Ejnar Kanding: Anagram 1

Ejnar Kanding Anagram 1 (2017) for flute (with glissando headjoint), piano & live-electronics (Max) Dur. 6′

Commissioned by the Black Page Orchestra

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Ejnar Kanding Anagram 1 (2017) for flute (with glissando headjoint), piano & live-electronics (Max) Dur. 6′

PERFORMANCE NOTES The consonants in the score should sound as following: c = ce f = foe (or fö) k = ka x = xa (xha) with throat noise q = qu sch = schoe (or schö) t = te z = tsae (or tzä)

LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on your computer or a MIDI pedal. If the ensemble has a sound director to control the balance between instruments and live electronics the “spacebar” model can be used. The ensemble can even run the piece from stage if one of the musicians uses a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance.

The appendix provides descriptions of the cues and gives an indication of what is happening in the live electronics.

SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be the of the same kind as the front speakers. Make sure the volume is balanced between the four speakers.

MIXING For a performance you can choose to use either a mixing console that is connected to an audio interface or use only an audio interface.

If a mixing console is used, connect both the three microphones and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 and 2 from the mixer are connected to the audio interface (input 1-2). All AUX sends must be in PRE mode. í í í í í í

AUX1 for the flute – continued to audio interface input 1 AUX2 for the two piano microphones – continued to audio interface input 2 audio interface output 1 – through the mixer continued to L speaker audio interface output 2 – through the mixer continued to R speaker audio interface output 3 – through the mixer continued to Lr speaker audio interface output 4 – through the mixer continued to Rr speaker

If only an audio interface is used, connect the flute microphone to input 1 of the audio interface and the piano microphones to input 2 and 3. Connect audio interface output 1-4 directly to the loudspeakers.

In both cases if you plan to perform in stereo, just two outputs are connected to the speakers.

The instruments must be amplified so that they appear with a clear, present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary to create a natural sound.

REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended that each musician rehearse individually as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer picks up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback.

CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com

TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 8M or RME Fireface UFX+ MIDI-pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or Yamaha FC5 Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 3 mic inputs, 4 line inputs, 2 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): Flute DPA 4099 (or AKG 414 or Neumann U89) Piano 2 Neumann KM184 (or DPA 4011 or AKG 414) SOFTWARE: The patch used for performances has been developed in Max 7. A download of Max (which is required to run the supplied patch) is available from Cycling ‘74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot be saved without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way.

The patch can be downloaded from the Edition·S website: http://www.edition-s.dk/assets/anagram-1 All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: í Open the application with the title of the piece. í In the left corner is the “start Max” – to start press the gray button that says “dsp start”. í Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”. í If a mixing console is used: Channel (group) 1 set to Input 1, channel 2 set to Input 2. í If just an audio interface is used: Channel 1 set to Input 1, channel 2 set to Input 2, channel 3 set to Input 3. í For rehearsing individually with a Mac’s internal microphones: í Flute: Channel 1 set to Input 1, channels 2-3 set to Off. í Piano: Channel 1 set to Off, channels 2 and 3 set to Input 1 and 2 respectively. í Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker.

(For stereo set channel 3 and 4 to Output 1 and 2.) í Below is the “stop Max” – press “dsp stop”. It stops all audio. í Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece. í Below is the “CUE” – it shows the cue that is active. í Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue.

Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.

EJNAR KANDING: ANAGRAM 1 – APPENDIX fl pno PVE NZ trig NZ on rec rvb samp 1,4,3

flute piano pitch variable effect white noise is triggered by attacks in fl filtered noise in random rhythm, lowpass at 500 400 300 200 or 100 Hz randomly chosen recording reverb sampler 1 bar = 4000 ms means bar 1, 4th beat, 3rd sixteennote

CUE

ACTION

1

ready to start

2

rec 8000 ms to buffer 1 (fl pno)

open fl pno 1,1

2

PVE1 at fl

open fl

2

NZ trig

SEND

STARTS STARTS TO BE HEARD ENDS

1,1

1,1

middle of 1

2,1

2,1

fermata to ensure rec finishes before bar 3 3

PVE2 at fl

open fl

3,1

4,1

start of 5

4

PVE1 at fl

open fl

5,1

5,1

middle of 5

4

NZ trig

6,1

7,2

4

rvb at pno

5,1

5,1

end of 7

5

samp 1 plays buffer 1 reversed & timestretch to 16000 ms

6,1

6,1

end of 9

6

PVE1 at fl

7,1

7,1

start of 9

6

NZ trig

8,1

9,3,2

9,1

9,1

end of 12

9,1

9,1

end of 13

11,4

11,4

start of 13

11,4

12,4

13,3

open pno open fl

fermata: wait for samp 1 to end 7

rvb at pno

7

samp 1 plays buffer 1 reversed & timestretch to 16000 ms

8

PVE1 at fl

8

NZ trig

9

rec 6000 ms to buffer 2 (fl)

10

samp 1 plays buffer 1 from start, reversed starts 8000 ms after, both are timestretched to 16000 ms, both are looped, samp 1 original starts gliss at 10,3 (gliss ends 64 sec after), samp 1 reversed starts gliss at 18,3 (gliss ends 32 sec after), both gliss destinations are one octave below

11

rvb at pno

11

samp 2 plays buffer 2 one octave below

12

PVE2 at fl

13

PVE1 at fl

13

NZ trig

14

PVE2 at fl

open fl

15

PVE1 at fl

15

NZ trig

16

PVE2 at fl

16

samp 2 plays buffer 2 one octave below

17

PVE1 at fl

17

NZ trig

18

PVE2 at fl

19

samp 2 plays buffer 2 one octave below

20

PVE1 at fl

20

NZ trig

21

samp 2 plays buffer 2 one octave below

22

PVE2 at fl

23

fadeout samp 1 (3000 ms) wait for PVE2 & samp 1 to end before continuing bar 38

open pno open fl open fl

14,1 wait for fadeout in bar 37

open pno

16,1

ends in 37

16,1

16,1

18,1

open fl

18,2

19,3

start of 21

open fl

21,2

21,2

end of 21

22,2

22,2,2

22,1

23,2

middle of 24

open fl

23,1

23,2

end of 23

open fl

24,1

25,2

start of 27

24,1

24,1

26,1

27,1

27,1,3

middle of 28

28,1,3

29,1

30,1

30,1

32,1

30,4

31,1

middle of 32

32,1

33,1

31,1

31,1

33,1

32,1

33,4,3

end of 37

open fl open fl open fl

CUE

ACTION

SEND

24

NZ on

25

NZ off

26

NZ on

27

NZ off

28

NZ on

29

NZ off

30

NZ on

31

NZ off

32

NZ on

33

NZ off

34

NZ on

35

NZ off

36

NZ on

37

NZ off

38

NZ on

39

NZ off

40

NZ on

41

NZ off

42

NZ on

43

NZ off

44

NZ 50 Hz; low pass

44

PVE1 at fl

45

PVE1

46

NZ 50 Hz off

47

NZ on

48

NZ off

49

NZ on

50

NZ off

51

NZ on

52

NZ off

53

NZ on

54

NZ off

55

NZ 50 Hz; low pass

55

PVE1 at fl

open fl

56

PVE1

close fl

57

NZ 50 Hz off

57

rec buffer 3 (2000 ms)

58

samp 3 two octaves below

STARTS STARTS TO BE HEARD ENDS 38,1

38,1

39,1

40,1

40,1

41,1

42,1

42,1

43,1

44,1

44,1

45,1

46,1

46,1

47,1

48,1

48,1

49,1

50,1

50,1

51,1

52,1

52,1

53,1

54,1

54,1

55,1

56,1

56,1

56,1

58,2

58,2

65,3

open fl

58,2

58,2

59,2

close fl

59,2,3 68,1

68,1

70,1

72,1

72,1

74,1

76,1

76,1

78,1

80,1

80,1

82,1

82,3,3

82,3,3

88,3

82,3,3

82,3,3

end of 87

89,1

89,1

end of 90

open fl

Anagram 1 Ejnar Kanding

Anagram 1.1 q = 60

& 44

MaxMSP

∑

> & ≈ b œJ ≈ Œ œ œ ‰ Œ Ó >> 8

k

pno

max

pno

max

∑

&

Ó

? w w ã

*

pno

max

∑

?

Œ Œ

Ó

∑

w bw °

˙˙ .... ˙ ..

orig->rvrs loop/gliss

&

œ‰Œ J

14 fl PVE2

Ó

© 2017 by Edition·S, Copenhagen Engraving by Ejnar Kanding

15

fl PVE1+

> > >œ b œ œœ p f3 œœ œ

œ

≈‰ Ó

#w w

œœ b ww œ w J

Œ

c

Ó

œœ b ww œ w J

œ‰Œ Ó J sample 2 16 fl PVE2

Kanding: Anagram 1 - fl pno max - 8

6 fl PVE1+NZ trig

U

Œ Œ

U

Ó

bw π

Œ Œ

w w ∑

∑ ∑

*

œ‰Œ Ó J

∑ œ Œ Ó b ˙˙ .. b˙.

œœ >c >f ˙. f b ˙˙ ..

œ‰Œ J 13

œœŒ Ó œœ œ

∑

fl buffer 2

‰Ó

œœ œ

œœ b ww œ bw J

∑

b ˙˙ .. b˙.

9

Œ

œœ œ

˙˙ .... ˙ ..

∑

œ‰Œ Ó J

f k

∑

#w w

w w

bar 1-2 timestretch

˙˙ .... ˙ ..

œ œ œ œ # œ œ n œ b >œ œ J J 5 f

∑

5 to 16 secs reversed

w w

œ œ #œ bœ œ œ œ œ

Œ œ‰Ó J

˙˙ .... ˙ ..

œ ‰ Œ NZ trig Ó J

œœ œ

œ

∑

12 fl PVE2

Œ b œj ‰ Ó Ó > f x ˙. œœ b ˙˙ .. b ˙˙ .. œ b˙.

œœ b ww œ bw J

# ˙˙ .... ? ˙ ..

bœ ‰ Ó J

z

8 fl PVE1+NZ trig

˙˙ .... ˙ ..

∑

t

œ ‰Œ J ˙ p

b ˙˙ .. b˙.

œœ b ww œ w J

11 pno rvb

& Œ bœ œ bœ œ œ œ œ œ Œ > F œœ b ˙˙ .. ˙. œ

sch

Ó

Ó

#w w

œ‰Œ œ‰Œ Ó J sample 1 J sample 2 10

w w

œ‰ J

b >œ ‰ Œ ‰ ‰ >œ j J œ J >t sch z

∑

> > > ‰ b œJ Œ œ ≈ b œ ‰ œ b œ œj ‰ Œ Ó > >>

bar 1-2 timestretch to 16 secs reversed

∑ œœ œ

œ‰ Œ Ó J pno rvb

œ bœ œ œ œ œ

œ œ bœ w w

4 fl PVE1+NZ trig

Ó

bœ œ œ œ

J

‰

w bw °

∑

œ‰Œ Ó J pno rvb

b ˙˙ .. b˙.

∑

ã Ó

œ‰Œ Ó J ∑

U

Ó

w w

3 fl PVE2

∑

∑

&

∑

w bw °

Œ Œ

∑

& œj ‰ Œ Ó

ã

∑

wait for reversed 7 to end

22

fl

∑

U

j‰ Ó œ œ b >œ >c >f x bœ œ f

j‰ Œ Ó œ

bw p

c q

15

fl

∑

p U ?4 w w 4 bw w ° 1 to buffer 1 4 2 fl pno Œ Ó ã 4 œJ ‰fl PVE1+NZ ∑ trig

Piano

fl

U

& 44 œr ≈ ‰ Œ Ó >k f

Flute

Ó

fl PVE1+ NZ trig

> > > ‰ b œJ Œ œ ≈ b œ ‰ œ b œ f sch t z >c >f ˙. œœ b ˙˙ .. œ œœ b ww œ bw J œ ‰Œ Ó J

17 fl PVE1+NZ trig

Version 1.1: 9.3.2017

j & œ ‰Œ Ó > k ˙ œœ b ˙ .. ˙. œ 28

fl

pno

max

&

˙. b ˙˙ ..

œ œ œ bœ œ bœ > œ œ œ œ F

œ‰Œ J

∑

œ

? ˙ pno

max

b˙

? w w ã

pno

œœ

?

pno

w °

19

20

˙ .... ˙˙ ..

œ

b˙

Ó

œ

∑

22 fl PVE2

∑

Œ

˙. ˙.

fadeout

œ‰Œ Ó J

∑ œ

&

23 sample 1

œœ

œ œ bœ J

bœ œ œ œ

œœ

œ p

∑

w w

j œ

œ ˙. b œœ ˙. b˙.

Anagram 1.2

w

j ‰ œ œ œ œJ b œ œ

œ œœ J

œ‰Œ Ó J

21 sample 2

œ bœ œ œ bœ œ œ œ bœ. œ œ œ bœ ˙ 5 6 f

œ

r œ œ b œ œ œ œ œ œr œœœ œ bœ œ œ œ m.d.

p

w ° 24 NZ on œ ‰ Œ J m.d.

Ó

j j b œ œ œJ œ œ œ ‰ œ

ã œJ ‰ Œ & œ & œœ ?

Ó

œ b œ œ œJ œ œ bœ œ œ œ œ

œ J

œ ‰ Œ J

26 NZ on

œ J

œ ‰ bœ œ J

Ó œ œ œ J

œ ‰ Œ J

27 NZ off

œ œ J

œœ

w

Ó œ œ œ J

œ ‰ Œ J

28 NZ on

bœ J

œ

Ó

‰ bœ œ œ

œ ‰ J

œœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

w

ã œJ ‰ Œ

bw

bw

simile

29 NZ off

max

b ˙˙ .. b˙.

simile

43

fl

c f k

Œ ‰ œj œ œ # œ n œ œ # œ n œ œ p F> œœ #œ œ œ ?

œ œœœœœ œ œœœœœœ œ œœœœœœ œ œ œœœ œœœœœœ b œ b œ œ b œ œ b œ œ œ œ œ œ œ œ & œ bœ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œœ œ

25 NZ off

max

z

œ w œœ b ww J

∑ bœ œ œ œ

t

NZ trig

∑

& œ

œœ œ

f #w w

sch

œ‰Œ Œ œ‰ œ‰Œ Ó J sample 2 Jfl PVE1+J

w bw

39

fl

bœ

>œ # >œ >œ b >œ > > J ‰ ‰ J ≈R‰ œ œ Ó

∑

œœ b ˙˙ .. œ b˙.

Ó

18 fl PVE2

> > b >œ b œ œ Œ & œœ f 3 p

Œ

˙ .... ˙˙ ..

34

fl

5

5

œœ b ww œ bw J

# ˙˙ .... ? ˙ .. ã

Œ

Ó

w

w

œ ‰ Œ J 30

NZ on

Ó

œ ‰ Œ J

31 NZ off

Kanding: Anagram 1 - fl pno max - 9

Ó

w

œ ‰ Œ J

32 NZ on

Ó

˙

47

fl

pno

& Œ

œ ‰ J

?

w

pno

ã œJ ‰ Œ

Ó

œ ‰ Œ J

bœ & œ bœ œ œ œ œ œ ?

w

ã œJ

‰ Œ NZ off

54

fl

pno

& œ

j œ ‰ bœ

pno

?

w

ã œJ ‰

œ ‰ J

œ œ

œ

bœ œ œ œ

œ

35 NZ off

œ œ bœ J

w 36 NZ on œ ‰ Œ J

Ó j œ

j œ ‰

Ó j bœ ‰

˙

r bœ nœ bœ œ r bœ nœ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œœ bœ œ œ œ œœœ œ œ œ bœ œ œ œ bœ œ œ œ bw

bw

œ ‰ J

38 NZ on

œ œ J

œ

œ J

Œ

Ó

œ ‰ J

Œ

Ó

œœ

œ œ J

39 NZ off

j œ ‰

œ ‰ b˙ J

w Œ

Ó

& œJ ‰ ˙

bœ

œ

œ J

œ ‰ J

Œ

Ó

41 NZ off

j œ ‰

Œ

œ J

w ° siempre 42 NZ on œ ‰ Œ J

‰

œ

≈œ œ ≈œ

œ ≈J

≈

Ó œ

œ ≈ œ ≈ œJ ≈ J ≈ ≈

> > œ œ œ nœ bœ œ œ nœ bœ œ nœ bœ œ nœ bœ œ nœ bœ œ nœ œ œ œ œ œ œ œ œ œ œ r bœ nœ œ bœ œ r nœ bœ œ œ œ œ œ œ œ bœ & œ œ bœ R R R w ? w & w m.s. ã œJ ‰ Œ 43 NZ off

max

œ ‰ Œ J œœ

œ

Ó

57

fl

b˙

Œ

bœ œ bœ œ œ œ bœ œ r bœ nœ bœ œ bœ œ r b œ n œ b œ n œ œ œœ œ nœ œ œ bœ œ œ œ bœ œ bœ œ œ œ bœ œ œ œ bœ & œ œ œ b œ œR œ œœ

40 NZ on

max

œ bœ

Ó

34 NZ on

& œj ‰ ˙

37

max

bœ ‰ J

bw

bw

51

fl

‰ œœ œ

œ r r bœ œœœœ œœœœœœ œ œœœœœœ œœœœœœœ b œ b œ œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ & œœ œ bœ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ R

33 NZ off

max

Œ

Ó

Œ

œ J

44

‰

Ó

NZ 50 Hz fl PVE1

Kanding: Anagram 1 - fl pno max - 10

Œ

‰

œ Ó J

45 fl PVE1 off

60

fl

pno

max

& &

pno

max

œ

œ

pno

max

ã & ≈

œ bœ nœ œ

bœ œ œ bœ nœ

w & w

w w

ã

pno

max

œ œ. ˙

w w

w w

Ó

∑

& œ † bœ œ œ

ã

œ œ œ œ œ. œ œ œ

‰ œ

bœ.

œ bœ œ œ œ œ œ œ œ œ œ

bw

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œ

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œ

˙.

#œ œ œ.

∑

j œ ‰œ

œ

˙

œœœ œ œ b œ œ

∑

∑

†

∑

∑

?

∑

∑

w 47 NZ on œ ‰ Œ J

bœ

œ. bœ œ.

œœ œ œ # œ œ œ œœœœ œ œ œ

#w

œ #œ

œ w w

œ. bœ œ nœ œ

#œ œ œ œ œ bœ œ œ œ œ œ

48 NZ off

œœ

*

‰ . b œr œ

œ ‰ Œ J

∑ œ.

œ

. œœ œ œ œ œ œ œ

∑

46 NZ 50 Hz off

w

& bœ œ œ œ

œ. œ œ œ

j j œ ‰ Œ œ bœ ‰ b˙

œ bœ ˙ œ bœ œ œ bœ œ bœ œ bœ œ nœ œ w

?

˙

∑

w

&

œ œ œ œ. ˙

∑

73

fl

œ. œ

w & w

69

fl

œ

œ

œ. œ. œ œ œ. œ. œ œ œ œ œ. œ œ

64

fl

œ

œ

œœ

œ ‰ Œ J

49 NZ on

œ

bœ œ œ œ œ œ

œœœ

Ó ‰ Œ

œœ œ œ œ œ œ œœœœ œ bœ œ

w

∑ nœ

NB: ottava!

œ

Ó j œ #œ.

œ.

œ

bœ œ œ œ bœ œ œ œ œ #œ œ œ œ œ œ nœ b œ œ œ œ œ œ bœ nœ œ œ œ # œ n œ # œ œ œ œ œ œ #œ œ œ œ œ bœ bœ nœ œ † œ œ bœ #œ ? ã

w

∑

#w œ J

‰

50 NZ off

Œ

Ó

Kanding: Anagram 1 - fl pno max - 11

w

∑

76

fl

pno

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Kanding: Anagram 1 - fl pno max - 12

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