Ejnar Kanding: Nine Waves

Ejnar Kanding Nine Waves (2013) String Quartet No. 4 for string quartet and live-electronics (Max) Dur. 23′

Commissioned by the Messer Quartet

SCORE

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

Composed with support from the Danish Arts Foundation With support from Koda’s Cultural Funds Komponeret med støtte fra Statens Kunstfond Projektet er støttet af Kodas kulturelle midler

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

Ejnar Kanding Nine Waves (2013) String Quartet No. 4 for string quartet and live-electronics (Max) Dur. 23′

PREFACE Nine Waves consists of nine movements. They refer to the nine types of waves, that are the maidens of Ægir and Rán.

1. Quiet 2. Intersection A 3. Flow – Uðr 4. Intersection B 5. Deep – Himinglæva 6. Intersection C 7. Crashing – Dúfa 8. Intersection D 9. Dark In Norse mythology Ægir is a sea giant, god of the ocean and king of the sea. Ægir’s wife is Rán, the sea goddess. She is by Ægir mother of nine billow maidens, whose names are: Bára (or Dröfn, wave) Blóðughadda (the one with blood-red hair – the color of the waves after a naval battle) Bylgja (to billow, or big wave) Dúfa (the pitching wave) Hefring (the surging wave) Himinglæva (the wave that reflects the light of the sky, the heaven-shining one, the transparent one) Hrönn (the grasping wave) Kólga (the chilling wave) Unnr (or Uðr, wave, the frothing wave) According to Fundinn Noregr (the foundation of Norway, Norse mythology), Ægir is a son of the giant Fornjótr and brother of Logi (“fire”) and Kári (“wind”).

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 best solution though, is for the ensemble to run the piece from stage using 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. The 4th and 5th movement are to be performed with a click track. The Max patch also includes a click track for the whole piece that can be used for rehearsals.

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.

Each instrument has to be amplified.

MIXING The piece can be performed either using a mixing console that is connected to an audio interface or just using an audio interface.

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

• 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 string microphones to input 1-4 of the audio interface. 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 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 pick 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 http://soundcloud.com/kanding · http://www.edition-s.dk/composer/ejnar-kanding

TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.11 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 4 mic inputs, 4 line inputs, 4 aux sends (PRE), 4 outputs for loudspeakers (e.g. YAMAHA 01v96) Microphones (suggestions): Violins DPA 4099, Neumann KM184 Viola DPA 4099, Neumann KM184 Cello DPA 4099 (or AKG 414 or Neumann U89) 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/nine-waves All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: • Open the application with the title of the piece.

• In the left corner is the “start Max” – to start press the gray button that says “dsp start”.

• Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”.

• If a mixing console is used: Channel (group) 1 set to Input 1, channel (group) 2 set to Input 2, etc.

• If just an audio interface is used: Channel 1 set to Input 1, channel 2 set to Input 2, etc.

• For rehearsing individually with a Mac’s internal microphones: • Violin 1 belongs to input 1, violin 2 to input 2, viola to input 3 and cello to input 4, but for rehearsing individually, ones own instrument must be set to input 1, eg. for the cello set Channel 4 to Input 1, the other instruments set to Off. • 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.)

• Below is the “stop Max” – press “dsp stop”. It stops all audio.

• 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.

• Below is the “CUE” – it shows the cue that is active.

• 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.

• In order to navigate to the next or the previous cue, use increment (inc) or decrement (dec).

• To enable the click track for the whole piece during rehearsals, turn up the volume on the fader “click ALL” 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: NINE WAVES – APPENDIX vn va vc LFO CP

violin viola cello

CUE

ACTION

1

ready to start

2

fadein of transparent low noise drone (=LFO controlled filter of random low frequency bandpass noise)

1,1

12,4

3

dynamic fluctuation of noise drone

7,1

12,4

4

fadeout of transparent low noise drone

11,4

12,4

5

fadein of transparent low noise drone

13,1

32,4

6

dynamic fluctuation of noise drone

18,1

32,4

7

fadeout of transparent low noise drone

31,4

32,4

8

fadein of transparent low noise drone

33,1

64,4

9

CP

vn1 on

33,3

10

CP

vn1 off

36,3

11

dynamic fluctuation of noise drone

12

CP

13

CP (=complex processing), feedback delay (60%) with taps at 500 ms and 800 ms continued to a long reverb and continued to the PVE (=pitch variable effect, a LFO changes two delaytimes (250 ms & 333,34 ms) with for different feedbacks (30% 40% 50% 60%) before the four outputs) PVE pitch variable effect pitchshifting and reverb; cue 25,26,27,29,31,32,34,35; va is routed to the reverb and the pitchshifting; both is routed directly out, but pitchshifting is also fed back into the reverb MTD multi tap delay, taps fx 2000 3000 3625 4000 ms rvb reverb rec recording samp sampler RTP real-time processing 1,4,3 means bar 1, 4th beat, 3rd sixteennote SEND

STARTS STARTS TO BE HEARD ENDS

33,3

37,1

37,1

64,4

vn1 on

37,2

43,2

CP

vn1 off

42,4

14

CP

vn1 on

45,1

15

CP

vn1 off

47,3

16

fadein (16 sec) high frequency fragile noise, four bandpass filters with center frequency at C7 C#7 D7 D#7, filters are controlled by LFOs

17

CP

18

48,1

49,1

71,3

vn1 on

50,2

53,2

CP

vn1 off

52,4

19

CP

vn1 on

54,3

20

CP

vn1 off

55,4

21

fadeout of transparent low noise drone

22

CP

vn1 on

58,1

23

CP

vn1 off

61,1

24

high freguency fragile noise after 12 sec (4.5 bars) fadeout in 6 sec (9 quarternotes)

54,4

57,1

56,2

64,4 58,2

61,1

CUE

ACTION

SEND

STARTS STARTS TO BE HEARD ENDS

24

RM at 120.5 Hz, output in Left speaker

vc on

65,1

65,1

113,3

25

RM with va freq as modulation input, output in Right speaker

vc on

69,1

69,1

113,3

25

pitchshifting with continuous glissandi @va (L: 0 cent i 3000 ms, gliss va on to -2 in 6 sec; R: 0 cent in 3000 ms, gliss to -6 in 6 sec) and reverb

69,1

69,1

73,3

26

high freguency fragile noise fadein in 6 sec, then 6 sec, then 6 sec fadeout

74,1

74,1

80,4

26

pitchshifting with continuous glissandi @va (L: 0 cent i 3333 ms, gliss to 2 in 6667 ms; R: 0 cent in 3333 ms, gliss to -4 in 6667 ms) and va on reverb

74,1

74,1

78,4

27

pitchshifting with continuous glissandi @va (L: 0 cent i 4500 ms, gliss to -6 in 9000 ms; R: 0 cent in 4500 ms, gliss to -2 in 9000 ms) and va on reverb

80,1

80,1

86,4

28

high freguency fragile noise fadein in 6 sec, then 6 sec, then 6 sec fadeout

83,1

83,1

89,4

29

pitchshifting with continuous glissandi @va (L: 0 cent i 3667 ms, gliss to -4 in 7333 ms; R: 0 cent in 3667 ms, gliss to 2 in 7333 ms) and va on reverb

87,1

87,1

92,3

30

high freguency fragile noise fadein in 6 sec, then 6 sec, then 6 sec fadeout

92,1

92,1

98,4

31

pitchshifting with continuous glissandi @va (L: 0 cent i 2833 ms, gliss to -2 in 5667 ms; R: 0 cent in 2833 ms, gliss to -6 in 5667 ms) and va on reverb

93,1

93,1

97,2

32

pitchshifting with continuous glissandi @va (L: 0 cent i 2000 ms, gliss to 2 in 4000 ms; R: 0 cent in 2000 ms, gliss to -4 in 4000 ms) and va on reverb

98,1

98,1

101,1

33

high freguency fragile noise fadein in 6 sec, then 6 sec, then 6 sec fadeout

101,1

101,1

107,4

34

pitchshifting with continuous glissandi @va (L: 0 cent i 2833 ms, gliss to -6 in 5667 ms; R: 0 cent in 2833 ms, gliss to -2 in 5667 ms) and va on reverb

102,1

102,1

106,2

35

pitchshifting with continuous glissandi @va (L: 0 cent i 2000 ms, gliss to -4 in 4000 ms; R: 0 cent in 2000 ms, gliss to 2 in 4000 ms) and va on reverb

107,1

107,1

110,1

36

reverb on

vn 1&2 va 110,1 on

110,3

190,2

36

triangle wave @C0 (=32,851847 Hz) pedalpoint with filtering; Lowpass: Cutoff: 131,407386 Hz, Gain: 1, Q: 0.71; Duty cycle is constantly changed from 0.25 to 0.65 (ramp values: 0.25, 0.5 8000 0.5 1000 0.65 8000 0.65 500 0.5 8000 0.5 1000 0.25 8000 0.25 500)

110,1

110,1

113,3

37

pitchshifting and reverb off

37

triangle wave @C0 from cue 36 continues; the Lowpass now changes gradually during 48 sec to Cutoff: 657.036932 Hz

113,3

113,3

128,3

38

triangle wave @C0 fades out in 8 sec

126,1

126,1

128,3

39

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

129,1

40

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0. Output of the reverse sampler passes through a reverb, that again is peaknotch filtered with a changing center frequency with increasing the gain from 1 to 4 (the center frequency is changed for each of the entries until the 4th movement)

129,4

vc off

130,1

130,1

131,1

CUE

ACTION

SEND

STARTS STARTS TO BE HEARD ENDS

41

reverb on

vn 1&2 va 131,1 vc on

41

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

131,1

42

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

131,4

43

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

133,1

44

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

133,4

45

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

135,1

46

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

135,4

47

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

137,1

48

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

137,4

49

rec 6000 ms (=1 bar in bpm 40) to reverse sampler

139,1

50

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

139,4

51

rec 18000 ms (=1 bar in bpm 40) to reverse sampler

141,1

52

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

143,4

53

rec 12000 ms (=1 bar in bpm 40) to reverse sampler

147,1

54

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

148,4

55

rec 18000 ms (=1 bar in bpm 40) to reverse sampler

151,1

56

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

153,4

57

rec 30000 ms (=1 bar in bpm 40) to reverse sampler

157,1

58

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

161,4

59

rec 30000 ms (=1 bar in bpm 40) to reverse sampler

167,1

60

fadeout input to reverse sampler in 1500 ms (=1 quarternote in bpm 40). The reverse sampler starts playing as soon the fadeout ramp reach 0.

171,4

61

rec 4000 ms (=1 bar in bpm 60) to reverse sampler

177,1

62

fadeout input to reverse sampler in 1000 ms (=1 quarternote in bpm 60). The reverse sampler starts playing as soon the fadeout ramp reach 0.

177,4

63

rec 16000 ms (=1 bar in bpm 60) to reverse sampler

179,1

131,1

190,2 132,1

132,1

133,1 134,1

134,1

135,1 136,1

136,1

137,1 138,1

138,1

139,1 140,1

140,1

141,1 144,1

144,1

147,1 149,1

149,1

151,1 154,1

154,1

157,1 162,1

162,1

167,1 172,1

172,1

177,1 178,1

178,1

179,1 183,1

CUE

ACTION

64

fadeout input to reverse sampler in 1000 ms (=1 quarternote in bpm 60). The reverse sampler starts playing as soon the fadeout ramp reach 0.

182,4

65

rec 4000 ms (=1 bar in bpm 60) to reverse sampler

187,1

66

fadeout input to reverse sampler in 1000 ms (=1 quarternote in bpm 60). The reverse sampler starts playing as soon the fadeout ramp reach 0.

187,4

188,1

189,1

67

audio file (Nine_Waves_b189) starts, click starts from bar 192,1

189,1

189,2

245,3

67

rec 8000 ms (=1 bar in bpm 60) to reverse sampler

189,1

68

fadeout input to reverse sampler in 1000 ms (=1 quarternote in bpm 60). The reverse sampler starts playing as soon the fadeout ramp reach 0.

190,2

190,3

192,1

69

audio file (Nine_Waves_b254) starts, click starts from bar 255,1

254,1

254,2,3

303,1

70

gradually changing pitchshifting, different in each side; L: from -12 to 1 semitones in 12000 ms back to -12 semitones in 12000 ms; R: from 11 vc on to -1 semitones in 9500 ms back to 11 semitones in 9500 ms

281,1

281,1

303,1

71

white noise cresc / decresc; L: cresc 10 sec / decresc 10 sec; R: cresc 15 sec / decresc 5 sec

299,1

299,1

303,1

72

SEND

vc off

STARTS STARTS TO BE HEARD ENDS

183,1

187,1 188,1

190,3

Nine Waves Níu Bárur - Ni Bølger - Nio Vågor

1) quiet

Ejnar Kanding (2013)

q = 60

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Kanding: Nine Waves - 11

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Kanding: Nine Waves - 13

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@vn1: pitch variable effect -> long reverb (extension of the sliding tones)

Kanding: Nine Waves - 14

>œ

3

˙ >.

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@vn1: pitch variable effect -> long reverb (extension of the sliding tones)

∑

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fadein (16 sec) high frequency fragile noise

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@vn1: effect off

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@vn1: pitch variable effect -> long reverb (extension of the sliding tones)

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50 vn 1

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relievo (b. 59-64)

b˙ P ∑ ∑

version 2.5: 2.12.2020

60 vn 1

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32

∑

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44

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barely audible

44

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65 q = 90

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high frequency fragile noise, after 12 sec fadeout in 6 sec

∑

Œ

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vc: RM with negative frequency 120.5 Hz in L speakers & RM with viola when it plays in R speakers

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w f

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25 ∑ Ó ∑

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j œ- œ. œ b œ. ‰ œ- œ fl ˙ w ∑

fadeout high frequency fragile noise

@va: stereo pitch shifting, using glissandi

71 vn 1

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∑

vn 2

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26 ∑ ∑ w ∑

∑

˙.

œ b œ. ‰ œ- œ fl w

fadein high frequency fragile noise, fixed ramp

∑

@va: stereo pitch shifting, using glissandi

Kanding: Nine Waves - 15

Œ

Œ

˙

b˙

Œ œ b œ. fl œ Œ

‰ œ œ ‰ Ó ∑

version 2.5: 2.12.2020

77 vn 1

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fadeout high frequency fragile noise

˙ Œ

b˙

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@va: stereo pitch shifting, using glissandi

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fadein high frequency fragile noise, fixed ramp

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fadeout high frequency fragile noise

@va: stereo pitch shifting, using glissandi

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fadein high frequency @va: stereo pitch shifting, using glissandi fragile noise, fixed ramp

Kanding: Nine Waves - 16

∑

∑

∑

version 2.5: 2.12.2020

95 vn 1

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fadeout high frequency fragile noise

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fadein high frequency fragile noise, fixed ramp

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C0 pedalpoint filtered triangle

Kanding: Nine Waves - 17

fadeout high frequency fragile noise

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fadeout filtered pedalpoint

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Kanding: Nine Waves - 18

b b Ow p Ó

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q = 40

39

long reverb

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‰

∑

‰

∑

‰

40

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reverse sampler 6 secs -> rvb

∑

version 2.5: 2.12.2020

131 vn 1

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reverse sampler 6 secs -> rvb

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continue with each entry as soon the sampler stops until bar 191

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reverse sampler 6 secs -> rvb

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long reverb

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reverse sampler 6 secs -> rvb

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long reverb

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b˙ ˙ F

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reverse sampler 6 secs -> rvb

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w #w π Ó

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long reverb

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b b ww æ ∏

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Kanding: Nine Waves - 19

‰

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≤ b˙. π

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long reverb

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reverse sampler 12 secs -> rvb

version 2.5: 2.12.2020

149 vn 1

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p

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reverse sampler 30 secs -> rvb

Kanding: Nine Waves - 20

version 2.5: 2.12.2020

O &w p

167 vn 1

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reverse sampler 4 secs -> rvb

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Ÿ~~~~~~~~~~~~~~ U œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w f π 5 3 Ÿ~~~~~~~~~~~~~~ U 6

5

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∑

∑ Kanding: Nine Waves - 21

∑

∑

∑ ∑ ∑ ∑ ∑

reverse sampler 16 secs -> rvb

∑

version 2.5: 2.12.2020

184

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q = 72

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192

click starts fast flash

earth quake drone majestatic beats

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Kanding: Nine Waves - 22

>œ

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≤ œ f ≤ œ f œ

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œ

bœ

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version 2.5: 2.12.2020

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