'The Mysterious Barricades' for TTBB choir

Page 1

Franรงois Couperin Arranged by Keane Southard

The Mysterious Barricades for

a cappella TTBB Choir

(1717/2018) (Duration: c. 4 min.)


Program Notes: The Mysterious Barricades was written by François Couperin in 1717, just over 300 years ago, for harpsichord as the fifth piece of his Ordre 6ème de clavecin, and this arrangement was made in late spring of 2018 after I had created the SATB version the year before. I first heard the work performed, on harpischord, while a undergraduate at Baldwin Wallace University. I was immediately hypnotized by its kaleidoscopic and weaving melodies, harmonies, and textures, its many suspensions, as well as its almost “walking” bass line that sounds like it could be right out of a Johnny Cash song! However, I feel that performing the work on a harpsichord or piano, where each note decays in volume quickly after playing, means that some of the effect of those suspensions is missing, and I wanted to create my own version with voices that can better sustain where I can hear those suspensions fully realized. My hope is these arrangements for choir will provide people a new angle from which to enjoy this fascinating masterpiece. Keane Southard 2018

Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com


The Mysterious Barricades

TENOR I

   

TENOR II

BASS I

h = 52

François Couperin Arr. by Keane Southard

 



 BASS II  

  

 

7

A

 

  

     

 A

dah...

  

 

 

  



    

            ©2018

mp

Dah

 

 

Lah lah... mp

 

   

mp

  

 

   

h = 52

Bahm bahm...

Piano reduction (For rehearsal only)

Nah nah...

mp

 

mp

 

   

   

   

    

    

               

 



  

                


2

      12

     

       poco rit.

  

 

  

               

rit.

      16

  

    

 

    

       

  

         B

    

                

A tempo

           

    

  

      

     

     

               

                

  

B

rit.

  

A tempo

poco rit.

A tempo

  

     

     

  

      

     

     

A tempo

 



          

           

             


3

      20

     

  

 

  

               

      24

  

               

 

   

C       

short

      

     

            

       

mf

short

  

                

  

 

  

     

     

     

  

mf

 

         

 

mf

short

    

        

rit.

A tempo

short

    

  

    

Couplet C 1st A tempo short         

rit.

  

  

    

poco rit.

A tempo

  

      

poco rit.

mf

1st Couplet A tempo

         

mf

           

           

 

 

 


4 28    

 

 

  

f

mf

          

       

     

f

  

  

    

    

 

mf

f

poco rit.

  

A tempo

        

    

f mf

     



poco rit.

mf



 

A tempo

         

           

           

 

 

 

f

mf





A tempo                         f mf                                  f mf poco rit.

32

 

f

  



 





mf

poco rit.

         

f

mf

A tempo

  



 

f

      

mf





          

           

 

 






D

rit.

5

A tempo

                        mp  short                                          mp short

36

  

   

mp short





 

short

D

40



   

         

  

 

   

          

 

A tempo



       poco rit.

 

A tempo

   

poco rit.

          

           

 

 

mp

          

short

         

mp

rit.

  

       

       

       

 

 

    

     

  

A tempo

           

          





             


E

2nd Couplet short A tempo

rit.

6

      

44

           

   

short

 

E

rit.

      

short

           

   

48



 

           

 





mp

 

 

 



 

f

 

p

    

p

   

mp

F

            

            

 

 

 

F A tempo                

mf

mp

 

 

                      

    

f



mf

rit.

f

      



rit.

f

         

  

mf

2nd Couplet A tempo

 

mf

             

    

        

     

f

    

mf

      

short

short

     

 

   

mp

   

 

 p

p A tempo

       

p

 


7 52      

     

       

  

      

     

A tempo

 

  

poco rit.

           

          

 

 

  

          

 

56      

 

    

                         

  

 

   

         



 

 

      

mp

 

mp

 

           

      

         

           

G

mp

rit.

G 3rd Couplet A tempo          

    

 

A tempo

rit.

    

  

      

poco rit.

  

  

    

mp 3rd Couplet A tempo

         

mp


8

      60

    

     

  

       



  

       

     

rit.

 mf

     

  

A tempo

       

mf

 

f

mf

 



 

64    

        

            



 

 

mf rit.

             

  

A tempo

       mf

 

     

  

f

                                               f

 



f

       

            

         

           

 

  







f








9 68    

     

  

  



72

 

  

   

 

               

 

      

 



               

      

       

  

               

               

 

     

     

       

    

    

     

              

        

    

                 

   

    

     

     



                  

  

     





    

           


10 76

                      

  

   

79

   



rit.

 



    



p

 

rit.

    

   

  

   

    

   

 



 

   

  

pp

      

    

 



  

H A tempo      

  

 

 

 

 

H     

  

 

pp

p

p

pp

 

pp

p

    

   

    

    

  

p

    



   

 



  

  



 

    

 

  



     

A tempo



 



 

 

pp




11 82      

     

       

  

    

     

    

 

  

   

 

  

        

           

         

 

 

 

      86

     

       

  

 

         

   

 

 

           

             

           

      

molto rit.

   

     

 

           

molto rit.

 

     

       

      

       


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