Ascension - Score

Commissioned by a consortium led by the Association of Black Women Band Directors
Ascension
For Symphonic band
Marie A. Douglas
©2024 Music Sempre, LLC
Marie A. Douglas, BMI

Commissioned by a consortium led by the Association of Black Women Band Directors
Ascension
for Symphonic Band
Instrumentation
Piccolo
1st & 2nd Flutes
Oboe
Bassoon
1st, 2nd, & 3rd Bb Clarinets
Bass Clarinet
Alto Saxophone 1-2
Tenor Saxophone
Baritone Saxophone
1st, 2nd, & 3rd Bb Trumpets
1st, 2nd, 3rd, & 4th F French Horns
1st & 2nd Trombones
Bass Trombone
Euphonium
Tuba
Timpani
4 Percussion:
Percussion 1 – Crash Cymbals and Medium Triangle
Percussion 2 – Hi-Hat with large sticks (marching band)
Percussion 3 – Snare Drum with heavy sticks
Percussion 4 – Bass Drum with large mallet
SCORE IN TRANSPOSED PITCH
Duration: ca. 4 minutes

Commissioned by a consortium led by the Association of Black Women Band Directors
The members of the consortium are as follows:
PROGRAM NOTES
Dee Davidson
Florida State University Bands, Devan Moore
Oklahoma State University Bands, Devan Moore
Lois Wiggins & Family
Linda Pulley & Family
Athena Music and Leadership, Myra K. Rhoden
Phi Beta Mu Psi Chapter of Kentucky
Stephanie Sanders
Ascension is a concert opener meant to pay homage to the African American women band directors and conductors in our
field. The sonic ideas within the piece intend to depict the peaks and valleys of the process of “becoming”, as SHE strives to
experience life, musicianship, artistry, and community at the highest possible levels allowed. The fruits of her laborious journey
on display, SHE exists as a leader in her field and as a beacon of inspiration and resilience empowering others to climb the
mountain of dreams and goals.
PERFORMANCE NOTES
The piece is a musical reflection, a conversation occurring from the point of view of a woman ensemble director. It begins with
a tempo of 76 bpm marked Broadly. A triumphant fanfare is sounded in the trumpets, horns and first trombone, let’s call it
fanfare A, announcing high praise for the women conductors persevering throughout the industry. It is responded to in the
horns and saxes with fanfare B, which contains ascending octave rips and step wise descents, persisting the call for high praise
and recognition. At quarter note = 82, poco piu mosso, a dramatic dynamic change and increase in tempo engages horn 1,
clarinet 1, alto 1 and euphonium as they work to execute the legato melody as a unit with the horn at the fore. We can refer to
this moment as a pride filled retrospective consideration and description of the journey. The wins and losses, the joy and the
pain. Reflections are had, and elaborated upon, the legato theme signifies this elaboration via its canonized development. The
evolution of this woman is displayed next. She reflects on honing her craft and how she blossoms from ambitious and eager to
learn into a powerfully intentional and impactful leader. Sonically this is portrayed when there occurs a fanfare like
interpretation of the legato theme through meas. 78. At 56 bpm - Issa Vibeee (Slow Jam) gives insight into the nuanced
approach to leadership that a woman can exude. Followed by 84 bpm - It’s Giving GA Mass Choir where we rejoice and
celebrate the victories with joyous sounds. I was thinking of Mahalia Jackson singing the hymn How I Made it Over while
writing this portion, but with an up-tempo Sunday morning, “hug your neighbor” type of vibe. Next we pull back in tempo.
Concluding her hindsight at 74 bpm, Broadly returns to for a short recapitulation and closes out the work with fanfare A.
Enjoy the journey, Ascension!
ABOUT THE COMPOSER
Marie A. Douglas, a composer hailing from Atlanta, has garnered widespread acclaim for her exceptional talent in
seamlessly blending genres and textures within her captivating concert stage pieces. Her music serves as a profound
reflection of her inner-city upbringing and her diverse musical experiences, infusing a genuine and authentic essence into
each composition. Douglas draws significant inspiration from the African Diaspora, effectively integrating elements of
hip-hop and western art music idioms to create compositions that resonate with a
wide range of audiences. With her works captivating concert-goers across the
United States and Canada, Marie's artistry extends beyond the stage as she
collaborates with various ensembles and lends her creative prowess to the world of
film music, as well as hip hop and r&b. Marie earned her Doctor of Musical Arts
from the University of Memphis under the guidance of distinguished mentors
Kamran Ince and Albert Nguyen, her unwavering dedication to sonic innovation
continues to shape the evolving tapestry of her artistic expression.
For more information about this piece or any others written by Marie A. Douglas, please visit: http://marieadouglas.com/ or
contact the composer at: mussempre@gmail.com

Score
Piccolo
Flute 1-2
Oboe
Bassoon
Clarinet in B 1
Clarinet in B 2
Clarinet in B 3
Bass Clarinet
Alto Sax 1-2
Tenor Sax
Baritone Sax
Trumpet in B 1
Trumpet in B 2
Trumpet in B 3
Horn in F 1-2
Horn in F 3-4
Trombone 1
Trombone 2
Bass Trombone
Euphonium
Tuba
Timpani
Percussion 1
Crash Cymbals
Percussion 2
Hi-Hat
4
2
4
2
Commissioned by a consortium led by the Association of Black Women Band Directors
Ascension
Marie A. Douglas
(2024)
Broadly = 76
let ring
3
3
3
3
3
3
3
3
3
solo
3
3
3
Percussion 3
Snare + Triangle
Percussion 4
Bass Drum
1
2
3
4
5
6
7
©2024 Music Sempre, LLC - MaD Music

2 Ascension
Picc.
13
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
3
3
3
3
B Tpt. 3
Hn. 1-2
3
3
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
solo
Perc. 2
Perc. 3
Perc. 4
8
9
10
11
12
13
14

Ascension
3
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
poco piu mosso q = 82
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
3
3
3
solo
Perc. 2
Perc. 3
closed
3 3
Perc. 4
3 3
15
16
17
18
19
20
21

4 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
25
4
4
dim.
dim.
dim.
dim.
dim.
dim.
dim.
4
4
dim.
dim.
2
4
2
4
Perc. 2
Perc. 3
Perc. 4
3 3
6
3 3
dim.
3 3
dim.
3 3 3 3 3 3 3 3
3 3 3 3
3
22
23
24
25
26
27
28

Ascension
5
Picc.
Fl.
Ob.
4
2
4
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
4
4
4
4
2
4
4
4
4
Perc. 1
Perc. 2
3 3
3 3
3
3 3 3
3
3
Perc. 3
Perc. 4
29
30
31
32
33
34
35

6 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
4
4
4
4
37
2
4
2
4
cresc.
Perc. 1
Perc. 2
Perc. 3
3 3
cresc.
3 3 3
3 3 3
3
3 3 3
3
Perc. 4
36
37
38
39
40
41
42

Ascension
7
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
4
3
4
3
2
4
2
4
Perc. 1
Perc. 2
3 3
3 3
3
3 3 3
3 3
Perc. 3
Perc. 4
43
44
45
46
47
48
49

8 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
4
2
4
2
3
3
3
solo
3
3
51
mute
mute
3 3 3
3 3
3
3 3 3
3 3 3
3
3 3 3
Perc. 4
3
3
3 3
3
6 6
3
3 3
50
51
52
53
54
55
56

Ascension
9
Picc.
62
Fl.
Ob.
3
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
3
3
3
B. Cl.
3
A. Sx.
T. Sx.
3
3
3
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
3
3 3
3
3
3
3
3
3 3
3 3
3 6
3 6
3 3
3
6 6
Perc. 4
57
58
59
60
61
62
63

10 Ascension
Picc.
69
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
3
3
B Cl. 3
3
3
B. Cl.
A. Sx.
T. Sx.
3
3
3
3
3
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
3
3
open
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
3
Perc. 2
3
3
3 3
Perc. 3
3
3 3
3 3
3 3
3 6
3 6
6 3
Perc. 4
64
65
66
67
68
69
70

Ascension
11
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
4
3 3 3
3 3
3 3
3 3
3
3 3
3 3
3 3
3
3 3
3
3 3
3
3 3
3
3 3
3 3
3 3
3
3
open
4
3
3
4
3
3
3
4
3
3 3
3 3
3 3
3 3
triangle
2
4
2
4
3 3
76
3 3
3 3
3
3 3
3 3
3
Perc. 2
Perc. 3
Perc. 4
3 3
6
3 3
74
3
6
3
6
71
72
73
75
76
77

12 Ascension
Picc.
allargando
Issa Vibeee (Slow Jam) = 56
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
3
3
3
3
Tbn. 2
B. Tbn.
Euph.
3
Tuba
Timp.
1.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
3
6
mute
+ closed /O open
78
79
80
81
82
83
84

Ascension
13
Picc.
Fl.
Ob.
Bsn.
88
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
tutti
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
crossstick rimshot
3
85
86
87
88
89
90
91

14 Ascension
Picc.
Fl.
95
3 3 3
Ob.
3
3
3
3
3
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
3
3
3 3
3
3 3
3
3 3
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Perc. 1
Perc. 2
Perc. 3
Perc. 4
92
93
94
95
96
97
98

Ascension
15
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
103
3
3
3
3
triangle
3
3
99
100
101
102
103
104
105

16 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
107
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3
3 3 3 3
3
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
3
3
3
3
3
3
3
3
Perc. 2
open
Perc. 3
3
3 3
Perc. 4
106
107
108
109
110
111
112

Ascension
17
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
3
3
1
3
3
3
4
3
3
3
3
3
3
3
3
3
1
3
4
3
3
3
3
3
3
3
3
3
3
3
rubato
2
4
2
4
Perc. 2
Perc. 3
Perc. 4
on head
113
114
115
116
117
118
119

18 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
It's giving GA Mass Choir q = 84
3 3
3 3
3 3
2
4
3 3
3 3
3 3
3 3
open
open
2
open
4
Crash Cymbal
closed
3 3
3 3
3 3
3 3 3 3
3 3 3 3
3 3
3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3 3 3
3 3 3 3
3 3
3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3
3
120
121
122
123
124
125
126

Ascension
19
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
128
3 3 3 3
3 3
3
3 3 3 3
3
3 3
3
3 3
3
3 3 3 3
3
3
3 3
3 3
3
3
3 3 3 3
3
3
3 3
3 3
3 3 3 3
3 3
3
3
3
3
3
3
simile
3
3
3
3
3
3
3 3 3
127
128
129
130
131
132
133

20 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
3
3
3
3
3
3 3
135
3
3
3
open
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
rall.
Perc. 4
134
135
136
137
138
139
140

Ascension
21
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Broadly = 76
3
3
3
3
3
3
dim.
Perc. 2
Perc. 3
Perc. 4
143
144
Snare
3 3
6
3 3
dim.
141
142
145
146
147

22 Ascension
Picc.
Fl.
Ob.
Bsn.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
A. Sx.
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
rit.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Hn. 3-4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
3
3
3
3
3
3
choke
Perc. 2
Perc. 3
Perc. 4
3
148
149
150