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MOTHERSHIP
commissioned by theYouTube Symphony • Michael Tilson Thomas, music director premiered March 21, 2011 by the YouTube Symphony Orchestra
3 flutes ( doubling Picc)
2 oboes & 1 E. Horn
1 Eb clarinet
2 Bb clarinets (both doubling Bs Clarinet)
2 bassoons & 1 contrabassoon
4 horns in F
3 C trumpets (mutes: straight, harmon, practice)
2 tenor trombones & 1 bass trombone tuba
electronica (no special equipment necessary)
3 percussion timpani
harp
piano / celesta
strings
PROGRAM NOTES
The mothership floats high above, an orchestra pulsing rapidly with a heart of techno. At several moments in the piece, various soloists dock with the mothership, dropping in with solos both virtuosic and lyrical. The work was commissioned by Michael Tilson Thomas and the YouTube Symphony, which asked about the possibility of integrating improvisation.
The piece follows the form of a scherzo with double trio. But while symphonic scherzos historically play with dance rhythms such as the waltz, Mothership looks to 21st Century electronic dance music to enliven its journey The brief solos can be played as written or improvised.
PERFORMANCE NOTES: mini solos
Two passages feature brief virtuosic solos from four players rehearsal letters G & T, which showcase two solos each Players can simply follow the written out solos for a more traditional performance of the piece. However, in the event that certain musicians can improvise, those players can be assigned one of the passages to improvise over. Lead sheets containing harmonic information are in the back of the score. Instruments need not be the same as the written out solos marked in the score, though treble instruments are preferable as they project best
RHYTHMIC SOLOS
mm.68-97 (written as Eb Cl )
mm.98-119 (written as marimba)
LYRICAL SOLOS
mm.174-202 (written as cello)
mm.203-236 (written as trumpet)
*It is fine for one improviser to take both solos in either the Rhythmic or Lyrical section, since all the solos are quite short.
PERFORMANCE NOTES: electronics
The piece simply requires two stereo speakers, placed on the left and right sides of the stage, in addition to a few onstage monitors. A small hotspot monitor placed near the conductor, as well as a few additional monitors placed within the orchestra, will help the performers stay in precise tempo with the electronic part. It is highly recommended that the conductor’s hotspot be elevated on a stand near the podium, and that it have a volume knob on the front. (This is not a soloistic, performative part; it is much like a dynamic, touch-controlled CD player.)
An assistant conductor situated in the hall near the soundboard would facilitate in monitoring the balance, though the electronica part is carefully designed to balance with the orchestra after a basic level is set. Because the score is carefully notated when the electronics are beat-oriented, a click track is not needed. A “live” version of the electronic part can be realized when the composer is present.
SPEAKER PLACEMENT
Mason Bates • Aphra Music
• 2 high-quality stereo speakers + subwoofer
-with at least 12” woofer for decent bass response (15” is ideal for ful range)
- place on lef & right sides of stage, either upstage (preferred) or downstage … sub goes anywhere - to best integrate the electronic sounds with the orchestra, please do not use ‘flown’ house speakers
• 5-6 onstage monitors for the orchestra
- the orchestra always needs monitors please do not perform piece without monitors
- conductor’s monitor should be on a smal stand at podium level & should have a volume knob
• an in-house sound engineer (not backstage)
• a laptop (unless composer is present), played by a percussionist or assistant conductor
-no special knowledge or expertise is needed
-the player simply hits the appropriate keys (as marked over the electronic part in score)
(left house speakers (+ sub) mounted high on stands (right)
conductor's ‘hotspot’ (alternate downstage (on stand, with volume knob, plus (alternate downstage speaker placement) additional monitors for strings speaker placement)
(audience)
NOTES
• It is important for the electronic part to be projected in stereo.
-Before the first rehearsal, check to make sure that the left and right speakers are correctly receiving the left and right channels.
• If using the ‘upstage’ speaker placement (preferred), be sure they are mounted high on stands.
-A high placement (on stands, not ‘flown’) projects the sound over the orchestra into the house.
-You may need to boost higher frequencies so electronic part is has enough ‘presence’ in the house.
-When it is not possible to place speakers behind orchestra, use the ‘downstage placement’ diagram.
•Onstage monitors are needed regardless of speaker placement.
-The house speakers, even when placed behind the orchestra, are not sufficient. Always use 5-6 onstage monitors.
• It is important for the conductor’s monitor to be smal, to be on a stand, & to have a volume knob.
-The conductor should never have to go through the sound guy to change his monitor level.
• During the rehearsals and the performance, mix from the hall and adjust volume as necessary.
-The electronics are ‘pre-mixed’ but acoustic differences between halls make some adjustments necessary
- For a reference recording of the piece, in order to get an idea of the mix, please email SOUND@MASONBATES.COM
DOCKING EPISODE #1
DOCKING EPISODE #2
Electronica
Orch/ Electronica Soloist
Docking Episode #1 Lead Sheet
Electronica
Electronica
Docking Episode #2 Lead Sheet
Soloist #2
Orch/ Electronica
Djembe Drum
Soloist #2
Orch/ Electronica
Djembe Drum
Soloist #2
Orch/ Electronica
Djembe Drum
Soloist #2
Orch/ Electronica Djembe Drum
Soloist #1 Soloist #2 Orch/ Electronica
Docking Episode #2 Lead Sheet