Issuu on Google+

Lucas Marshall Smith After Daffodils For Baritone, Bass Clarinet, Trumpet, and Trombone (2014)


Legend

Performance Notes

After Daffodils

This is a transposing score.

After Daffodils was written for the Loadbang ensemble. The text was adapted by the composer from the poems "After Love" by Sara Teasdale and "Daffodils" by William Wordsworth. The conglomerate text juxtaposes the themes of loss after "falling out of love" with the inherent beauty of nature. While Wordsworth takes the beauty of nature and finds joy from it in the quiet moments of life, After Daffodils draws a darker conclusion.

I wander lonely as a cloud There is no splendor any more You were the wind and I the sea But now you work no miracle for me Beside the lake, beneath the trees You work no miracle for me --Nor I for you

Accidentals carry through the bar. Grace notes should be executed before the beat of the note they are attached to. Approximate duration: 7’00”

non. vib. – No vibrato; unless a pitch is indicated as non. vib., assume a normal, healthy vibrato. flz. – Flutter tongue tr. –

trills should always be between the written pitch and the next ascending line or space unless indicated by a trill sharp or trill flat.

But the daffodils Float on high in vales, on hills, Fluttering and dancing in the breeze. The daffodils Stretching out in endless waves Toss their heads in sprightly dance Beside the lake, beneath the trees, Oh daffodils! Perhaps there is a miracle for thee Perhaps there is a miracle for thee --But not for me


Voice

Bass Clarinet

ʌ -

pronounced “uh” as in “gun”

ɑ -

pronounced “ah” as in “father”

Tremolo; should be executed as quickly as possible

o -

pronounced “oh” as in “boat”

u -

pronounced “oo” as in “tube”

m-

humming

w-

“w” as in English “water”

Slowly change mouth shape and vowel from one vowel to the next. Overtones may result from the process. This is encouraged.

X notehead; a whispered, voiceless sound

Sing in falsetto. All falsetto notes are notated in treble clef. All bass clef notes should be sung full voice.

Bend pitch down approximately a half step.

Lip/embouchure glissando


Trumpet

Trombone

Mutes required: plunger, straight, whispa

Mutes required: plunger, whispa

Lip trill; trill between indicated partials of the harmonic series as quickly as possible.

Using the plunger mute, shift between the half open and closed positions. This should create a “wah wah” effect in the indicated rhythm.

½ valve glissando; depress the valves partially in order to gliss up the harmonic series to the indicated final pitch. Glissandi should happen as smoothly as possible over the duration of the note just before the gliss.

Lip/embouchure glissando; certain lip glissandi may also be achieved through use of the third valve tuning slide.

Lip trill; trill between indicated partials of the harmonic series (slide position indicated).

Using the plunger mute, shift between the open and closed positions. This should create a “wah wah” effect in the indicated rhythm.

Glissando; Glissandi should happen as smoothly as possible over the duration of the note just before the gliss.


After Daffodils Poetry adapted from texts by William Wordsworth and Sara Teasdale

Lucas Marshall Smith

Gently Rocking like Waves of the Ocean (same tempo) mp

Like a Breeze Gaining Momentum q = 52

 

Baritone

        5

Bass Clarinet in Bb

p

Trumpet in Bb

f 7

f

6

f sub.p

3

 

3

 wɑ

3

 

3

3

   

3

    

 to plunger

   

 

 

 

 

3

pp

mp

f

3

 

3

mp

mp

half * open

  half   half   half    

legato

pp

legato

to plunger

 mp

3

  

  

3

pp

mp

sim.



mp

pp

3

f

3

3

3 3 3                                                                         

3

Bar.

3

3

3

wʌ wʌ wʌ

B. Cl.

3

3

3

wɑ wɑ wɑ

 pp

mp

   mp

 3

pp

   3

mp

 pp

mp

 3

3

3



mp

pp

 3

3

3

3

wɑ wɑ wɑ

pp

3

wʌ wʌ wʌ

 sim. Tpt.                 

Tbn.

 pp

  

ff

f

3

 

3

fff

 



5 ( lip trill )

mf

ff sub.p

      

 Trombone  





lip trill

             

mf

ff

6

   

mp

 

7

mf sub.p

 

3

transform vowel

        



f

3



mp

 3

pp

mp

 3

mp

 pp

  

3

3

Copyright © 2014 Lucas Marshall Smith. All Rights Reserved.

wɑ wɑwɑ



 pp

                

3

wʌ wʌ wʌ

 mp

pp

3

mp

 pp

 3

pp

               mf

 mp

 mp

 3

pp

 3

mp

pp

 pp

 3



mp

pp

 

3

* Start with the plunger in the half open position and move to closed. This should create a "wah wah" effect in the given rhythm.


2 mp

f

3

Bar.

3

3

3

3

wʌ wʌ wʌ

B. Cl.

Tpt.

3

f

3



3

3

pp

mp

mp

pp

3

pp

mp

3

 pp

mf

mp

3

3

f

3



3

pp

mp

 3

pp



mp

pp

mp

3

3

3

wʌ wʌ wʌ

3

B. Cl.

 Tpt.  

 

 

mp

pp

3



pp

 

 

mp

  

wʌ wʌ wʌ

 

 

pp

 3

mp

 pp

 3

mf

pp

 3



3

mp

   

wan

 p

open

molto legato



p

  

 3

pp

gliss. 

I

pp

3

pp

f

-

mp



 

der

lone

mf

  

pp mp

3

pp

 -



ly





p

  

pp



mp pp



mf

 mp

 pp

pp

f



molto legato

mf



f

mf

mp

3

3

3

3

wɑ wɑ wɑ



pp

              3   3   3                  

Bar.

3

wɑ wɑ wɑ

               

mp

3

mf

3

3

pp

  

3



mf



3

wʌ wʌ wʌ



pp

3

3

wɑ wɑ wɑ

f

3

3

               

mp

 

3

pp



3

wʌ wʌ wʌ

                 

9

Tbn.

3

wɑ wɑwɑ

mp

Tbn.

mp

3

                                                              3   3   3    

6

   

mp

 3

pp

 3

mp

 pp

 3

 

open

breath accent gliss.



  p

 3

sub.pp





 3

p

 sub.pp

mp


3

 

12

Bar.

B. Cl.



as

a

  

Tpt.

      p

Tbn.

   

p

  



p

mp



Bar.

B. Cl.

  Tpt.   

pp

pp



  3

  3





f





ff



     

I

the

      

       

p

f

5

mf

7

sub.p

ff

 

s - plen - dor,







  

mf

  

no

 mp  

s - plen - dor an

-

y

  

more

You

  

3



3

ppp

f

      mp



lip trill

6

6

   

3



3

pp

) 5( lip trill 

f sub.p

  



mf





ppp

ff

sub.p

mf





pp

pp

        

now



   

you work no

     

 

ppp

ppp

mir - a - cle

      mf

    

5

  

   

pp



 



for me

      

sfzp

3         no mute   3

pp

  

     but

ff

 gliss.     

p

    

s - ea

sub.pp

                7

 

no

    

pp

mp

  Tbn.  



to straight mute

mp

mp



   

3

were the wind and

Freely

pp

sub.pp

      

 





19

p

         

There is

mp

mp



cloud

p





p

1/2 valve       



mf

    pp

         5

mf

3

p

gliss.

 


Reminiscent, Almost Haunting q = 40

rit.

4 27

Bar.

 

p

 

mf

         

molto legato



B. Cl.

 

pp

f





3

3

3

mf

mp

pp

p

Tbn.

3

f

    

p

 

f

ppp

mp

  

        ff





3

ff

 

 

mp

for

    

 

       

  

p

pp

 

 

    



pp

 to whispa mute   

  

3

   

p

fp

p

 

non.vib.

non.vib.

 



u



mf



mp

 

 



 mf

f

for

p

p mf

    5 3

p

p

gliss.    

f

 

you

       

  3              

     

 

        

Nor I

mf

f

Faster q = 52

          

p



    

 

mp

mf

f

       

    

 

pp

accel.

mp

molto legato

no mute

you work no mir - a - cle,



pp

me

1/2 valve       

   f

p

f

m

pp

mp

p

f

    

 

to straight mute

ff

       Tbn.   3



f



be- neath the tree,

mp

f

pp

pp

1/2 valve

     Tpt.  

u



Reminiscent, Almost Haunting q = 40

mir- a - cle

 

ppp

p

rit.

       no

mf

p

  

pp

 

pp

           



mp mp               freely                       

     

1/2 valve

p

 

gliss.

Trailing Off in Memory

B. Cl.

ppp

p

38

Bar.

3

non.vib. f

ord.

falsetto

be - side the lake,

3

flz. ord.  mute              to straight  Tpt.             

u

Reminiscent, Almost Haunting q = 40

rit.

   ord.            flz.

pp

mp

p

     

dolce

be - side the lake,

bend down

A Little Faster q = 52

poco rit. ord. p

falsetto

f

 pp

pp

           

sffzp

no mute

f

sffzp

5

sub.mf

sub.p 4 5         mf

6

f


5 45

  

Bar.

ff



 







  3     6                     7  sffzp f ff

B. Cl.

p

sffzp sub.f



        

v2 ( lip trill )

 

sffzp

mf

6

f

mp

3

             3

3

6

mf

3

v2 ( lip trill )

4

5

mp

Gently Rocking like Waves of the Ocean 52

      

v2 ( lip trill )

4

5

f

p

f

 

ɑ

o





to plunger



legato

 

to plunger

    

pp



    

mp

3

3

wɑ wɑ wɑ

3



pp

fff

           

wʌ wʌ wʌ

o

ff

3

legato

f

3

ff



f p

transform vowel

 7     6                     Tpt.            5

Bar.

o

ɑ

Tbn.

p

f

           3

3

  3

3

wʌ wʌ wʌ

  3

wɑ wɑ

  3     3

transform vowel

B. Cl.

  

pp

  Tpt.   

  Tbn.  

 mp

half closed half

half half half           sim.       

mp

pp

    mp

      3

pp

mp

                  3

mp

pp

3

mp

sim.

 pp

 3

pp

 mp

 3

pp

 3



mp



���

mp

pp

 3

 mp


6 mp

f

Bar.

3

wʌ wʌwʌ

B. Cl.

Tpt.



3

mp

  

3

 3

mp

f

3    

57

Bar.

wʌ wʌ wʌ

B. Cl.

pp

 3

pp



But

the

molto expressivo



mp

pp

 3

 

 

daf

-

-

mf



mp

pp

pp

 

 3

 3

mp

3

pp

mp

mp

-

3

pp

mf

p

dils

float

mf

mp

      

pp

 

        

mp

  



pp



fo

wɑ wɑ wɑ

 3

pp



3

mf

  

  

on

in vales,

high

mf



 3

pp

mf

pp

 3

pp

mp

  

 

 

on hills,



legato





sfzp

 

mf

sfzp

   sfzp

p

 3

 

 3

mf

mf

 p

 

mf

                   



               

      

3

wʌ wʌ wʌ

mf

mf

wɑ wɑ wɑ

 

pp

Slower, Expansive q = 40

Tbn.

f

3

wʌ wʌ wʌ

 

          

pp

Tpt.

3

wɑ wɑ wɑ

pp

Tbn.

mp

    3   3   3   3   3   3        3   3   3   3   3   3        3   3   3   3   3   3   3    

54

 3

 mf

 p

3



  





p

               pp

 mp

 3

pp

mp

   3

mp

  pp

pp

 3

  mp

pp

 3

 



  



                  mp

 mp

 3

pp

pp

 3

mp

 pp

    3

mp

pp

 3

 


7

    

60

Bar.

flut - ter - ing

 

B. Cl.

and



 

  Tpt.   



the breeze

  



mp

      Tpt.   

1/2 valve 



3

pp

 

in spright - ly

     

f

mp

   

f

mp

3

pp

heads

B. Cl.

in

  



3

ff

Bar.

  

pp

mp

 

 

                 

  

64

danc - ing



mp

Tbn.



  



mp

  

daf

-

fo

-

 

3

 

mp

expressivo     

 

 half

        

 

pp

3

mp

out

mp

    

mf

open

Tbn.

       f

 mf

  

 





m

 

 

     

   

5

mf



 flz.

        



p

flz.

 

pp

mf

mp

to whispa mute



 

7

mf

  to whispa mute            pp



accel.

m

pp

p

 

3

        3

  

 

 



        

flz.

3

    

6

open     3

pp



toss their

6

mf

pp







      

 

f

in end - less waves

sim.

3

pp

half

 

   sim.     

 

 

  

mp

   

pp

stretch - ing

 

mf

   

dils,

mf

  

mp

mp

   

dance.

  

p

the

f

mp

  

mf



 

   

p

mp v3

mf

 

flz.

7

p

 


8 mp

72 Moving Ahead q = 52



Bar.

Reminiscent









be - neath

 

B. Cl.

pp

  Tpt.  

        mp f

gliss.*

p

v3

        7

 

    

pp

Tbn.

ord. molto legato

f

 7

mf

  

 

pp

  

 

f   

pp



 

 

the

trees,

Oh

 

   pp

daf

-

mp



 



  

   



 

  

  

no mute

fo - dils!

   



ppp

 

mf

 pp

  3       mf

ppp

gliss.



p

mf

pp



ppp

mp

*Lip/embouchure gliss; may also be achieved through use of the third vavle tuning slide.

rit. 82

 

Bar.

      Per - haps

mf

          there

is

a mir - a - cle

p

    

for thee,

      a

mir - a - cle

pp

 

    

freely

for thee,

mp

but not

pp

  

for

me.

          gliss.*

freely

 

B. Cl.

 Tpt.  

pp

Tbn.

 

ppp

    

ppp

3

     

3

3

mp

sfzp

3

3

    

mp

  ppp

freely

   gliss.*

  ppp

3

    

sfzp

ppp

sfzp

to whispa mute

3

 

ppp

* Lip/embouchure glissando. This should be done in synch with the gliss in the bass clarinet/trumpet.


After Daffodils score