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Edmund Jolliffe
Eye, Nose and Cheek
for Flexible Ensemble
Duration: 4'00"
(Score/Parts in C)
Copyright © 2002 Edmund Joliffe. All rights reserved. International copyright secured
Sample
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Eye, Nose and Cheek
Eye, Nose and Cheek was written in March 2002 and inspired by McWilliam's
sculpture, displayed in the Tate, Liverpool. It is for four Groups, with one or more player
in each group (and optional extras), preferably those with a similar timbre, such as a
woodwind group, string quartet, or a brass group. The parts are arranged thus: Groups A a
nd B are upper range, Group C is middle range, Group D is lower range. (as directed by
COMA's flexible ensemble guidelines).
The inspiration comes from many different facets of the sculpture. The first is that the
sculpture is made out of separate shapes that fit together. The music is made up
of different sections of music, that are independent, but all grow out of one another and fit
together to create the whole piece. I have also taken the words themselves as inspiration;
'Eye' begins as a solo ('I'), 'Nose' made me think of the phrase 'Follow your nose' and
therefore the canon seemed logical, and 'Cheek' made me want to write something more
cheeky. The shape of the 'Eye' on the sculpture appears to be a perfect circle and to
reflect this musically I used a very simple phrase and played it backwards (the word is
also a palindrome). The 'Nose' section uses predominantly rising figures to reflect the
shape of the nose and the 'Cheek' section uses the material from 'Eye' as it connects back
to the eye on the sculpture.
The sculpture as a whole strikes me as something cold and classical to begin with, which
comes alive when you realise how the shapes work together and this is what I was trying
to convey in the music. The more you look at the sculpture, the more intense the face and
the stare from the eye becomes. The players should match this in their performance.
Below are directions as to how each player should play the score. The bar numbers are
only useful as reference points for the players to rehearse.
Group A begin at bar 1 and play straight through to the end of bar 150, following each
number of repeats as directed in bars 147-150. End at bar 150.
Group B play from the beginning when Group A are at bar 17. Play straight through to
the end of bar 142 and then skip to bar 151, following each number of repeats as directed.
End at bar 155. One player ends the piece with the last bar as a solo - don't be alarmed!
Group C play from the beginning when Group A are at bar 33. Play straight through to
the end of bar 137 and then skip to bar 156, following each number of repeats as directed.
End at bar 159. This is for middle range instruments, so everything should be played an
octave lower, until 156, where the actual pitch is written.
Group D play from the beginning when Group A is at bar 49. Play straight through to
the end of bar 130 and then skip to bar 160, following each number of repeats as directed.
End at bar 161.
Sample
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3
Percussion (Optional) At bar 150, a percussion instrument (wood-block, snare-drum etc.)
enters very quietly and beats out a continuous rhythm, increasing in volume until the end
of the piece.
Keyboards (Optional) If available, it is preferable to have 2 keyboard (piano) players.
Keyboard 1 plays with group A, Keyboard 2 plays with Group B. Both do not enter until
bar 105. The right-hand plays the music, and the left-hand plays the same music an
octave lower. If only one keyboard is available, Keyboard 2 should still play with Group B,
but follow Group D's music. The right-hand plays the music, and the left-hand plays the
same music an octave lower.
Conductor Conduct in four, or follow Group A. N.B. until Group A reach bar 147, each
Group is exactly 16 bars behind the one in front. When Group D begin and until Group A
reach bar 105, you may dictate varying dynamics (ranging from p to f) that are not marked
in the score. Read the notes for 'Cheek' below.
All Players The score is marked as to where each player should come in. At bar 105,
there is a simpler version for less able players. Groups A, B, C have three options:
i)Play the music
ii)Play the ossia version with sticks going up (easier)
iii)Play the ossia version with sticks going down (easiest).
If no keyboards are playing, one player from each group must play the music as normal
(likewise if there are only four players in total). The easier version for Group D is to only
play the notes with sticks going down.
Follow the conductor for dynamics after Group D has entered, until bar 105.
During the last section 'Cheek', it is possible that players will get lost or miscount -
this is not a problem! Roughly play the correct number of repeats. After what seems the right
amount of time, play the last bar repeatedly, making sure you are in time with the percussionist,
who plays this rhythm. When everybody is together rhythmically, the conductor will give a
signal to indicate playing that bar four more times and then stopping (one player in Group B
still has one more bar to go!) The conductor will give this signal, regardless of whether
everybody has kept exactly in time or not.
All rights to the piece belong to the composer. No part of this publication may be
reproduced, stored in a retrieval system, or transmitted, in any form or by any
means, without the prior permission of the composer. Permission to perform or
record this work must be obtained from the composer.
Eye, Nose and Cheek lasts approximately four minutes.
Edmund Jolliffe
07903 904 639
www.edmundjolliffe.com
Sample
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Edmund Jolliffe
q = 180
Eye, Nose and Cheek
Groups A,B
Group C (8ve lower)
Group D
8
A,B,C
D
17
A,B,C
D
25
A,B,C
D
33
A,B,C
D
41
A,B,C
D
4
4
4
4
&
p calmly with stillness
GROUP A start here
'EYE'
?
p calmly with stillness
&
?
&
GROUP B play from bar 1
when Group A reach this bar
?
&
?
&
GROUP C play from bar 1
when Group A reach this bar
?
&
?
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4
Sample
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49
A,B,C
D
55
A,B,C
D
61
A,B,C
D
66
A,B,C
D
71
A,B,C
D
76
A,B,C
D
&
GROUP D play from bar 1
when Group A reach this bar
?
&
?
&
cresc. poco a poco (until 'Nose')
Watch conductor for other dynamic changes
?
cresc. poco a poco (until 'Nose')
Watch conductor for other dynamic changes
&
?
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5
Sample
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81
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6
Sample
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105
A,B,C
D
109
A,B,C
D
112
A,B,C
D
116
A,B,C
D
&
f intensively and with movement
'NOSE'
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f intensively and with movement
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7
Sample
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°
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120
A,B,C
D
123
A,B,C
D
127
A,B,C
D
&
f mf
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mf cresc.
f
GROUP D go
straight to 'CHEEK'
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8
Sample
Not for
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°
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°
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131
A,B,C
135
A,B,C
139
A,B,C
143
A,B,C
7
4
7
4
&
mf cresc.
f
mf cresc.
&
mf cresc.
f
##
mf cresc.
&
f cresc.
GROUP C go straight to 'CHEEK'
f
∑
&
f cresc.
∑
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GROUP B go straight to 'CHEEK'
&
più f
&
mp cresc.
&
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9
Sample
Not for
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ce
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147
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.Group A
.
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149
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.Group A
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151
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.Group B
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153
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.Group B
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156
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.Group C
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.
.
.
158
.
.
.
.Group C
.
.
.
.
160
.
.
.
.Group D
7
4
6
4
5
4
5
4
4
4
7
4
7
4
6
4
5
4
5
4
4
4
5
4
7
4
7
4
6
4
5
4
5
4
4
4
7
4
7
4
4
4
&
í.. q
PERCUSSION 'CHEEK'
GROUP A 'CHEEK'
4
4
pp sempre cresc...........ff
f
e q e q
52X
î..
16X
cresc.
8X
&
4X
ff
7XEND
&
GROUP B 'CHEEK'
f
8X
8X
&
cresc.
8X
ff
4X
SOLO
mf cheekily
END
&
GROUP C 'CHEEK'
(Actual Pitch)
f
8X
cresc.
4X
&
4X
ff
4X
END
?
GROUP D 'CHEEK'
f cresc.
8X
ff
6X
END
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.
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.
b
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. œ
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.
10
Sample
Not for
perfo
rman
ce
