Ejnar Kanding: Schichtstruktur

Ejnar Kanding Schichtstruktur

(2016)

Etude 4’33” for cello & live electronics (Max) Dur. 4′33″

Written for and dedicated to Richard Krug Commissioned by Copenhagen Phil for the 4’33” series

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

Composed with support from the Danish Arts Foundation and Copenhagen Phil Published with support from the Danish Composers’ Society / Koda’s fund for Social and Cultural Purposes Støttet af Statens Kunstfond, Copenhagen Phil & Dansk Komponist Forening / Koda’s nationale midler

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

Ejnar Kanding Schichtstruktur

(2016)

Etude 4’33” for cello & live electronics (Max) Dur. 4′33″

NOTE I am happy to be invited to Copenhagen Phil project called 4’33” Phil, inspired by the work 4’33” by John Cage.

The title refers to several layers or depositions in a structure, that in this piece creates a field of three developments with a common harmonic structure.

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 musician can even run the piece from stage if he/she uses a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance.

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 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 only an audio interface.

Using the mixing console connect both the microphone 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 from the mixer is connected to the audio interface (input 1). AUX sends must be in PRE mode. Ă­ Ă­ Ă­ Ă­ Ă­

AUX1 for the cello - continued to audio interface input 1 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 microphone to input 1 of the audio interface and 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 instrument must be amplified so that it appears with a clear, present sound.

Use some EQ and add reverb and compressor if necessary, creating a natural sound.

REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics rehearsing individually is recommended 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 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.

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TECHNICAL REQUIREMENTS HARDWARE: Computer: 0DF%RRN 3UR 26 RU ODWHU *% 5$0 Audio interface: H J 0278 P RU 50( )LUHIDFH 8); MIDI pedal: (optional) connected to the computer, e.g. via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Yamaha FC5.

Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-RLr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console: at least 1 mic input, 4 line inputs, 1 aux send (PRE), 4 RXWSXWV IRU ORXGVSHDNHUV <$0$+$ Y UHFRPPHQGHG

Microphones (suggestions): &HOOR '3$ $.* 1HXPDQQ 8 SOFTWARE: 7KH SDWFK XVHG IRU SHUIRUPDQFHV KDV EHHQ GHYHORSHG LQ 0D[ $ GRZQORDG of Max (which is required to run the supplied patch) is available from Cycling ĂĽ 7KH WULDO YHUVLRQ RI 0D[ LV IXOO\ IXQFWLRQDO IRU GD\V $IWHU GD\V LW LV still possible to run and edit Max patches, but changes cannot save without a SXUFKDVHG DXWKRUL]DWLRQ 1RW EHLQJ DEOH WR VDYH FKDQJHV ZLOO KRZHYHU QRW DIIHFW running the supplied patch(es) in any way.

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All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: Ă­ Open the application with the title of the piece. Ă­ In the left corner is the â&#x20AC;&#x153;start Maxâ&#x20AC;? - to start press the gray button that says â&#x20AC;&#x153;dsp startâ&#x20AC;?. Ă­ Below is â&#x20AC;&#x153;IO mappingâ&#x20AC;? where the correct inputs and outputs can be selected by pressing the â&#x20AC;&#x153;dsp statusâ&#x20AC;?.

Mixing console model: Channel (group) 1 set to Input 1.

Audio interface model: Channel 1 set to Input 1.

Rehearsing individually: Cello: Channel 1 set to Input 1.

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. Ă­ Below is the â&#x20AC;&#x153;stop Maxâ&#x20AC;? - press â&#x20AC;&#x153;dsp stopâ&#x20AC;?. It stops all audio. Ă­ %HORZ LV WKH è,1,7 0D[ĂŠ SUHVV WKH FLUFOH LQVLGH WKH VTXDUH ,1,7 LV XVHG EHIRUH WKH VWDUW RI D FRQFHUW WR UHVWDUW IURP FXH 7KHQ SUHVV IRUZDUG WR cue 1 and cue 2 starts the piece. Ă­ Below is the â&#x20AC;&#x153;CUEâ&#x20AC;? â&#x20AC;&#x201C; it shows the cue that is active. Ă­ Below is the â&#x20AC;&#x153;go to CUEâ&#x20AC;?. 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.

Schichtstruktur Etude 4.33' Dedicated to Richard Krug

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