DEREK BERMEL Coming Together for Bb Clarinet and Violoncello
Transposed score Duration: 5:00 minutes
Notes on Glissandi A slur over a glissando indicates a legato connection between the two notes; otherwise each glissando should be articulated separately (on slurred notes). Often a glissando is preceded or followed by a small note in parenthesis; this note should be articulated, or even realized with precision; it serves as a rough guide to the preliminary or final pitch level of the glissandi. The cello should take the gliss., or slurred gliss. group, in one bow as often as possible, clarinet in one slurred phrase. Glissandi begin immediately following the note’s attack. For the clarinet, lip glisses are preferred, but they may be used in combination with finger-glisses. Unless otherwise notated, glisses that begin with an ascent should start between a major second and a minor third below the target note, and those that end with a descent, should finish between a major third and a perfect fourth below the target note. In general, the performers should avoid stopping on the target note, using it rather as a sort of springboard, in order to achieve a fluid, vocal effect — as a sigh, groan, or moan. The opposite effect (a sustained pitch) is indicated by tying a glissed note to a nonglissed note.
for Fred Sherry Commissioned by the Elaine Kaufman Cultural Center for performance at Merkin Concert Hall
COMING TOGETHER
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