Keane Southard
For Natalie for
Solo Cello
(2010/19) (Duration: c. 4 mins.)
Program notes: For Natalie for solo cello was written in the summer of 2010 for my friend and cellist Natalie Spehar. The work was revised in 2019. This is my first work for a solo string, woodwind, or brass instrument. There are many restrictions that are naturally inherent in writing for a single one of these instruments, and in confronting the restrictions of string instruments, I did not want to fall into the trap of relying on double stops using open strings or the typical double-stop intervals. I feel that these have been overused in solo string works and my ear is tired of them. My solution was to change the tuning of the bottom string so that the lowest pitch playable on the cello would be the G a perfect fourth below the normal standard range. This then provided me with new pitches to utilize and larger double-stops between the bottom two strings, as they are now an octave apart instead of a fifth. This new tuning is exploited while I create a kind of groove by the use of extended techniques. Keane Southard 2019
Performance instructions: 1. A scordatura tuning is used for the entire piece where string IV is dropped a perfect fourth as follows:
The score is written with string IV transposed so that each note on this string will sound a perfect fourth lower than written.
2. 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. 3. In general, harmonics are notated by either a diamond notehead (◊) which indicates the pitch where the finger should be placed to produce the harmonic, or by a small circle over the note intended to sound as a harmonic. For natural harmonics, both methods are used depending on context. If several different natural harmonics are used in succession, where to produce the pitch is given by the diamond notehead in order to show the easiest way to transition from harmonic to harmonic. In addition, the note intended to sound is given above the diamond notehead in parenthesis. Otherwise, natural harmonics are indicated with just the pitch to be sounded while the performer chooses how to produce the pitch. All artificial harmonics are designated with the stopped pitch as a regular notehead and the node to be touched a perfect fourth above the note with a diamond notehead. The note produced should be two octaves above the stopped pitch and is NOT notated in the score. 4. A snap pizzicato is indicated by a circle with a vertical line through the top of it. This symbol is placed over or below the note to be played this way. 5. A separate staff is given below the traditional cello staff in order to clearly indicate two percussive elements. Notes on the top of the percussion staff indicates when the cellist should quickly slap their left thumb with a flick of the wrist on the top (when upright) of the cello body behind the fingerboard. Notes on the bottom line in the percussion staff indicate when the cellist should stamp their (either) foot.
6. Notes that are indicated to be played on the strings behind the bridge (indicated by a half circle through the stem and an “x” notehead) can be played on any of the four strings (the choice is left to the performer.) 7. Notes with triangle noteheads (∆) indicate that the performer should play the highest note possible on the string indicated or if no string is indicated then the highest possible note on the instrument. 8. Measured tremolos are indicated with a line through the stem of the note to divide the duration of note by half and double the frequency within the duration of the note. Unmeasured tremolos are indicated with three lines through the stem of the note and indicate that the performer should repeat the note as fast as possible within the duration of the note. 9. A dashed line between accidentals above a trill indicate a gradual change from one size of a trill to the next over the given duration. 10. Notes that are in parentheses at a dynamic level of “n” (niente) indicate where a glissando or portamento should end and because it is at a dynamic level of niente, these pitches should not sound.
Keane Southard/Spindrift Pages (ASCAP) Email: keane.southard@hotmail.com Website: keanesouthard.com
For Natalie
suono reale
q = 108
o
Violoncello
tasto
sfz fff heavy, with much bow (hit top of body of cello
Thumb Slap Stamp Foot
3
o
fff
Vc.
arco normal
fff
Th. Slp. Stmp. Ft.
f
p
II
(slap strings with l.h.)
sfz
gl i ss gli . ss.
pizz. o
mp
sfz
(sim.)
f
ff
arco normal
port. p
mf
ff
gli s
mf
(stamp foot)
(sim.)
f
sfz
gli s gli s. ss.
III IV
II
mf
ff
p
mf
3 1
gli ss.
III IV
II
sul. (l.h. pizz.) pont.
s.
3 1
sul. pont.
mf
p
mf
o
legno battuto pizz. o
port.
III IV
II
f
mp
sfz
arco normal
col
. t r po
col legno battuto
ff
ff
arco normal
5
.
arco normal
mp
port
by slapping left thumb)
Vc.
Th. Slp. Stmp. Ft.
(bowed behind bridge) normal
col legno battuto
pizz. o
Keane Southard III IV
f
p
sim.
f
sfz
II
III IV
III IV
II
mf
ff
3 1
sim.
mf
mf
©2019
sul. pont.
p
2
7 Vc.
arco normal
fff
Th. Slp. Stmp. Ft.
arco normal
col legno battuto
o
pizz. o
mp
sfz
ff
f
p
III IV
II
f
sfz
mf
ff
3 1
III IV
II
sul. pont.
mf
p
mf
. liss g o o gliss. Vc. f Th. Slp. Stmp. Ft. arco normal
9
f
molto rit.
11
Vc.
o o s. o o glis
Th. Slp. Stmp. Ft.
3 3 3 3 3 3 3 3 3 3 3 3
A tempo
suono reale
13
fff
Th. Slp. Stmp. Ft.
legno battuto pizz. o
mp
sfz
ff
arco normal
col
Vc.
tasto
o
f
p
f
II
sfz
III IV
III IV
mf
ff
II
3
3 1
sul. pont.
mf
mf
p
3 15
o
Vc. arco normal
fff
Th. Slp. Stmp. Ft.
17
ff
pizz. o
sfz
fff
Th. Slp. Stmp. Ft.
o
19
o
Vc. arco normal
fff
Th. Slp. Stmp. Ft.
mp
f
ff
arco normal
col legno battuto
f
II
sfz
III IV
mf
ff
II
3 1
f
p
sul. pont.
mf
p
f
II
sfz
III IV
mf
ff
II
III IV
3 1
pizz. o
p
mp
sfz
arco normal
col legno battuto
sul. pont.
mf
p
mf
col legno battuto
mp
sfz
ff
pizz. o
arco normal
Vc. arco normal
mf
III IV
f
p
f
II
sfz
III IV
mf
ff
II
III IV
3 1
sul. pont.
mf
mf
p
4
21
III IV
Vc.
Vc.
3
3
3
Th. Slp. Stmp. Ft.
26 Vc.
sfz pp
3
3
3
3
3
3
3
3
3
3
3
pp
sfz
3
3
IV
3
Th. Slp. Stmp. Ft.
pp
3
3
IV
o o
3 3
IV
3
ff
mp
ff
3
3
3
mf
3
3
mf
rit. gliss.
III IV
Vc.
3
3
3
p
III IV
3
mf
o
3
f
28
3
3 3 o
3
3
A tempo 3
f
Th. Slp. Stmp. Ft.
III 3
3
f
rit.
3 3 3 p mf
ff
3 3 3
3
ff
24
3
3 3 mp f
Th. Slp. Stmp. Ft.
3 3
gliss.
(continue tremolo through gliss.)
gliss. gliss.
p
gliss.
gliss.
gliss. gliss.
. gliss s glis .
gliss.
. gliss gliss.
gliss. gliss.
ff
gliss.
5
A tempo
30 Vc.
rit.
mp
sfz
normal
pizz.
(IV)
arco
mp
sfz
fff
Th. Slp. Stmp. Ft.
ff
Vc.
f
Th. Slp. Stmp. Ft.
arco
3
pizz. sfz
arco
pp
sf
3
ppp
ff
ppp
accel.
III IV
normal
ff
ff
q = 48
gliss. gliss.
gliss.
gliss.
sul pont.
gliss. gliss.
. gliss gliss.
. gliss
q = 80
3
Vc.
Th. Slp. Stmp. Ft.
(IV) arco
(3/4 flat)
(q = 112) molto rit.
p
mf
36
arco
f
q = 80
sfz
ff
32
pizz.
p
(1/4 flat)
sf
3
sul pont.
ppp
ff
6 40
Vc.
ppp
Th. Slp. Stmp. Ft.
(q = 112) molto rit.
accel.
q = 48
gliss. gliss.
gliss. gliss.
gliss. gliss.
gliss.
III IV
normal
ff
gliss.
gliss.
p
n
ff
q = 80
3
3
43
(half-step trills)
Vc.
(port.) f
sim.
ff
mp
46 Vc.
ppp
Th. Slp. Stmp. Ft.
50
f
Vc.
normal
sul pont. (whole-step trills)
III IV
III
II
III
III II
II
III II
III II
III II
p
III
mf
III
(in time)
accel.
normal sul pont. f
53 Vc.
7
q = 120
ff
58
ff
p
f
normal II I
pp
Th. Slp. Stmp. Ft.
II I
sul pont.
Vc.
q = 80
f
ff
63 Vc.
69
gliss.
gliss.
gliss. gliss.
gliss. gliss.
gliss.
gliss.
III IV
gliss. gliss.
pp
gliss. gliss.
Vc.
gliss. gliss.
f
mp
gliss.
n.
gliss.
pp
ggliliss. ss.
gliss. gliss.
mp
pp
q = 100 3
col legno battuto
3
pp
(IV) normal
3
col legno battuto
3
p
8
75 Vc.
3
col legno battuto
normal
II
3
normal II
3
III IV 3
col legno battuto
3
Vc.
3
3
3
mf
3
normal
3 (on the string)
(IV)
p
82 Vc.
3
mp
II
3
3
II
mf
85
Vc.
3
mp
79
3
3
3
3
3
3
3
molto rit.
3
III IV
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
e= 60 molto accel.
87 Vc.
3
(III IV)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
q = 80
88
Vc.
9
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(e= 90)
3
3
3
3
3
q = 108 90
Vc.
3
3
fff
92
fff
col legno battuto pizz. o
ff
mp
sfz
f
gliss.
p
f
sfz
pizz. o ff
II mf
III IV
III IV
, 3
sul. pont.
mf
ff
col legno battuto
II
sim.
arco normal
3
,
p
mf
o
3
3
3
3
gliss.
3
arco normal
Vc.
3
3
3
arco normal
Th. Slp. Stmp. Ft.
o
gliss.
(gliss. while maintaining triplet figure)
3
po rt.
3
po rt.
3
mp
sfz
f
p
f
II
II
sfz
mf
III IV
po r t.
89
Th. Slp. Stmp. Ft.
rit.
Vc.
3
III IV
sim.
sul. pont.
mf
ff
mf
p
3
Vc.
3
arco normal
fff
Th. Slp. Stmp. Ft.
3
Vc.
arco normal
fff
Th. Slp. Stmp. Ft.
Vc.
arco
fff
Th. Slp. Stmp. Ft.
mp
f
pizz. o
mp
sfz
ff 3
3
p
II
f
ff
p
III IV
sul. pont.
mf
sfz
3
3
fff
mf
ff
p
gliss. gliss.
growl! gliss.
ffff
fff
pizz.
sfz
p
ff
p
mf
III IV
II
f
ffp
sul. pont.
mf
ff
II
III IV
mf
III IV
mf
sfz
f
p
3
III IV
II
arco normal
100
ff
col legno battuto
sfz
3
98
col legno battuto
fff Th. Slp. Stmp. Ft.
pizz. o
o
arco normal
3
arco normal
Vc.
ff
96
o
po r t.
94
po r t.
10