Liam Taylor-West: Ascensions

Liam Taylor-West (2012/13)

Ascensions for Bass Clarinet, Cello, and Piano

for the Gemini Ensemble

Ascensions explores the variety of different harmonies that can be formed from the overtone series on the note C. At the lower end of the series the notes available are more widely spaced and clearly outline the chord of C major but as it extends, the intervals between notes become smaller and the number of chords available massively increases. Much of the piece is formed from melodic interplay between the cello and bass clarinet, with the piano fulfilling a more textural role. This conversation between the two primary instruments reaches it’s climax with a harmonic shift upwards to the overtone series on D towards the centre of the piece. After the return to the original tonality the three instruments climb upwards from the bottom C four times, with each ascension reaching slightly higher than the last. After the fourth rising figure, the music seems to break free from its rooted origins; the clarinet focusses more on the notes of B flat and F and the piano continues its climb towards the upper reaches of the piano. The piece’s title is not to be interpreted as religious, it is merely a description of the movement just described.

LTW

Performance notes The music for Ascensions is written largely without a ďŹ xed metre and it is the job of the performers to place their music in suitable places according to cues given by the other players. A dotted line indicates that one event should take place after another and a bold vertical line indicates events that should happen simultaneously. As a result, in the passages without barlines, vertically aligned notes do not need to be played at the same timed (it is often desirable for them not to be). Passages with barlines are to be played as normal.

Dotted barlines indicate that the music is moving from notation that uses bars and time signatures to that which doesn't.

Despite the free-time nature of much of the piece, tempi should be roughly kept to.

Extended notation and techniques Quavers and semiquavers without noteheads incidate a repetition of the last printed note a number of times and to a rhythm decided by the performer. These repeated sequences should adhere to rests and cues that will follow them in order to ďŹ nish appropriately.

Music in boxes should be held or repeated for the duration of the arrow (following dynamic cues etc.) until told to stop or change note.

A down-bow sign followed instantly by an up-bow sign indicates a note that is held and repeated with each bow change clearly audible.

Bass Clarinet multiphonics are notated in the score above the stave at each occurence.

All trills and tremolos are unmeasured and should be played (unless notated otherwise) very fast

Score in C (Bass clarinet at sounding pitch)

Duration: 5 - 6 minutes

Full Score

Ascensions Liam Taylor-West for Bass Clarinet, Cello, and Piano

(2012/13)

B

Freely, as if improvised (q = ca.65)

Slightly faster

breathe subtly

lead begin slowly

4"

˙™

?

Bass Clarinet in Bb

-œ œj ˙ bU

œ

4 œbœ ™ ˙ 4

∑

œœ œœ

<

,

>A

bw

w

œbœ œ œ œ™

œ bœ œ -œ -˙

5

-œ

œ

U -œ

œ >œ ™

let piano cresc.

<

w

w

>

,

3 4

˙™

3

3

f mf p pp mp

mp

follow clt.

begin slowly vibrate harmonic using finger pressure

free bowing

free bowing

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ bœ ™ ˙o œ 4 ˙ 4

? wo Violoncello

œ

œ œ bœ œ w

b-œ œ

bw

b-œ œ ™

œ

œ

>œ U œ™

>œ # >œ # ≥w≤

œ

-œ

w

3 4

3

f pp

mp

pp

mp

pp mf

Freely, as if improvised (q = ca.65)

A

B

begin slowly

Slightly faster B. Cl.

3

4Π4

& ∑ j bœ

≈ b œ- œ- œ-

˙

bw

w bw

3 œ œ 4 # œ œ œ œ- -

Œ œ

f mp p mf

Piano

hold pedal pp

use pedal

echo cello follow clt.

- > b-œ œ œ œ œœ

mp

set tempo

{

? ∑

œœ œ 4 J J4

Ó

œ œœœ p

pp

œ-œœ b -œœ œ œ œmf œ -

-œ œœœœ

˙ œ- ˙ mf

pp

œ>œ

pp p

mf

sfz

3 4

hold pedal

= R

R

ï ïï ∑óïï ó

C B. Cl.

™ ˙™ ? 3 ˙ 4

w

ff

p

˙™

˙™ ff

œœ 2 ˙ 4

p

˙

&

ff

R

b

sfz

mp

R

ï# óï b ∑ïó óó U ˙e

ï ïï ∑óóó ó

B tr

Slower, Calmer

>œ U ˙ J‰˙

q = ca.70

, 4 w 4

ó ïï ∑ïïï ó U ˙ ˙

F E

U b˙e ˙

D Faster (q = ca.70)

b œ>˙

œ œ œ œ ˙ #˙

U œ œ œ # œ œ >

> j œ

U ˙ b˙ bœ bœ

bœ bœ œ œ

œ

œ œ bœ œ >

4 4

bw

bw

mf cresc. fp across all strings double-stops desired!

set tempo

-œ -œ

-œ >œ >œ

œ

œ˙ bœ

Vc.

? 3 4

bend note

4 4

œ

œ œ

œ˙ bœ

œ

œ

œœ

3

≥≤ w w

bœ

2 4

œ œœ

≥o≤ w w

œ

œ

œ œ œœ

≥o≤ >˙ ˙

≥≤ w w

≥≤ ˙ >˙

˙o ™ ˙™

>œ >œ

>œ

˙o ™ ˙™

>œ >œ >œ

œœœ

w

w

4 4 fp cresc.

mf ff mf mp

Calmer C Slower, ·

q = ca.70

3 &4

4w 4

bw

mf

ff

w

bw

p

ff

j 2 4 œ bœ œœ‰ > sfz

Œ E ˙˙˙ >

E

Faster (q = ca.70)

E

D

E

Œ œ bœ bœ œ w bw

4 4

f

Pno.

™ ˙™ ?3 ˙ 4

{

mp

4˙ 4 mf

˙ ˙ p

ff

˙ w

w

follow dynamics above

œ >œ œ 2 J‰ 4 sfz

mf

Ó ˙ “‘ > · add top note if Clarinetist cannot produce multiphonics

> >œb˙˙˙ Œœ mf

4 &4

2

Hold back q = ca. 65

F

return to original dynamic

E B. Cl.

4 & 4 bw

> bw

bw

mf

w

> œœœœ˙

f

œ

> œ ‰ œ J

ff

œ ‰ œ œ J

f

˙™

˙™

mf

>œ J ‰

p

f

>˙ sfz

>˙

>˙

sfz

>˙

sfz

3

3 4 bœ

4 4 w

˙

w

4 4 ˙ >

bw

w

3

œ œ ˙

sfz mf pp

w Vc.

w

œ- œ- >œ >œ >œ >œ >œ

≥≤ ˙˙o

≥≤ ˙ ™™ œœ ˙ >

œ

? 4 4 3

œj œ

o œœ0 ™™

3

œœ œ #˙˙ œ œ œ œ-

f

o œœ0 J ff

mf

>˙o ˙

return to original dynamic 3

œ # >œ ™ œ œ™ J

œ #˙ ™ #˙ ™ œ ˙™

sfz

sfz

œ # œ œ œ œ ™ œ ≥w≤ 3 œ 4 w œ œ 4 4

&

o w

„ o bœ ˙ ™ J

p

mp

o 4 o #œ œ 4 ˙ ˙

o ˙™

> bœ J

j œ

#˙ ˙

f

sfz

mf by releasing finger from fingerboard „ Play to create the harmonic

Hold back q = ca. 65

E bw 4 & 4 nw

w

nw

F w

w

˙™

˙™

?

Œ

j ‰ œœ ˙˙ ™™ >

3 4 ˙™ >

&

w

w

w

w

4 4w >

w

mf

pp

pp

{

f

mf

f

4 & 4 bw

Œ #œ œ mf

ff

Pno.

4Ó 4

bw

mp

w

bw

w

w

w

˙™

˙™

#w

?

œ >œ

w

#w

3 >˙ ™ 4

w

4 4w >

w w

4 4

Œ

∑

>˙

=

turn (for cello also if necessary)

Very freely (q = ca.60)

G B. Cl.

3 3 4 œ bœ œ œ œ œ œ œ œ- -œ 4 > > > >

2 & 4 ˙

w

w

˙

˙

>œ œ œ

H -œ -œ œ œ œ ˙ 3

sub p

U - Œ œ œ œ œ œ œ œ ˙

Œ

bœ

œ bœ

œ

œ

nœ

U œ

U Œ

?

œ

œ-

œ-

1 4

b˙

>œ

mp 3

ff mf

f mf ff

3 3

Vc.

2 4 & 4 #œ œ œ œ œ 4 #œ œ œ œ œ œ œ œ œJ œ

sul A o3 o > œ bœ œ œ -œ -œ bw

w

>˙

˙

>œ ™

≥≤ ee ~ w ~w

?

‰

>j O 1 œOœ ≈ r 4 J > >œ f

ff sub p

ff 3

mf

G Very freely (q = ca.60)

H 2 &4 ˙ ˙

4 4 #ww

˙ ˙

œ œ ˙™

˙™ Œ

œ

˙˙ (p) sfz

Œ

œ sfz

Œ

nœœ sfz

Œ

œœ

1 œ>œ ‰ 4 J

p

f

f

Pno. 3 note trill (no specific order)

{

?2 4

∑

w 4 w 4

˙˙

˙ ˙ &

œ œ ˙˙˙™™™ ææ

Œ

1 4

∑

3

Faster, Pushing forwards (q = ca.75)

, ‰

b-œ œ-

?

b>œ

-œ

œ

œ

>œ

n>œ # œ

œ

œ

œ follow cello

œ-

B. Cl.

&

> bœ bœ bœ

> bœ

>œ # œ # œ

>œ # œ # œ

> bœ

œ bœ

> bœ

œ bœ

œ bœ

> bw

bw

>œ # œ # œ

> #w

#w

?

Œ

œ ‰ ?

œ œ-

Vc.

œ

œœ

œ

b-œ œ

œ œ

œ œ-

b>œ

œ œ-

>œ

œ

œ

œ

œ

œ-

?

lead break and next entry

≈ 5"

 bœ-

‰ Œ

free bowing

Œ

Faster, Pushing forwards (q = ca.75)

&

>œ # œ # œ

-œ

-œ

œ-

> bw

bbnbœœœœ

&

>œ

?

bw

Œ

move on once others reach trill

Pno.

follow cello

bœœœ

ff

{

?

?

& ˙ “‘ ‰

=

&

vertically aligned notes should not be played simultaneously

Œ

bw

bw >

 Play any notes from within the box to an unspecified rhythm. L and R hands do not need to synchronise

I begin together

>œ

?

œ œ

bœ

œ

œ

B. Cl.

& bœ

œ

bœ

nœ bœ bœ

nœ bœ bœ

nœ bœ œ

œ œ œ #œ

œ œ

œ # œ œ b œ >œ >œ >œ

> nœ bœ bœ nœ bœ œ nœ

>œ

œ bœ bœ

œ bœ bœ

> w

bw

> bw

bw

?

Œ

>œ begin together

? œ

Vc.

>œ

œ

œ

œ

œ >œ

œ >œ

bœ

œ

free bowing

œ bœ bœ œ bœ bœ

≈ 4"

B

?

Π3

I œ bœ n œ

begin together

œ

-œ

?

œ &

œ

œ

œ bœb˙>˙

bœ bœ

œ bœ

>œ

œ n>œ >œ œ bœ œ

> w

bw

Œ

bw >

bw

Œ

?

3 move straight on

Pno. ff 3

{

?

3

? & nœ bœ bœ œ b˙

˙˙˙˙˙ “‘>

bœ bœ œ bbœœ œœ œœ

b˙

= J

>œ

begin together

bœ

>œ

> > bœ œ >œ œ # œ

œ

follow pianist 3

n-œ

?

B. Cl.

&

œ- œ-

> > > œ- bœ œ œ œ

>˙

-œ

> w

w

> bw

bw

> w

w

?

4 4

3

ff

begin together

bœ ?

Vc.

œœ >

œ œ

˙ ˙

˙ œœ >

œ œ

œ

œ

œ

œ

# >œ >œ >œ >œ free bowing

œ &

3 - œ bœ bœ- œ œ œ bœ bœ

bœ bœ

bœ bœ

follow pianist

?

4 4

3 3

ff

≈ 3"

J

lead

3 note trill (no specific order) begin together

œ œ œ

? œ-

œ

bœ

3

&œ

#œ œ bœ

>œ œ ™

˙

ww w ææ

œ

>œ

4 4

Pno. ff

{

? &

˙˙˙˙˙ “‘

œœ

bœ

bœ

bœ

> bw

bw

?4

4

4

Slow (q = ca.50)

L freely

œ B. Cl.

œ

? 4 4

Œ

≈

j œ> ™

? 4 4

˙™

U

œ œ #œ

mp

œ œ œ

œ- œ™

œ

Œ

fff

≥ ˙™

3

bœ œ bœ

œ bœ œ

bœ

U -˙ œ- œ™

let piano finish

?

p

bœ- bœ- bœ nœ œ œ bœ œ -

bœ

Œ

bœ

œ mf

&

œ œ

&

˙™

˙

œ œ bœ bœ

‰

nœ

œ-

f

Vc.

U -˙

(q = ca.75)

K

≤ b˙ ™

œ

œ

fp

ee w~ ~w

?

Œ

≥≤ cresc. with Clt. and lead the downbeat

3

3

3

f

mf

mp

p

f

fff

mp

Slow (q = ca.50)

K

L

4 bnww w &4 w

w w ww

˙™

˙™ Œ

“”

relaxed. very free timing not fast

(q = ca.75)

> ww

œ

mf

pp

nœ bœ œ œ #œ

nœ

œ bœ œ

™ bœ œ œ bœ

3

ppp ff

Pno.

fff

œœ

{

?4 4

Œ

œ™ ˙ “‘

œ

œœ

œ b-œ -œ ˙™

œ

œ

b˙ ™

hold pedal continuously

?

Œ

&

œ

w >

3

without audible repetitions, keep note sounding

ff

*

p mf

mp

f

=

follow cello

M>

let piano finish

bœ ?

œ œ œ - œ™ œ

-œ bœ

œ œ œ

-œ ™ œ- U

b-œ

-œ

œ

-œ œ bœ ™

œ

-œ

-œ

U w

w

œ

B. Cl.

>œ

>œ

p

˙

w

˙

-˙ U ∑

p

ffp

ff

sfz

pp

ff

ff

ff

?

˙

4 4

≥≤ ~ w ~w

lead again let piano finish

ee free bowing ~ 4 w ~w 4

≥≤ ~ w ~w

Vc.

~ w Ó ~w p

~ w ~w

~ w ~w

ff

pp

U ∑ ff

ff f

f

mp

mp

“”

“” & Œ

œ œ b œ bœ b œ œ b œ n œ n œ œ b œ b œ œ œ J 3

œ n œ œ œ -œ -œ -œ œb œ b œ œ œ b œ b œ œ œ œ Œ œ

3

3

pp

3

bœ œœœ

“” M bœ Œ 4 ww 4 w

“”j bœ ˙™ pp repeat to nothing

ww w

w ww w

U ∑

5

pp

mf

ppp

‰ ww w

p

mf

ppp

Pno. follow cello

{

follow cello

U ∑

4 4

? w > ff

as before

w > ff

w >

w

w >

and again

ff

f

w *