Ejnar Kanding
Cinq Études (2022–24)
Five Etudes for cello & multi speaker system
Dur. 17′
Dedicated to Toke Møldrup
SCORE
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Ejnar Kanding
Cinq Études (2022–24)
Five Etudes for cello & multi speaker system
Dur. 17′
PREFACE
Introduction
Before the piece is performed, I would like to present a guiding principle: all the sound heard in the electronic layer of this composition originates directly from the cello. This principle creates a close connection between the acoustic and electronic elements of the piece.
In September 2018, Max (the software used for the electronics) introduced a new concept: MC-objects, which made it possible to work with an entirely new dimension of 3D sound. In September 2019, a 3D setup was established in Ny Sal (the New Hall at the Royal Danish Academy of Music), which inspired my work with these objects.
My focus has been on exploring the possibilities within sampling and how they can enrich artistic expression. I quickly decided that the piece should be able to be performed in two versions:
1. Live input to sample buffers – the cello is played live, and its sound is recorded and processed in real-time.
2. Pre-recorded buffers – pre-recorded audio files are used as the basis for the electronic part.
The first version provides a more immediate connection between the musician and the electronic sound, as everything played is directly reflected in the audio. This is the model I personally prefer, and it is used in most of my compositions. However, it can present challenges in a multi-speaker setup, especially in a space like Ny Sal with 48 speakers, where the risk of feedback is high.
Patch and Score
I will now give a brief overview of the patch used, including buffers and samplers in Max. In the score, we see the use of notation, cues, and sustain pedal. The composition consists of five movements:
• First movement: Arpeggio
• Second movement: Polyrhythm with harmonic minor, Phrygian scale, and symmetrical octatonic scale
• Third movement: Augmentation canon with original and doubled values
• Fourth movement: Numerous resonances
• Fifth movement: Extended values and twelve-tone theme, harmonically in D minor
MC-Objects and Sampling
In working with sampling, I have explored how sound can be played back at different pitches. Even with today's advanced sampling libraries, there is something unique about the sound of a live musician. When the playback speed of a sample is altered, the pitch changes as well. At half speed, the sample doubles in length and sounds an octave lower. This transposition can be avoided with the technique called 'time-stretching,' which preserves the original pitch even when the playback speed changes.
'Time-stretching' is demonstrated in the arpeggio movement, and here are other examples from the other movements:
• Second movement: Three percussive sounds combined with irrational polyrhythms.
• Third movement: Augmentation canon with transpositions and counter-panned sound.
• Fourth movement: A filter with 88 bands, corresponding to the range of a piano, allowing for the creation of chords derived from percussive sounds.
• Fifth movement: Here, timestretch and pitchshift are combined to manipulate the theme and its transpositions. This leads to a culmination with 22 simultaneous transpositions and a free variation of the theme in the cello's higher register.
Ejnar Kanding
Cinq
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