Simon Christensen: Feed Lifting Sound (2013) by Edition·S

Simon Christensen Feed Lifting Sound (2013)

for 2 female voices, percussion (zither + electronics) Dur. 50′

SCORE

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

Simon Christensen Feed Lifting Sound (2013)

for 2 female voices, percussion (zither + electronics)

Dur. 50′

2) The microphone/combo feedback is controlled To locate the interference sounds intended

When the intended sound is obtained, the interference sound will “stay”. During live strong pitch will take over – th is is the nature

The intended feedback sounds are available

PERFORMANCE NOTES

This music is intentionally full of feedback and is therefore, by definition, risky to perform. Nevertheless, with proper rehearsal time and an understanding of the acoustic behaviour of the location in which the performance takes place, it is possible to achieve the intended result.

It is advisable that the zither and the two singers are positioned somewhat away from the combos, thereby avoiding too many unintended signals reaching the hanging microphones.

The performer handling the feedback set-up should be confident with the behaviour of the Plague Bearer filter and the feedback behaviour of the spring reverb.

Two kinds of feedback are utilised here; one derived from the Plague Bearer filter alone and one derived from the microphone/combo amplifier meeting.

1 . The filter feedback depends on the setting of the knobs. The input level should be set to almost zero. Raising the input level slightly (!) could cause the filter feedback to behave even more strangely than without the level being raised! But ‘slightly’ should be taken literally, raising the input level too much would cause the microphone/combo feedback to take over and this is not intentional with the special and characteristic self-oscillating feedback derived from the analogue filter.

2 . The microphone/combo feedback is controlled at the input level of the Plague Bearer filter. To locate the interference sounds intended in this piece, the input level should be raised very carefully. When the intended sound is obtained, the performer should wait at least 5 minutes to be sure that the beating interference sound will “stay”. During live performance it is possible that the interference sounds will disappear and one strong pitch will take over – this is the nature of feedback and is unavoidable.

The three combos should be placed down causing unintended feedback. The level should be positioned somewhere between The microphones should be attached to the microphone should hang in a straight

The three combos should be placed down on their backs and should not be positioned too close to the microphones causing unintended feedback. The level of the combo depends on the location but as a rule of thumb the level knob should be positioned somewhere between 9 and 12 am.

The microphones should be attached to the ceiling and be able to swing in a straight line, when the curve is completed. The microphone should hang in a straight line from ceiling to combo about 5-10 cm above the combo.

The intended feedback sounds are available as sound files on the Edition·S’ website: http://www.edition-s.dk/music/simon-christensen/feed-lifting-sound

The Singers:

• Should face each other and not the audience.

• Profile should be visible to the audience.

• Should memorize the music, no score or note stand on stage!

• Should stand so close that it is possible to hold hands!

The Percussionist:

• Must be able to move around.

• Should be positioned behind the singers when playing the Zither.

Instrumentation:

INSTRUMENTATION

• 2 female singers - also playing handheld percussion; 2 x beans on a leash

• 2 female singers - also playing handheld percussion; 2

• 2 female singers - also playing handheld percussion; 2 x beans on a leash …

2 female singers - also playing handheld percussion; 2 x beans on a leash.

playing handheld percussion; 2 x beans on a leash …

singers - also playing handheld percussion; 2 x beans on a leash …

• Percussionist playing Zither and handling the electronics

Zither left side:

Zither and handling the electronics

playing Zither and handling the electronics

Zither left side: Zither right side:

Percussionist playing zither and handling the electronics:

Zither left side:

Zither right side:

• Percussionist playing Zither and handling the electronics

Electronic set-up:

Zither right side:

side: Zither right side:

• 3 x plague bearer, filter (flight of harmony )

Electronic set-up:

• 3 x a -119 , p re a mp (doepfer)

3 x Plague Bearer, filter (Flight of Harmony)

• 3 x a -119 , p re a mp (doepfer)

3 x A-119, External Input / Envelope Follower (Doepfer)

• 1 x mx -61 , mixer (a nalogue solutions)

1 x MX-61, Mixer (Analogue Solutions)

• 1 x A-199, spring reverb (doepfer)

1 x A-199, Spring Reverb (Doepfer)

bearer, filter (flight of harmony )

• 1 x A-199, spring reverb (doepfer)

re a mp (doepfer)

mixer (a nalogue solutions) spring reverb (doepfer)

Zither left side: Zither Electronic

• 3 x plague bearer, filter ( flight of harmony

• 3 x a (doepfer)

• 1 x (a nalogue solutions)

• 1 x spring reverb (doepfer)

flight of harmony ) (doepfer) nalogue solutions) (doepfer) & 6 outputs)

Soundcard (min. 6 inputs & 6 outputs)

• soundcard (min. 6 inputs & 6 outputs)

Laptop w/MaxMSP ➔ output 1+2

• soundcard (min. 6 inputs & 6 outputs)

• laptop w/max -msp  output 1+2

3 x Guitar Combos w/tubes – size depending on the location of performance

• laptop w/max -msp  output 1+2

3 x Identical Mics like Shure Beta 58a – cardioid or hypercardioid pattern required

• 3 x guitar combos w/tubes – size depending on the location of performance.

3 x In-ear wireless systems

• 3 x guitar combos w/tubes – size depending on the location of performance.

• 3 x identical mic s like shure beta 58a – cardioid or hypercardioid pattern required

4 Extension sockets with switch on/off

• 3 x identical mic s like shure beta 58a – cardioid or hypercardioid pattern required

(min. 6 inputs & 6 outputs)

• 3 x in -ear wireless systems

output 1+2

• 4 extension sockets with switch on/off

w/max -msp  output 1+2

• 4 extension sockets with switch on/off

combos w/tubes – size depending on the location of performance. mic s like shure beta 58a – cardioid or hypercardioid pattern required

wireless systems

Routing of cables :

sockets with switch on/off

w/tubes – size depending on the location of performance. shure beta 58a – cardioid or hypercardioid pattern required systems switch on/off

• Mic rophone 1 

• Microphone 2 

Routing of cables:

Microphone 1 ➔ Soundcard in 1 / Soundcard out 3 ➔ A-119 (1) Audio in Microphone 2 ➔ Soundcard in 2 / Soundcard out 4 ➔ A-119 (2) Audio in Microphone 3 ➔ Soundcard in 3 / Soundcard out 5 ➔ A-119 (3) Audio in

A-119 (1) out ➔ Plague Bearer (1) in / Plague Bearer (1) out 1 ➔ Combo 1

A-119 (2) out ➔ Plague Bearer (2) in / Plague Bearer (2) out 1 ➔ Combo 2 A-119 (3) out ➔ Plague Bearer (3) in / Plague Bearer (3) out 1 ➔ Combo 3

Plague Bearer (1) out 2 ➔ Mx-61 in 1

Plague Bearer (2) out 2 ➔ Mx-61 in 2

Plague Bearer (3) out 2 ➔ Mx-61 in 3

MX-61 out ➔ spring reverb in / spring reverb out - soundcard in

Notes on equipment:

Extension sockets:

The Plague Filter should not be replaced by any other kind of filter, since it is not really a normal filter

Each combo should have an extension socket connected.

The final extension socket is the master socket controlling all combos.

The mixer could be replaced by any kind of hardware mixer, the A-199 preamp is also replaceable with any kind of hardware preamp.

When performing Feed Lifting Sound only the hardware should be “played” with and adjusted if needed, the laptop should not be used as a live instrument during Feed Lifting Sound

NOTES ON THE EQUIPMENT

The Plague Filter:

Notes on the performance:

Should not be replaced by any other kind of filter, since it is not really a normal filter.

The singers:

- should face each other and not the audience.

- profile should be visible to the audience.

The mixer could be replaced by any kind of hardware mixer, the A-199 preamp is also replaceable with any kind of hardware preamp.

- should memorize the music, no score or note stand on stage!

- should stand so close that it is possible to hold hands!

When performing Feed Lifting Sound only the hardware should be “played” with and adjusted if needed, the Laptop should not be used as a live instrument during Feed Lifting Sound.

The percussionist:

- must be able to move around,

- should be positioned behind the singers when playing the Zither.

- should memorize the music, no score or note stand on stage!

NOTATION

r j w g 1/8 tones

+ = d D 1/4 tones

1/8 tones 1/4 tones

Zither tuning

Duration: approx. 50’

Simon Christensen

F e e d L i f t i n g S o u n d

GUIDELINE SECTION 1

. Tutti: The dynamic level of the singers in section 1 should be somewhat lower than the feedback.

. Voices: All pitches should be hummed throughout section 1.

The click track is a piano track with the exact same pitches as the singer should hum. The two singers should follow their individual click track and create their own ostinato, using inhalation with open mouth as a kind of upbeat to the main pitch. Example:

. The inhalation should be somewhat exaggerated and only last an eight note as a maximum (!), and should not be much louder than the hummed pitch.

. The singers hum/inhale throughout Section 1; no pause at all!

. The singers choice:

The sound character of the inhalation: normal or pitched or in-between. Variation of ostinato: ad lib. / Character of ostinato: simple and persistent

. Percussionist:

. The setting of all speakers should be prepared before takeoff.

The electricity for all speakers should be off using their corresponding sockets; master socket is ON. Hit the footswitch and turn the electricy for combo 1 ON.

During Section 1 the percussionist should lift the cable slightly, this way new partials might emerge; the input level at the corresponding Plague Bearer Filter knob could be turned up a bit as the cable is being liftet, but it's dangerous ground and sudden change in the volume/feedback should be avoided by all means.

. Add a light swing to the cable also adds delicate variation to the feedback sound.

. When a "new" sound appears the feedback knob of Doepfer Reverb could be raised to emphasize this.

S E C T I O N 1

S E G M E N T 1

GUIDELINE SEGMENT 1

Voices:

. Rest through segment 1.

. But stay in position and hold the tension.

Percussionist:

. Finalize the feedback manipulation fairly quickly and go to the Zither

. The electricity for combo 1 should remain turned on.

. Hit the footswitch to start the click track - the tempo changes randomly at every eightnote! Segment 1 should have a maximum duration of 3 minutes; repeat 3 times.

S E C T I O N 2

GUIDELINE SECTION 2

Tutti: The overall level in Section 2 is quite loud, but the singers should be somewhat lower than the feedback.

Voices:

Repeat Section 1 as written, but without repetition!

With open mouth on any self chosen vowel, no humming. The sound character of the inhalation: normal and not pitched.

The singers choice:

Variation of ostinato: ad lib. / Character of ostinato: simple and persistent

. Percussionist:

Hit the footswitch and turn the electricy for combo 2+3 ON.

During Section 2 the percussionist should lift the cables slightly on any self chosen combos, just like section 1.

2'45''

S E G M E N T 2

GUIDELINE SEGMENT 2

Voices:

Rest through segment 2.

But stay in position and hold the tension.

Percussionist:

Hit the footswitch to start the click track - the tempo changes randomly at every eightnote!

Segment 2 should have a maximum duration of 1 minute.

S E C T I O N 3

GUIDELINE SECTION 3

Tutti:

The vocals should be louder in this section and the overall dynamic level in Section 3 should be in balance.

Voices:

Repeat Section 1 with repetitions, but without the Ab

Tempo is different than section 1: Voice 1 approx. q = 94 Voice 2 approx. e = 200

With open mouth on any self chosen vowel, no humming.

The sound character of the inhalation: normal and not pitched.

The singers choice:

Variation of ostinato: ad lib. / Character of ostinato: simple and persistent

Voice 1:

VERY IMPORTANT: OMIT ALL Ab AND REST - FOLLOW CLICK TRACK.

Voice 2:

VERY IMPORTANT: OMIT THE LAST Ab - FOLLOW CLICK TRACK.

Percussionist:

Hit the footswitch to start the click track.

Start the Zither phrase on the ﬁrst beat.

Release the ﬁrst cable into a pendulum motion when Voice 1 disappears for the ﬁrst time.

Release the second cable into a pendulum motion when Voice 1 disappears for the second time.

Release the last cable into a pendulum motion when Voice 1 disappears for the third time.

GUIDELINE SEGMENT 3

Voices:

Rest through segment 3. But stay in position and hold the tension.

Percussionist:

Let all the cables swing until they are almost out of motion - 8-10 minutes at the most. Set the input level higher on all the Plague Bearer modules during this section, when you feel like it.. The dynamic level will be very loud and this is the intention. When the pendulum motion is nearly gone, raise the feedback level on the Reverb to get a even higher volume and disturbing sound image. Repeat this many times!

12' - 14'

Simon Christensen: Feed Lifting Sound (segment

S E C T I O N 4

GUIDELINE SECTION 4

Voices: All pitches should be sung throughout section 4.

. The lips should "clap" against each other to create a "water-drop" like sound. (+ = closed mouth/ o = open mouth)

The rhytmic scheme above the actual sung notes is only a suggestion; the rhytmic pattern is chosen by the singer and can be varied ad lib.

. The rhytmic ostinato - for the "water-drop-lip" sound - chosen by the individuel singer, should stay simple and persistent, but the overall rhytmic patterns created by both performers should be somewhat (!) complex and polyphonic.

. The "water-drop-lip" sound present throughout section 4 and so should the sound of "breath in w/nose".

Section 4 is repeated eight times in all - two times without Zither and six times with Zither!

. Percussionist:

. Hit the footswitch and on the ﬁrst beat, turn the electricity for all combos OFF!

Set all the Plague Bearer ﬁlters to their self oscilation settings, but still with electricity turned off.

Tutti:

. After repetition of Section 4 (vocals only), the singers should sing Section 4 six times without intermission, and the Zither should perform the following pages at the same time. Zither repeats the last two chords after the singers are through....just for a little while. Vocals should be fairly low and the Zither should be loud.

L O N G S E C T I O N

GUIDELINE LONG SECTION

Voices:

. Repeat the rhytmic scheme of section 1 for 21 minutes, but only on this pitch:

All pitches should be hummed throughout Long Section.

. The click track is a piano track with the exact same pitches as the singer should hum.

. The pitch changes slightly throughout Long Section - follow the click track!

. Hold the two beans-on-a-leash in each hand, just like holding hands. Shake them lightly throughout LONG SECTION.

. Percussionist:

. Turn the master socket back ON and the feedback is "alive" again.

. Hit the footswitch to start the click track. Play ad lib. on the 1/8 raised D, but only on this pitch! After 20 minutes change the pitch to A - follow the click track!

. Feed Lifting Sound ends with the zither playing some A's along with the feedback - no voices.

Simon Christensen: Feed Lifting Sound (section