Ursa Major

URSA MAJOR // for saxophone, piano, percussion, and electronics heather stebbins (2017)

composed for the Vertixe Sonora Ensemble

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URSA MAJOR is a semi-improvisatory work for saxophone, percussion, piano, and electronics.

The score is notated in spatial notation. Players perform from the score. Each system corresponds to 30 seconds, except when the time is notated in boxes - in this case, the system corresponds to 15 seconds. Players should have timers

- cell phones, etc. and should coordinate the start of the

piece with the player running electronics.

URSA MAJOR is meant to be semi-improvisatory. Players are encouraged to take liberties with

phrasing, dynamics, and playing style. Relative speed and duration are notated within the context of the system duration (15 or 30 seconds).

Strive for amplitude balance between the instruments and electronics.

ELECTRONIC REQUIREMENTS The electronic element of UM consists of nine stereo soundfiles to be triggered at times marked in the score and on the electronics sheet.

There are some fairly low frequency sounds in the piece. A subwoofer is preferable.

A performer triggers the nine sound files using the included MaxMSP patch. The performer should

coordinate when s/he begins the first cue with the instrumentalists - they will be performing with

timers that need to by synced with the Max Patch timer.

Questions can be directed to the composer: hlstebbins@gmail.com

SAXOPHONE Requires: Soprano in B-flat, Baritone in E-flat, Bass in B-flat. SCORE IS TRANSPOSED. Many of the techniques use a 'Low Middle High' register clef, marked LMH on a three lined staff.

Choose fingerings based on LMH and context.

flz = flatterzunge/fluttertongue. A growl is fine if fluttertongue is not possible.

ST= Slap tonge.

+o+o+o--= timbral trill - alternate fingerings to create slight differences in pitch 'Rain', with and without slaps. An audio file example is included.

6.,.· ..... l' ...

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'Helicopter' (heli) - with and without tongue rams. An audio file is included. ttl\UHl\<ni

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Teeth on Reed- Creates a high-pitched, whining sound.

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Saxophone multiphonics are found in Daniel Kientzyâ&#x20AC;&#x2122;s Les Sons Multiples Aux Saxophones.

Fingerings and multiphonic numbers are in the score.

A reproduction of the fingering diagram is below.

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PERCUSSION Requires a suspended tam-tam on large wind gong -O-and a bass drum on its side.

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PLECTRA: Sponge, Brushes/Rakes, soft bass drum mallet, superball mallet 2 gloves with padded on textured fingertips, such as gardening gloves.

Hands on tam-tam are notated using images of where hands should be and descriptions of playing

techniques.

0 r\ \J

Swirl in circular motion, varying speed.

Drag sponge up and down across skin of drum in vertical strokes.

SB Bounce: Lightly drag superball across skin of drum so that it bounces. When notated, press the

superball with more force so that the bouncing stops and you hear the friction of the mallet against · ' · · ,.. • � .. the skin of the drum. r..--.. , .. · _......----....

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Gong should always be allowed to ring.

PIANO Hairpins (require 17) â&#x20AC;&#x201C; Place hairpins on 2 or 3 of the piano strings at different locations in order to activate different partials.

Experiment with different placements on the string to create complex timbres. The result should be a gong-like timbre with subtle hints of the fundamental. The pin should be vertical and not buzz against the soundboard or neighboring strings.

Prepare these pitches. Parenthesis indicate which strings to place the pins, with 1 being the leftmost string, 2 being the middle, and 3 being the rightmost string.

C6 (1,3) F#5 (1,2) C#5 (1,3) B4 (1,2,3) G#4 (2,3) A#3 (1,2,3) F3 (1,2,3)

Thin metal knitting needles or thin metal crochet hooks (2).

This material is performed inside the piano on both the felt and the metal winding of the strings. The end of the needle is dragged across either the felt bit beneath the agraffe/bridge (in red) or the strings and against the metal pegs (as pictured). This is notated semiimprovisationally using a metal/felt clef. Drag the needles quickly and overlap strokes in order to create a thicker texture of clicking sounds.

The percussionist performs this material

A heavy, small-medium crystal bowl should be placed on the strings in between the hair pins and slowly spun in order to activate high, metallic partials.

Soft mallets, such as soft yarn vibraphone mallets, are needed to tremolo on low strings.

Harmonics are notated with diamond noteheads - always press string in front of the damper to create the harmonics.

Pizzicato is notated with a + sign. Choose an octave above or below if the piano cross beams do not allow for easy access to the string.

NOTE: Saxophone will perform pizz inside the piano on page 11

The pedal is always down and strings are allowed to ring! Use of a brick is recommended.

ELECTRONICS The Max MSP Patch includes instructions. Any other questions should be directed to the composer at hlstebbins@gmail.com .

A list of cue timings is below for performance. They are also notated in triangles in the score.

1 - 00’00 2 - 4’54

*** NB: This cue requires coordination with the instrumentalists. It

would be helpful for you to cue them at the point.

3 - 5’30 4 - 7’30 5 - 8’45 6 - 9’45 7 - 11’10 8 - 12’50 9 - 14’20