills written are played between the given note and the note a step above it, where the higher note is designated with an accidental (or natural sign) that appears directly above the trill.

3. Dynamics that are in parentheses indicate what the dynamic marking should approximately be in the midst of a long crescendo or diminuendo.

4. As Mvt. I is written without bar lines, all accidentals apply only to the note that it precedes. In Mvt. II, accidentals apply for the length of the measure.

Duo for Bb Clarinet and Cello Transposed Score I q=50 Molto Rubato Clarinet in Bb

Violoncello







    



   

p

  

Vc.

  p

Vc.



continue similar expressive dynamics (except where given)

        3                   3

3







3 3  3                                  3      

                                              3 p 

poco accel.



19

Cl.



mp

            

15

Cl.



continue similar expressive dynamics (except where given)



 

11

Vc.



pp molto expressivo e cantabile

mf

mf

mp

pp molto expressivo

Cl.





3

p

Vc.

    



 3 3   3                                         p

7

Cl.



  

p f molto expressivo e cantabile

Keane Southard







 p ©2007



2 q=63 rit.

q=50

    3                                           ff pp

24

Cl.

Vc.

 





pp

ff



                                         

28

Cl.

Vc.

 

mf







mf

Gradually more driven

32

Cl.

Vc.

             

 

 

 

                        lots of shape to the phrases

mf very gradual cresc. to fermata



mf





very gradual cresc. to fermata



                                       

36

Cl.

3

Vc.

 





passionately!                                                      

39

Cl.

Vc.







(f)



(f)

passionately!

                                           3 3 3 3

3

42

Cl.

Vc.



(ff)





(ff)



(mf)

(ff)

                                   molto rit.

45

Cl.

(ff)

(mf)

Vc.





       pp

Vc.





pp

53

Cl.





fff

 





fff

49

Cl.

3

(mf)

q=50 Rubato

 pp

                                      mp

   



 molto rit.

mp



 

 ppp bow underneath strings (Open C string Harmonic on A string)



Vc.



 

arco                         3          p l.h. pizz

ppp

Transposed Score

II

Clarinet in Bb

Violoncello

 

f

       ff

5

Cl.

Vc.

 

Vc.

         

               3

3

3

3

            3

    glis ss.    glis iss. s. gli s . gl   

3

  

              mf pizz.                                 

9

Cl.

Keane Southard

         

q=132

Cl.

Vc.





3   3     

f

p

ff

   3      3



ff

p

                                         

Vc.

3



3

   

  



             

  

  

3   3         p

ff

              

                 p mf                                       

17

Cl.

3

3

               

3

  3  

gliss.

p subito

13

3

 3   3            3

p

f

©2007

5

              

   3   3

21

Cl.

f

Vc.

            3     3 f mp

                        arco                  f 25

Cl.

Vc.

mp

                 pp        

  

3

3

f

mp

3

3

                            

    

ppp

    

         ppp

p

mp

29

Cl.

Vc.

                                                                 ppp f p f                               ppp

f 33

Cl.

Vc.

 

    

              3  3                 3 3 p

f

Vc.

 

p

  

      p

pizz.     3  3                       p 3 3 f

   3 3                   p f

 f

  3 3      





  

37

Cl.

f

3



3

 

    



          

3

3

   



  

6

                   

40

Cl.

pp

                    ff

                                                            pp 

Vc.

arco

f

45

Cl.

Vc.

3 3 3 3 3 3 3                                                    3

 q = 90  3   3 3                                

48

Cl.

mf

Vc.

     





f

 

mf

f

     3 ff

 

 

3

     

q=132 51

Cl.

Vc.



                                      

fff mf

       fff

p



      mf

 

  

       pizz.

f

  arco       

mp

7 56

Cl.

Vc.

                                                                                   3

3

60

Cl.



3

f

mp

Cl.



      mf



3

arco          mf

f

3

3

3

3

3

3

3

3

3

3

3

3

                     3

3

3

mf

p

Vc.

     

                                                 p  mf p 3

69

Cl.

        pizz.

                                       mf        mf p 3

3

Vc.

mp

ff

p



65



                                                f

Vc.

3

3

             mf p

p

mf

3

3

              3

mf

3

p

mf 3

 

    3

mf

    mf

3

3

8

                                        

72

Cl.

 

mf

Vc.

3

3

mf

f

3

3

     

   mf

3

3

3

mf

3

3

3

 gl is



3



. s. gliss

f

3





3

3

 gl is

s.



3

3

3

3

 

s. glis

3   3   3   3                           

76

Cl.

3

Vc.

3

3

3

 gliss    glis    s. .    cresc.

3

3

gli

cresc.

Vc.

3

3 3  3   3               gli   ss.       

molto rit.

    

3   3     3            3 3 3 3 3              

80

Cl.

  

ss.



3

    

q = 90

             ff          3

ff

                               

83

Cl.

Vc.

  

85

Cl.

Vc.





  





       

3

    

gliss.



   

fff

             3

fff







   3

               3 3

f

fff

              3

f



3

fff

