Ejnar Kanding: Sensitive Shades

Ejnar Kanding Sensitive Shades

(2016)

Texture 2 & 5 for string quartet and live-electronics (Max) Dur. 10′

Commissioned by the Siggi Quartet, Iceland

SCORE

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

Composed with support from the Danish Arts Foundation Støttet af Statens Kunstfond

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

Ejnar Kanding Sensitive Shades

(2016)

Texture 2 & 5 for string quartet and live-electronics (Max) Dur. 10′

NOTE The work Sensitive Shades is an independent part of the cycle Textures & Mosaics, volume 2; a series of five pieces for string quartet. Three of the works are written for the full string quartet, while a duo and a trio completes the series. The ambient, static and aspects of gradual change are explored. The pieces focus on long extended lines in a multi-layered structure and complex textures.

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 four 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. And the AUX send 1-4 from the mixer is connected to the audio interface (input 1-4). All AUX sends must be in PRE mode. í í í í í í í í

AUX1 for the violin 1 – continued to audio interface input 1 AUX2 for the violin 2 – continued to audio interface input 2 AUX3 for the viola – continued to audio interface input 3 AUX4 for the cello – continued to audio interface input 4 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 four microphones to input 1-4 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.

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.

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 896mk3, 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 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 (if used): At least 4 mic inputs, 4 line inputs, 4 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): 4 DPA 4099 (one for each instrument) 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/sensitive-shades-max-patch 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 model: 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. í Audio interface model: Channel 1 set to Input 1, channel 2 set to Input 2, channel 3 set to Input 3, channel 4 set to Input 4. í For rehearsing individually: í Violin 1: Channel 1 set to Input 1, channels 2-4 set Input to Off í Violin 2: Channel 2 set to Input 1, channels 1, 3, and 4 set Input to Off. í Viola: Channel 3 set to Input 1, channels 1, 2, and 4 set Input to Off. í Cello: Channel 4 set to Input 1, channels 1-3 set Input to Off. 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, 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: SENSITIVE SHADES – APPENDIX vn1 vn2 va vc 1,4,3

RTP samp MTD PVE Eq freq ms

violin 1 violin 2 viola cello means bar 1, 4th beat, 3rd sixteennote in bpm = 60, 1 bar = 4000 ms in bpm = 48, 1 bar = 5000 ms real-time processing sampler multi tap delay pitch variable effect equalizer frequency ms = millisecond, 1000 ms = 1 sec

CUE

ACTION

SEND

STARTS STARTS TO BE HEARD ENDS

1

ready to start

2

vn2: complex PVE & flanger

open vn2

1,1

2,1

8,1

2

signature sound: a complex synthesized sound with three components: subtractive synth with glissando (starts at A 442 Hz), low frequency sine tone (at A (32.9 Hz)) and FM synth chord (pitches C-Ab)

1,1

1,1

8,1

NB

the FM synth chord reappears in bar 5

5,1

3

close input to complex PVE, flanger continues

close PVE

6,4

8,1

4

buffer 1 recording, buffer 1 size = 16000 ms, the recorded 16 beats should finish before the end of the buffer size, therefore the Poco mosso is important

close flanger, open vn2 va vc

8,1

11,5

5

sampler 1 plays buffer 1 reversed three times, principally it should end bar 23 at 3,1, if playing slower than bpm = 60 it will end before, if faster it will end later; what really matters is that all sound in bar 23 ends before continuing

6

vc: MTD with two taps: 3000 5000 ms

7

12,1

12,1

(23,3)

open vc

12,4

13,3

22,2

close input to MTD

close MTD

21,1

8

vn2: MTD: 3000 5000 ms, tap 1: -3 dB, tap 2: -6 dB

open vn2

23,1

23,2

23,3,3

9

close input to MTD

close MTD

23,2

10

sampler 1 reversed & looped until fadeout in bar 39, glissando a major 3rd down through 6,5 bars; glissando ends in middle of bar 30, but the sound is continued until fadeout in bar 39

24,1

24,1

(30,3)

11

sampler 1 – 2nd glissando, major 3rd further down, ends beginning of bar 35

32,1

32,1

(35,2)

12

sampler 1 – 3rd glissando, minor 3rd down, ends middle of bar 38; sounds a major 7th under recorded pitch

36,1

36,1

(38,3)

13

sampler fadeout, 6000 ms

39,1

39,2

39,3,4

14

vn2: complex PVE & flanger, vc: flanger

40,1

41,1

48,1

14

signature sound (see cue 2), chord pitches C#-A, glissando starts at Bb 468.3 Hz, LF at C# 34.8 Hz

40,1

40,1

48,1

NB

the FM synth chord reappears in bar 44

44,1

open vn2 vc

CUE

ACTION

SEND

STARTS STARTS TO BE HEARD ENDS

15

vc: close PVE

close PVE

45,4

16

buffer 2 recording, buffer 2 size = 16000 ms, the recorded 16 beats should finish before the end of the buffer size, therefore the Poco mosso is important

close flanger, open vn2 va vc

47,1

16

spectral filtering on sampler 1 (reversed & transposed major 7th down), fadeout bar 62

47,1

47,1

62,3,4

17

sampler 2 plays buffer 2 reversed three times, principally it should end bar 62 at 3,1, if playing slower than bpm = 60 it will end before, if faster it will end later; what really matters is that all sound in bar 62 ends before continuing

51,1

51,1

(62,3)

18

va: MTD with two taps: 3000 5000 ms

open va

51,4

52,3

62,1,3

19

vn2: MTD: 3000 5000 ms, tap 1: - 3 dB, tap 2: -6 dB

close va, open vn2

20

close input to MTD

close MTD

21

spectral filtering on sampler 1 (reversed & transposed major 7th down), fadeout bar 78

21

sampler 2 reversed & looped until fadeout in bar 78, glissando a major 3rd down through 6,5 bars; glissando ends in middle of bar 69, but the sound is continued until fadeout in bar 78

63,1

63,1

(69,3)

22

sampler 2 – 2nd glissando, major 3rd further down, ends beginning of bar 74

71,1

71,1

(74,2)

23

sampler 2 – 3rd glissando, minor 3rd down, ends middle of bar 77; sounds a major 7th under recorded pitch

75,1

75,1

(77,3)

24

fadeout sampler 1&2, 6000 ms

78,1

78,2

78,3,4

25

spectral filtering on sampler 1 in Left side (L,Ls), spectral filtering on sampler 2 in R side (R,Rs), both samplers reversed & transposed major 7th down, fadeout bar 100 (6000 ms)

79,1

79,1

100,4,4

25

signature sound (see cue 2), chord pitches A-G#, glissando starts at G# 417.2 Hz, LF at A 55.25 Hz

79,1

79,1

86,4,4

NB

the FM synth chord reappears in bar 86

86,1

26

fadeout sampler 1&2, 6000 ms

100,1

100,2

100,3,4

27

buffer 3 recording, buffer 3 size 25000 ms, bpm = 52 is to be understood as a Poco mosso to ensure to finish before the end of the buffer

101,1

28

sampler 3 plays buffer 3 both forward & reversed, four bandpass EQs are applied with center freq’s: 49.2 590.7 1772.0 5316.0 Hz (fundamental freq multiplied by 1 12 36 108), each band has its own loudspeaker R L Ls Rs (i.e. left side has the two middle bands, right side the low&high band)

113,1

113,1

116,1

29

sampler 3 transposed a major 2nd down

116,1

116,1

119,1

30

sampler 3 fadeout 5000 ms

118,1

31

sampler 3 transposed a major 2nd down

121,1

121,1

124,1

32

sampler 3 transposed a major 3rd down

124,1

124,1

127,1

33

sampler 3 fadeout 5000 ms

126,1

34

sampler 3 transposed a major 3rd down

129,1

129,1

132,1

35

sampler 3 transposed a perfect 4th down

132,1

132,1

136,3,4

50,5

105,5

119,1

127,1

Sensitive Shades q = 60

Violin I

Texture 2 & 5

Texture 2

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© 2016 by Edition•S, Copenhagen engraving by Ejnar Kanding

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rec bar 47-50 to buffer 2 (16 secs)

Sensitive Shades - string quartet&max - 3

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sampler 1 glissando minor 3rd further down in 2,5 bars

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∑

Œ

‰ ® œ œ ≈ ‰ Œ ‰bœ bœ œ œ œ œ œ ‰ bœ œ > > p ≥ ≤ ≤ Ó œ ‰ ‰ ‰ œ‰ ‰ ‰ bœ ≈ bœ bœ ≈ œ bœ ≈ œ f sul pont œ œ # œ@ ‰ Œ ∑ œ œ .# œ æ !æ p

4 4

Ó

4 21 down Ó through 6,5 bars 4 œ ‰ Œ3rd spectral filtering sampler 1 sampler 2 glissando major

3 2 3 2

∑ ∑

Ó

b˙

Ó

Œ

≥

Ó

œ

‰ ®œ œ œ

≤ œ‰ ≈œ‰

b œœæ œœ! æ. # œœ@ ‰ Œ

∑

∑

spectral filtering fadeout sampler 2 loop ends

66

&

∑

& œ≈‰ Œ >

∑ Ó

Ó

B ‰ œ ‰ ≈œ‰ œ ≈œ‰ Ó œ ?

∑

÷

∑

Œ ≥ œ

œæ œ! æ œ@ œ œ . #œ

∑ ‰

#œ

‰ ‰ ‰ Œ

∑

‰ Œ ® b œ œ œ >œ ≈ œ

œ

Œ

#œ

∑

‰ #œ œ œ œ ‰ œ œ œ> œ ≈ bœ ‰ nœ ∑ ∑

Sensitive Shades - string quartet&max - 5

≈ bœ ‰

Ó

Œ

≥œ œ bœ ≈ Œ b œœæ

‰ ® œ bœ œ

≥ œœ‰ ‰ œ œ

œœ! æ. œœ@ ‰ Œ ∑

Version 1.2: 20.10.2016

70

∑

&

& œ≈‰ Œ Ó >

Œ

≥ B œ ≈ bœ ‰ œ œ ‰ Œ ?

76

∑

&

? O˙

b b O˙

÷

∑

85

O˙

Ó

Ó

U

b˙.

B ˙.

œ œ≈‰ Ó

U

÷

b˙.

œ≈ ∑

Ó

3 œ‰Œ Ó 2

œ≈‰ Ó

‰ Ó

∑

fadeout

U

Ó Ó

U

Ó

FM chord reappears

∑

Ó

q = 60

∑

w w F

bw F

∑

∑

∑

∑

∑

∑

bw w

bw

bw

bw

w w

bw

w

w

∑

∑

b ≥˙ . b ‰ ˙. p

bœ œ‰

Ó

Œ œ‰ π

pizz.

b O˙

O˙

sampler 2 glissando minor 3rd further down in 2,5 bars

œ‰Œ Ó 23

Coda

∑ w w

w F

# Oœ ..

∑

œ≈‰ 4 ˙. ∑ b˙.

4 f arco œ≈‰ b˙.

4 b˙. ∑ 4 f œ≈ ˙.

4 ˙˙ .. œ ‰ ∑ ˙.

4 f signature sound 4 25 Ó 4 œ ‰ Œspectral ∑ filtering sampler 1&2

Ó

3 2

O˙

∑

q = 66

24 samplers

& ˙.

?

4 4

∑

3 Ow 2

∑ ∑

&

Œ bœ ‰ ‰ Œ œ

O˙

∑

≤ Œ Œ œ œ ‰œ œ‰Œ œ œ bœ œ œ #œ œ œ œ œ ƒ F bœ œ ! @ @ ‰ Œ b Oœ b œ! @ œ@ ‰ Ó b œ ‰ Ó b œ œ œ . bœ. œ b œ . bœ !@ @ p

bœ ≥ n œ ‰ 32 ww

b O˙

b O˙

∑

3 2

∑

∑

≥

œ ‰Œ Ó

B Œ œ ‰bœ ‰ Œ

b b O˙

sampler 2 glissando major 3rd further down through 3,25 bars

22

≥˙ . # # œœ ‰ # ˙ .

≥˙ . & ˙.

π

œ œ bœ . œ ‰ Ó !@ @ π

∑

∑

O˙

≥ Œ bœ œ bœ œ œ œ

∑

÷

O˙ ..

∑

∑

Sensitive Shades - string quartet&max - 6

∑

∑

œ≈‰

∑

˙.

œ≈‰

∑

œ≈‰

∑

b˙. ˙.

œ œ≈‰

∑

œ≈ œ ‰

∑

˙.

œ≈‰

∑

∑ 3 2

3 2

∑ ∑ w. w.

3 2 bw. p 3 2 #w. p

∑

∑

∑

3 w.

2 w. p

∑

∑

bw. #w. ∑

∑

Version 1.2: 20.10.2016

93

∑

& & #w.

#w.

B w. bw.

w. bw.

?

w.

÷ 4 &4

4 4

∑

4 4 #w π

4 4 w w π 4 4 ∑

∑

3 2

∑

4 4 #w π

w. ∑

∑ #w

3 2 w.

#w

3 2 #w.

w w

3 2 w. #w.

3 2

∑

Texture 5

4 4

∑

4 4 #w ∏

4 4 w #w ∏ 4 4 ∑

∑

∑

∑

∑

5 4

∑

4 4

Ó

4 &4

∑

∑

∑

∑

5 4

∑

4 4

B 44

∑

∑

5 4

∑

Ow p

4 # # Ow 4 p

?4 4

b ˙æ f

sul pont

sul tasto

sul tasto

bw

p

5 4

sul tasto

˙æ f

w ˙ w p rec bar 101-105 to buffer (25 secs) 27 4 ÷ 4 œ ‰ Œ 625Óms fadein & -out∑ ∑

p

w ∑

5 4

Œ

w f

w

3 2

∑

4 4

w

3 2

∑

4 4

3 2

∑

4 4

∑

q = 48

sul pont

4 4

w w

101 q = 52

Ó

∑

∑

4 4 w ∏

∑

3 2

∑

∑

3 œ‰Œ Ó 2

fadeout

Oœ b b Oœ Oœ Oœ ..

J

O ‰ œ Œ p

Ow # # Ow

4 4

∑

∑

4 4

∑

∑

Ow

b b Ow

b b Ow

Ow

Ow

b b Ow

b b Ow

Ow

Ow

Ow

Ow

Ow

Ow

Ow

Ow

Ow

B # # Ow

# # Ow

# # Ow

# # Ow

# # Ow

# # Ow

# # Ow

# # Ow

? # Ow p

# Ow

b Ow

b Ow

Ow

Ow

# # Ow

Ow

108

& &

÷

∑

∑

∑

∑

∑

Sensitive Shades - string quartet&max - 7

œ‰ Œ Ó 28

4 4

Ó

26 samplers

play sampler 3

∑

∑

Version 1.2: 20.10.2016

Ow

b b Ow

b b Ow

Ow

Ow

# Ow

# Ow

bO &b w π

b b Ow

b b Ow

b b Ow

b b Ow

b b Ow

b b Ow

Ow

Ow

Ow

Ow

Ow

Ow

? Ow π

Ow

b b Ow

b b Ow

Ow

Ow

# # Ow

116

&

π

B Ow π

÷

123

&

œ ‰ Œ Ó 29

b Ow

B Ow

# Ow

b Ow

Ow ∏

Ow

Ow

Ow

Ow

Ow

b b Ow

b b Ow

b b Ow

b b Ow

b b Ow

b b Ow

Ow

Ow

b b Ow

b b Ow

œ ‰ Œ Ó 32

œ ‰ Œ Ó

∑

33

sampler 3 major 3rd down

Ow

Ow

O & w

Ow

wO

wO

B b b Ow

b b Ow

b b wO

b wO

? Ow

b b Ow

b b Ow

b Ow

÷

∑

∑

œ ‰ Œ 35

Ó

∑

fadeout 5000 ms

Ow

&

œ ‰ Œ Ó

# Ow

b Ow

130

play sampler 3 latest transposition

Ow

b b Ow ∏ ∑

∑

31

Ow

b b Ow ∏

? Ow

∑

fadeout 5000 ms

# Ow

∏

bO &b w

÷

œ ‰ Œ Ó

∑

30

sampler 3 major 2nd down

Ow

b wO f

b wO

f

b b wO f

∑

b b Ow f

sampler 3 perfect 4th down

Sensitive Shades - string quartet&max - 8

34

π π

b wO

π

b Ow ∑

œ ‰ Œ 36

play sampler 3 latest transposition

œ ‰ Œ Ó

∑

Ow

∑

Ó

π

3 4

∑

3 4

∑

3 4

∑

3 4

∑

3 4

∑

fadeout 8000 ms

Version 1.2: 20.10.2016