Ejnar Kanding: Mosaico 4

Ejnar Kanding Mosaico 4 (2015, rev. 16) Transparent Substance 1 for bass clarinet, percussion, piano, violin, violoncello, & live-electronics (Max) Dur. 3′

Commissioned by and dedicated to the TRANSIT ensemble (NYC).

SCORE

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

Composed with support from the Danish Arts Foundation and Koda’s fund for Social and Cultural Purposes.

Støttet af Statens Kunstfond og Koda’s nationale midler.

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

Ejnar Kanding Mosaico 4 (2015, rev. 16) Transparent Substance 1 for bass clarinet, percussion, piano, violin, violoncello, & live-electronics (Max) Dur. 3′

INSTRUMENTATION Clarinet in Bb / Bass Clarinet in Bb Piano

PERFORMANCE NOTES

Violin

Accidentals: valid throughout the whole bar, only in the notated octave.

Violoncello

Percussion: Percussion vibraphone(F2-F5) (F2–F5) vibraphone bass drum with pedal(or (orfloor floortom tominstalled installedunder underthe thevibraphone vibraphone with bass drum pedal) bass drum with pedal with bass drum pedal) 2 bongos bongos 2 woodblocks woodblocks 1 piece of metal (short 1 piece (short resonance) resonance) tuned gong (sounding E2 - large) tuned gong (large, sounding E2) tam-tam (large) tam-tam (large) Percussion notation:

Percussion notation: Vibraphone

&

œ

œ bass drum with pedal

Percussion

㠜

bongos

œ

œ

woodblocks

¿

¿

—

piece of metal (short resonance)

Œ

tam-tam (large) tuned gong

œ

tuned gong sounding E2 (a large gong)

œ

The piece may be performed without electronics.

Mosaico 4 is part(Max) of a collection of Textures and Mosaics by the composer, Live Electronics available individually or in a collected set from http://www.edition-s.dk.

NOTES ON THE SCORE Accidentals: valid in the wholde bar, only valued in the notated octave Flautando: as sul tasto as possible N.: normal, used in connection to flautando Percussion in bar 99-127 of Texture 1: it is meant to be as soft as possible, a kind of murmured groove, though the bass drum naturally would have some volume. Do not play with hands only, please use mallets

LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on a 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 appendicx 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. Below is a proposal for the setup. It can be modified depending on the acoustics of the venue or for convenience. piano

percussion violin

bass clarinet

L speaker

cello R speaker

mixer ---audience--L rear speaker

R rear speaker

MIXING Concerning the microphones: close-miking of the instruments is important achieving the best possible separation. The instruments have to 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. All AUX sends must be in PRE mode. í AUX1 for the bass clarinet – continued to audio interface input 1 í AUX2 for the percussion – continued to audio interface input 2 í AUX3 for the piano – continued to audio interface input 3 í AUX4 for the violin – continued to audio interface input 4 í AUX5 for the cello – continued to audio interface input 5 í audio interface output 1 – through the mixer continued to L speaker í audio interface output 2 – through the mixer continued to R speaker í audio interface output 3 – through the mixer continued to Lr speaker í audio interface output 4 – through the mixer continued to Rr speaker REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended that each musician rehearse individually as follows: 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 10.7 or later, 8 GB RAM Audio interface: e.g. MOTU 896mk3, MOTU Traveler mk3 or RME Fireface 800 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 TEcontrol Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console: At least 10 mic inputs, 5 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): Bass clarinet 2 DPA 4099 Percussion 2 Neumann KM184 as overhead, 1 AKG 112 for bass drum, 1 Shure Beta57 for metal piece Piano 2 Neumann KM184 Violin 1 DPA 4099 Cello 1 DPA 4099 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/mosaico-4 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 Mixing console: Channel (group) 1 set to Input 1, channel 2 set to Input 2, channel 3 set to Input 3, channel 4 set to Input 4, channel 5 set to Input 5.

For rehearsing individually: í Bass clarinet: Channel 1 set to Input 1, other channels to Off. í Percussion: Channel 1 set to Input 2, other channels to Off. í Piano: Channel 1 set to Input 3, other channels to Off. í Violin: Channel 1 set to Input 4, other channels to Off. í Cello: Channel 1 set to Input 5, other channels to Off. í Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker. 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, which was written.

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: MOSAICO 4 – APPENDIX vn vc rvb PVE gliss

violin cello reverb pitch variable effect glissando

CUE ACTION

SEND

ENDS IN BAR

1

ready to start

2

drone on E0

7

3

adds surround noise to drone

7

4

drone on E0 & surround noise

17

5

pno long rvb

23

5

rec of rvb of vn & vc to buffer

19

6

perc PVE

27

7

buffer1 with vn & vc rvb on

23

8

buffer1 with vn & vc rvb on - with gliss

29

8

rec of vc (bpm between 45 & 51.5 to obtain the rec fadeout while C1 is still sounding) to buffer2

26

9

buffer1 gliss ends & fadeout 15 secs

29

9

buffer2 vc on & starts gliss minor 3rd down (wait for vc sampling to finish before continuing to bar 29)

29

10

drone on E0

end of 34

10

surround noise

33

11

drone on E0 fadeout in 10 secs

end of piece

Mosaico 4

Score

Ejnar Kanding Lento q = 48

& 44 œ . π ã 44

Bass Clarinet

Percussion

j œ #œ

œ ∑

& 44 Ó .

Piano

?4 4 & 44

Violin

bœ

π

Max

7

œ œ

Ped.

∑

b ϲ

∑

∑

vib

& 44

∑

∑

vn

vc

max

7

∑

∑

?4 4

∑

∑

4 O &4 ˙ ?4 4 ã 44 œ

& 43

vib

& 43 Ó

f

ã 43 œ p Œ & 43 ‰

13

?3 4

œ

‰ bœ

Œ

>˙ ˙

˙˙ . .

vc

max

& 43 Ó

?3 ≤ 4 ˙ π 4 3 ã 4 œ

#œ π ‰ Œ

œ π

j œœ

œ ‰

Œ

Ped.

Œ

© 2015 by Edition•S, Copenhagen Engraving by Ejnar Kanding

3 4 œ ≈ ‰ Œ

bœ

≤ 43 ˙ π 3 43 œ

œ bœ

œ

œ nœ

Œ

Œ

>˙

œ

b˙

˙ >

œ

bœ

≤ ‰ bœ ˙ Ped.

˙ >

˙

∑

∑ Oœ ≈‰ Œ

w bœ π

b b Ow

bœ

œ p

Ped.

‰

≤ ˙

‰ bœ

≤ bœ

j œ bœ π Œ Œ

bœ.

œ

œ

˙ >

œ

œ bœ

œ nœ

j œœ

Œ.

˙

œ

˙˙ .. ˙. ˙. œ

œ

∑ Ejnar Kanding - Mosaico 4 - 7

‰

˙. bœ œ

Œ

>˙

œ

œ

œ

bœ œ

*

4 4 44

˙ >

44

œ J

˙ >

œ

œ

b Oœ ≈ ‰ Œ

Œ

3 4

Ó

43

4 4

∑

44

∑

4 4

43

3 4

∑

∑

œ

*

43

3 4

b˙.

œ

4 4 >O ˙

3 4

bœ

bœ

4 4

˙˙ .. ˙˙ . .

44

b œ >˙O

œ

∑

> ˙ ˙

bw bw

∑

b Ow

pœ

4 4

∑

œ

œ

∑

œ

˙. bœ œ

œ ≈ ‰ b˙.

‰ œ.

Ó

44

>˙

∑ w

b˙

Œ.

œ œ

˙

∑

∑

˙˙ . .

∑

œ

˙. ˙.

>˙

j œœ

Œ.

Œ

˙. ˙.

Œ

∑

Œ

bœ

> Œ ˙ ‰ bœ ˙

4 4

˙ >

œ ˙.

˙.

˙˙ ..

π

Œ ‰

>˙

œ bœ

œ œ

#˙

>˙

bw

#˙

˙˙ .. ˙˙ . .

j œœ

∑

œ

‰ pœ ˙. œ bœ

˙. ˙.

œ œ ‰ Œ

˙ >

œ

≤ ‰ œ π

Ped.

b Ow

˙ >

œ

˙. ˙.

Ow

∑

≤ ‰ œ π

Ped.

vn

≤ b b Ow

Œ.

Œ

˙ π

Œ.

Œ

∑

O˙

∑

13

pno

O˙

∑

bcl

perc

O˙

43

∑

4 &4

pno

bœ

œ p œ œ œ≈‰

˙

p

Ó

2

≥

Ó.

bcl

& 44

Nœ

#˙.

tuned gong (sounding E2) 43 ˙ . π >˙ Œ 3 4 ‰ bœ ˙

∑

w w

ã 44 œ ‰ Œ 1

œ

˙

w w

? 4 Ó.

4

Cello

œ

3 4

Ó

∑

# ˙. ˙ p

˙. ˙

∑

Ped.

44 # # Ow 4 4 ∑

4 4

Ow œ

5

‰

Œ

Ó

version: 1.3 - 2.2.2016

18 bcl

vib

perc

& & Œ ã

18

pno

vn

vc

max

# ˙˙ ..

&

∑

π

‰. ¿ œ œ Œ # ˙. F ˙ 6

ww Ó ˙. ˙

?

w

π

˙˙ ..

Œ

˙. ˙

˙. ˙

˙. ˙

Ó

∑

O ? w ‰

œ

Œ

perc PVE

Ó

œ

7

∑

‰

Œ

wO

∑

Ó

&

& w

vib

&

perc

w

23

pno

∑

&

? ˙ ˙.

vc

max

&

≥

? Œ

ww

Ó

≈¿ œ≈¿ œœ π

Ó

∑

˙ ˙.

Ped.

vn

˙˙ ..

≈¿ œ≈¿ œœ ¿ œ Œ

ã Ó

˙ ˙.

˙ ˙.

w b w.

œ œ œ

œ p 8 Œ Ó ã œ ‰ reverb off

j œ œ

œ

œ

bœ

b˙

˙

∑

gliss buffer1 start record vc

& 43

vib

& 43

#˙. π

ã 43 ˙ . π

∑

tuned gong (sounding E2)

perc

Œ & 43 ‰ b œ π Œ ?3 4 ˙˙ . .

29

pno

>˙ ˙

≤ ‰ œ π

Ped.

vn

vc

max

≤ ?3 ˙ 4 π 10 ã 43 œ ‰

œ

Œ

Œ

∑

˙. ˙. j œœ

Œ.

& 43 Ó

˙ >

œ

œ

œ bœ

>˙

˙˙ ..

˙

œ œ

#˙

˙.

Œ ‰ bœ Œ

˙˙ . .

bœ

˙ ˙.

œ

œ

>˙ ˙ >

∑

˙˙ . .

≤ ‰ bœ ≤ ˙

∑

∑

43

∑

∑

∑

43

‰ ¿ œ ¿

Œ œ ‰

∑

˙ >

œ

∑

˙.

> ˙ ˙

j œœ

Œ.

Ped.

˙

œ

œ

˙. bœ œ

>˙

˙˙ .. ˙˙ . . œ

œ

Ó ∑

w w.

œ

œ

bœ œ

∑ Ejnar Kanding - Mosaico 4 - 8

>O ˙ ˙ >

∑

U

˙

#˙

Ó œ ‰ Œ

3 4

∑

3 4 ˙ ˙

U

Ó

˙

∑

gliss buffer1 ends, gliss buffer2 starts & PVE off sustaining buffer1 fadeout in 15 secs continue then vc sampling is finished (buffer2)

4 U 4 #w 44 4 4

w 44 ww w

∑

∑

∑

∑

U w

43

ww w ww ww

U 44 Ow

∑

U

44 11 œ ‰ Œ

3 4

∑

w 4 w 4 ww 44 ≥ w

43

3 4

∑ Ó

9

∑

˙ ˙

∑

∑

∑

œ

?

∑

Ped.

˙

œ

∑

∑

∑

29 bcl

∑

o w

w b w.

Ped.

w p j œ œ

¿ ‰ Œ

∑

≥

∑

∑

∑

w

Œ

ww

˙ ˙.

w o w

∑

start buffer1

23 bcl

˙ ˙.

Ó

Ped.

Ow

6

˙˙ ..

≈ ¿ œ œ ¿ œ œ œ ¿ œ Œ p

˙ ˙.

Ped.

#O &# w

Œ

Ó

˙. ˙

6

∑

w

ww

≈ ¿ œ œ ¿ œ œ œ ¿. ¿ œ œ Œ

Ó

∑

ã

w

∑

∑ Ó

∑ version: 1.3 - 2.2.2016