Ejnar Kanding Textures & Mosaics
(2013–18)
Volume 2 for string quartet & live-electronics (Max) Dur. 34′
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 Textures & Mosaics
(2013–18)
Volume 2 for string quartet & live-electronics (Max) Dur. 34′
Textures & Mosaics is music for string quartet and live electronics (MaxMSP) composed by Ejnar Kanding. The pieces express a nordic atmosphere which is underlined in the subtitles Obscure Transparence and Sensitive Shades. Obscure Transparence refers to the morning fog covering a marsh during sunrise as the sun slowly penetrates and the light is separated into a plentitude of dancing drops. Sensitive Shades can picture the richness of the colours in the sky of a melancholic sunset. The music is progressive uniting electronic and acoustic sound in complex textures, bodily energy, and delicate simplicity. It pushes the boundaries of the beautiful and insists on being static in a way in which it leans toward the dark ambient music genre. The ambient and the static are explored through complex or multifaceted textures. Every movement focuses on either texture or mosaic in its essence. The texture-pieces are characterized by a conjunctive line in a multi-layered structure while the mosaic movements (Mosaico) focus on isolated fragments, appearing in diverse surroundings or merely existing as a purpose on its own. Textures & Mosaics is a work series of independent pieces of varying formation which when performed together constitute a coherent entity. The first, third, and fifth movements are composed for four strings titled Obscure Transparence 1-3, while the second movement is a trio for violin, viola, and cello, and the fourth movement is a duo for viola (or violin) and cello titled Sensitive Shades 1-2. Mosaico 2 – Obscure Transparence 1 (2013) – string quartet & Max Texture 2 – Sensitive Shades 1 (2016) – string trio & Max Texture 3 – Obscure Transparence 2 (2017) – string quartet & Max Mosaico 3 – Sensitive Shades 2 (2018) – string duo & Max Texture 5 – Obscure Transparence 3 (2016) – string quartet & Max The structure and idea of Textures and Mosaics, volume 1 and 2 are similar apart from the instrumentation. As a whole, they constitute a work cycle in ten movements: Texture 1-5 and Mosaico 1-5. The instrumentation has the same structure in both volumes: Volume 1 is for chamber ensemble: clarinet (Bb, bass), percussion, piano, violin, cello, and live electronics. The first, third, and fifth movements are for a full ensemble, while the second is a duo, and the fourth a trio. This also applies to the durations, which is 11, 7, 8, 5, and 3 minutes respectively, 34 minutes in total for each volume. Any combination of the movements works well for a performance. Furthermore Obscure Transparence 1-3 constitute Kanding’s String Quartet No. 5. Textures & Mosaics is recorded by the ACME String Quartet (NYC) in Bunker Studio, Brooklyn, May 2019. Production, mix, and master by Ejnar Kanding.
CONTENTS Obscure Transparence 1 – Mosaico 2 (2013) ................................................................................................ 19 for string quartet & live-electronics (Max) Commissioned by and dedicated to the JACK Quartet Supported by the Danish Arts Foundation World premiere at The Royal Danish Academy of Music, Copenhagen, November 7, 2013, by the JACK Quartet Dur. 11′ Sensitive Shades 1 – Texture 2 (2016) ............................................................................................................. 27 for violin, viola, cello & live-electronics (Max) Commissioned by the SIGGI Quartet and dedicated to the ACME Quartet Supported by the Danish Arts Foundation World premiere at Le Poisson Rouge, NYC, October 6, 2016, by the ACME Quartet Dur. 7′ Obscure Transparence 2 – Texture 3 (2017) ................................................................................................. 33 for string quartet & live-electronics (Max) Commissioned by the SONAR Quartett and dedicated to the ACME Quartet Supported by the Danish Arts Foundation World premiere at Le Poisson Rouge, NYC, May 7, 2019, by ACME Quartet Dur. 8′ Sensitive Shades 2 – Mosaico 3 (2018) ........................................................................................................... 46 for viola, cello & live-electronics (Max) a version for violin, cello & live-electronics (Max) also exists World premiere at Admiral Gjeddes Gaard, Holbergsalen, Copenhagen, November 17, 2018, by Helianne Blais, violin and Ida Nørholm, cello Dur. 5′ Obscure Transparence 3 – Texture 5 (2016) ................................................................................................. 48 for string quartet & live-electronics (Max) Commissioned by the SIGGI Quartet and dedicated to the ACME Quartet Supported by the Danish Arts Foundation World premiere at Le Poisson Rouge, NYC, October 6, 2016, by ACME Quartet Dur. 3′ Total duration: 34′
LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on a 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. Though preferably the ensemble runs the piece from the 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 appendices provide 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 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 (1-8). The mixer outputs are connected to the loudspeakers. The AUX sends 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 I – continued to audio interface input 1 • AUX2 for the violin II – 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 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 to compensate for the close-miking, 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: 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 · https://www.youtube.com/user/kandingejnar
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: (recommended) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console: (recommended) at least 8 mic inputs, 4 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): Violin I 1 DPA 4099, Neumann KM184 Violin II 1 DPA 4099, Neumann KM184 Viola 1 DPA 4099, Neumann KM184 Cello 1 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/textures-mosaics-vol-2 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”. • Channel (group) 1 set to Input 1, channel 2 set to Input 2, etc. • For rehearsing individually with the internal microphones of the Mac: • Set your instrument to Input 1 and the other channels 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 respectively.) • 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”. Click 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. Use the “dec” and “inc” buttons to navigate back and forth between the cues. 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: OBSCURE TRANSPARENCE 1 (MOSAICO 2) – APPENDIX 1 vn1 violin 1 vn2 violin 2 va viola vc cello 1,4,3 means bar 1, 4th beat, 3rd sixteennote in bpm = 60, 1 bar = 4000 ms in bpm = 48, 1 bar = 5000 ms, eightnote = 625 ms in bpm = 90, 3 quarternotes = 2000 ms samp sampler MTD multi tap delay PVE pitch variable effect ms ms = millisecond, 1000 ms = 1 sec cf center frequency SVF state variable filter Q resonance in SVF filter; bandwidth in bandpass filter CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
1
ready to start
2
noise in 5 sec, noise sample used in the buffer, bandpass filter at cf=9439.98743 Hz=D8, Q=3, circular quadraphonic panning, noise to be observed for tempo in bpm=48
1,1 & 3,1 & 6,1
2,1 & 4,1 & 7,1
2
subtractive synthesis, fadeout in 10 sec in bar 14-15, wait for fadeout before continuing, SVF used: bandpass out at cf=262.814773 Hz=C3 and cf=1179.99843 Hz=D5, variable Q between 0.5 and 1 in slow ramps, circular quadraphonic panning
1,1
15,4
3
rec to buffer 1
5,1
14,1
4
basically a cromatic sine wave cluster and a random bass rhythm: cluster has four different pitches that is gliding up to a common top pitch, top pitch = D#6 = 2500.329575 Hz, the four start pitches are B5, C6, C#6 and D6, the glide is 10 sec and starts in bar 17, the sound stops after 20 sec; the bass is at C0=32.851845 Hz, it starts after 2500 ms in a random rhythm it stops latest after 20100 ms
16,1
20,1
5
similar to cue 2 but noise now 2500 ms three times
21,1 & 22,1 & 23,3
21,3 & 22,3 & 24,1
5
similar to cue 2 but subtractive synthesis now with cf = 1051.259089 (C5) and 4719.993715 D7) Hz, Q between 0.707 and 1; fadeout in 10 sec bar 35-36, wait for silence before continuing
21,1
36,4
6
subbass sine wave at C0=32.851845 Hz, 1600 ms full volume, then fadeout in 6400 ms
30,1
31,4
7
similar to cue 4 but the four pitches are now C6 C#6 D6 D#6, gliding up to top pitch E6; random bass now starts 3750 ms after
CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
8
samp1 plays buffer 1 (bar 5-13), fadeout 5 sec in bar 49, open vc wait for silence before continuing. It gradually changes the transposition from original pitch to a tritone below (tritone descending glissando) during 35 sec, the samp 1 is looping in 40 sec inclusive a 5 sec fadeout. Wait for silence before continuing
8
glissando canon: 4 taps slow down in 40 sec; 625 to 2500, 1250 to 3750, 1875 to 5000, 2500 to 6250
all 4
9
glissando canon
close all
10
similar to cue 4 but the four pitches are now C#6 D6 D#6 E6 gliding up to F6, random bass starts 5000 ms after
50,1
50,1
54,1
11
samp 1 plays recording of bar 5,1 to 14,1. It gradually changes the transposition from original pitch to a tritone below (tritone descending glissando) during 110 sec, the samp 1 is looping, cue 19 fades out the sampler in 10 sec. Wait for silence before continuing
55,1
55,1
77,4
12
complex effect: input to MTD with four taps: 2500 3750 open vn1 vn2 5000 6250 ms contiunes into a PVE with 50% feedva back, a sine wave at 0.1 Hz with a depth at 0.2 modify the delay times Left 416.667 ms og Right 625 ms
56,1
56,1
74,4
13
complex effect
close all
74,4
14
complex effect
open vn1 vn2 va
63,1
63,1
67,4
15
complex effect
close all
67,4
16
rec buffer 2: vc is recorded, fadein of rec in 5 sec, fadeout see cue 19
open vc
68,2
17
complex effect
open vn1 vn2 va
70,1
18
complex effect
close all
74,4
19
fadeout samp 1 in 10 sec
76,1
77,4
19
fadeout rec of buffer 2 in 5 sec
76,1
76,4
20
similar to cue 4 but the four pitches are now D6 D#6 E6 F6 gliding up to F#6, random bass starts 6250 ms after
77,1
77,1
82,1
21
complex effect 2: vn1 and vc to MTD with taps at 6875 open vn1 vc 7291,67 11875 12291,67 ms continues into PVE with 40% feedback Left 937.5 ms Right 625 ms, sine wave modifies with 0.1 Hz and depth 0.4. Catch this effect after the fermata in bar 84,4 it will sound in bar 85,1 to 86,4, effect of vn1 in L and Ls, vc in R and Rs
21,2
85,1
85,4
22
close complex effect
23
MTD with 8 taps: 3125 3636.360107 4166.67 4500 open va 4687.5 4821.430176 5156,25 5454,55 ms, taps fades out to -6 dB from 88,3 to 89,2 and then from 89,3 to 90.3 to -12 dB and from 90,4 to 91,1,2 to -uendelig dB
87,1
87,2,2
91,1,2
24
play samp 2 it start playing a tritone below original pitch, then tranposes gradually during 75 sec to one octave below original pitch
92,1
92,1
111,4
76,4 70,1
74,4
close all
CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
124,4
24
filtered noise sample clockwise panning, same noise sample as in cue 2 and 5, but bandpass filter now with cf = 2227.54041 Hz = C#6 and Q gradually changes from 0.5 to 5 in 75 sec, hereafter from 5 to 25 in 65 sec, as the Q = 5 is getting more and more narrow the volume is raised with 3 dB during 32,5 sec
92,1
25
samp 2 fadeout in 10 sec
110,1
25
long reverb
26
fadein samp 2 in 5 sec, fadeout in 2500 ms from bar 118,3
27
close reverb
26
fadeout sampler 1&2, 6000 ms
open all
close all
92,1
111,4
110,1
110,1
124,4
115,1
115,1
118,4
100,2
100,3,4
124,4 100,1
EJNAR KANDING: SENSITIVE SHADES 1 (TEXTURE 2) – APPENDIX 2 vn1 vn2 va vc 1,4,3
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, eightnote = 625 ms in bpm = 90, 3 quarternotes = 2000 ms samp sampler MTD multi tap delay PVE pitch variable effect ms ms = millisecond, 1000 ms = 1 sec CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
open vn2
1,1
2,1
8,1
1,1
8,1
1
ready to start
2
vn2: complex PVE & flanger
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
NB
the FM synth chord reappears in bar 5
5,1
3
close input to complex PVE, flanger continues
close PVE
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, 8,1 open vn2 va vc
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
6,4
8,1 11,5
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
15
vc: close PVE
open vn2 vc
close PVE
45,4
CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
16
buffer 2 recording, buffer 2 size = 16000 ms, the reclose flanger, 47,1 corded 16 beats should finish before the end of the buf- open vn2 va fer size, therefore the Poco mosso is important vc
50,5
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
EJNAR KANDING: OBSCURE TRANSPARENCE 2 (TEXTURE 3) – APPENDIX 3 vn1 vn2 va vc 1,4,3
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, eightnote = 625 ms in bpm = 90, 3 quarternotes = 2000 ms MTD multi tap delay Eq equalizer freq frequency ms ms = millisecond, 1000 ms = 1 sec cf center frequency SVF state variable filter Q resonance in SVF filter; bandwidth in bandpass filter CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
1
ready to start
2
MTD 2 taps 1333 2000 ms at vn2
@vn2
1,1
1,3
1,4
3
MTD 2 taps 667 1333 ms
all
2,1
2,2
14,2
4
FM synthesis: carrier freq = 73.749902 Hz, Harmonicity = 0.5, duration = 16833 ms and filtered nosie: SVF with cf 16*carrier freq = 1179.998433 Hz and Q=0.3 with a ramp (from 0.3 to 1.0) that follows the amplitude (0.0 to 0.7) of the FM synthesis, circular panning in four speakers
13,4
13,4
20,1
5
MTD
close
14,1
14,2
5
rec 6 bars to buffer
all
14,1
20,1
6
rec fadeout in 2 sec
19,1
19,3
7
FM synthesis: carrier freq = 69.610638 Hz, Harmonicity = 0.6667, duration = 10833 ms and filtered nosie: SVF with cf 16*carrier freq = 1113.77021 Hz and Q=0.3 with a ramp as in cue 4, circular panning in four speakers
32,1
32,1
37,1
8
FM synthesis: carrier freq = 73.749902 Hz, Harmonicity = 0.75, duration = 10167 ms and filtered nosie: SVF with cf 16*carrier freq = 1179.998433 Hz and Q=0.3 with a ramp as in cue 4, circular panning in four speakers
51,2
51,2
55,1
9
FM synthesis: carrier freq = 69.610638 Hz, Harmonicity = 0.8, duration = 10167 ms and filtered nosie: SVF with cf 16*carrier freq = 1113.7702 Hz and Q=0.3 with a ramp as in cue 4, circular panning in four speakers
69,2
69,2
73,1
10
triangle (65.703693 Hz) with variable duty cycle, changing dynamically the Eq in a ramp (16 sec) from 131.407386 to 2102.518183 Hz, panning L to R in a cycle within 20 sec
73,1
73,1
100,1
10
crackling noise with high pass filter moving cf from 525.629546 to 8410.07273 in 20500 ms, circular panning in four loadspeakers in a cycle of 20 sec
73,1
73,1
100,1
CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
11
FM synthesis: carrier freq = 65.703693 Hz, Harmonicity = 0.5, duration = max 70 sec, but fadeout on cue 15 in 8333 ms and filtered nosie: SVF with cf 16*carrier freq = 1051.259091 Hz and Q=0.3 with a ramp as in cue 4, circular panning in four speakers
12
microtonal changes of pitch: -100 to 100 cents up/ down with a ramp in 8 sec in left side and in 7 sec in right side
@vn1
101,3
101,3
116,1
13
microtonal changes of pitch: -100 to 100 cents up/ down with a ramp in 8 sec in left side and in 7 sec in right side
@vc
113,3
113,3
124,2
14
changes in pitch
vn1 off
117,1
15
spectral filtering of sample buffer, four different filters one for each instrument, buffer is a recording from bar 14-20 (cue 5)
15
FM and noise fadeout in 8333 ms
16
changes in pitch
17
spectral filter fadeout in 4 bars
133,1
18
spectral filtering (as cue 15)
176,1
19
spectral filter fadeout in 2 bars
180,1
121,1 vc off
123,2
124,2 137,1 176,1
181,4 181,4
EJNAR KANDING: SENSITIVE SHADES 2 (MOSAICO 3) – APPENDIX 4 1,4,3
means bar 1, 4th beat, 3rd sixteennote in bpm = 60, 1 bar = 4000 ms in bpm = 48, 1 bar = 5000 ms, eightnote = 625 ms in bpm = 90, 3 quarternotes = 2000 ms samp sampler ms ms = millisecond, 1000 ms = 1 sec CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
21,4
1
ready to start
2
high frequency noise ("wind" noise), filtered with a fundamental on C0 = 32.851847 Hz, four different output channels
1,1
3
samp1 fixed recording of 18 sec with fadein 2 sec (rec fadeout 2 sec @ cue 4)
2,1
6,2
3
triangle waveform with variable duty cycle, fixed amplitude ramp 16 sec, C1 = 65.703693 Hz
2,1
5,4
3
"crackle" noise, amplitude modulation of white and pink noise & highpass filter at 657.03693 Hz, fixed amplitude ramp 8 sec
2,1
3,4
4
rec fadeout 2 sec
6,1
5
wind noise gliss from C0 to D0 (36.874951 Hz)
10,1
6
spectral filter of samp 1 fadein 20 sec
13,1
32,4
6
triangle waveform with variable duty cycle at D1 = 73.749902 Hz in 8 sec
13,1
14,4
7
wind noise fadeout in 12 sec
19,1
21,4
8
triangle (as cue 3) at D1 in 4 sec
22,1
22,4
8
crackling noise in 4 sec
22,1
22,4
9
spectral filter of samp 1 fadeout 12 sec
10
wind noise fadein in 12 sec, glissando from D0 to E0 (41.390733) in 12 sec
42,1
68,4
11
triangle (as cue 3) at E1 = 82.781466 Hz fadein 16 sec
45,1
48,4
11
crackling noise in 21 sec but with fadein 4 sec, sustaining 13 sec, fadeout 4 sec, highpass filter with ascending center frequency from 657.03693 - 5256.29544 Hz in 13 sec
45,1
50,2
12
samp1 & triangle fadeout in 12 sec
56,4
13
wind noise fadeout in 12 sec
68,4
1,1
32,4
EJNAR KANDING: OBSCURE TRANSPARENCE 3 (TEXTURE 5) – APPENDIX 5 1,4,3
means bar 1, 4th beat, 3rd sixteennote in bpm = 60, 1 bar = 4000 ms in bpm = 48, 1 bar = 5000 ms, eightnote = 625 ms in bpm = 90, 3 quarternotes = 2000 ms MTD multi tap delay PVE pitch variable effect ms ms = millisecond, 1000 ms = 1 sec SVF state variable filter Q resonance in SVF filter; bandwidth in bandpass filter CUE ACTION
SEND
STARTS STARTS TO BE HEARD
ENDS
5,5
1
ready to start
2
buffer 1 recording, buffer 1 size 25000 ms, with 625 ms fadein & -out, bpm = 52 is to be understood as a Poco mosso to ensure to finish before the end of the buffer
1,1
3
MTD with 4 taps: 208.375 312.5 416.75 625 ms
6,1
6,1
36,1,3
4
sampler 1 plays buffer 1 both forward & reversed, lowpass filter with center frequency = 248.064 = B2, gain 2.5 and Q = 0.707. L&Ls is direct out; R&Rs is delayed 625 ms (=eightnote)
13,1
13,1
16,1
5
sampler 1 transposed a major 2nd down
16,1
16,1
19,1
6
sampler 1 fadeout 7500 ms
18,1
7
sampler 1 transposed a major 2nd down
21,1
21,1
24,1
8
sampler 1 transposed a major 3rd down
24,1
24,1
27,1
9
sampler 1 fadeout 7500 ms
26,1
10
sampler 1 transposed a major 3rd down
29,1
29,1
32,1
11
sampler 1 transposed a perfect 4th down
32,1
32,1
36,3,4
12
sampler 1 fading out 10000 ms
35,1
19,1
27,1
36,3
String quartet, live electronics
Obscure Transparence 1 Lento q = 48
Violin I
& 44
∑
∑
Violin II
& 44
∑
Viola
B 44
Cello
? 44
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
2 noise 5 secs 4 w ã 4 œJ ‰subtrŒ synth Óto b 16
7
? ã 12
&
wO
∑
Ow
Ow
Ow
Ow
wO
wO
wO
wO
∑ # # Oœ ‰ Œ J
∑
© 2013 by Edition•S, Copenhagen Engraving by Ejnar Kanding
∑
∑
# Ow
∑
∑
Ow
∑
∑
∑
∑
wO
∑
Ó
∑
w
w
subtr synth fadeout
∑ Ow≥
p ≥ # # Ow p Ow≥ &
Ow wO w
noise 5 secs
b Oœ
# Ow
B Ow
ã
Ó
∑
# Ow
Oœ
wO
≥ b b Oœ
Ow≥ π ≥ wO π 3 rec buffer 1 (45 secs) œ ‰ Œ Ó J
# Ow
& # Ow
?
noise 5 secs
# Oœ ‰ Œ J
π # Ow≥
≤ # O & w π B Ow
w
∑
≥O œ
∑
&
Ejnar Kanding
∑
1
Max
Mosaico 2
p Ow≥ p
œ cluster ‰ Œ glissÓ J random bass 4
Kanding: Obscure Transparence 1 - (str-q & Max) - 19
∑ Oœ
# # Oœ Oœ Oœ ∑
Version 1.3, 8.7.2019
18
& Ow & Ow B
Oœ ..
Oœ
Ow
& Ow ã
b b Oœ ..
Oœ Oœ
b b Oœ ..
Oœ
Oœ ..
∑
∑
24
& #œ œ Œ & b˙ Ow B
b˙
Ó
Ó
Ó
Ó.
Ow ? ã
∑
29
Ó
Ó & #˙ ˙
Ó
? ã
w
∑
∑
∑
Ó
‰ Ó
∑
∑
‰ Ó
∑
∑
Ó. Ow≥
‰ Ó
∑
∑
j œ˙ 5
∑ Œ bœ œ
˙
b˙
Ow
#œ œ #˙ Ow
Ow
Ow ∑
& b˙ ˙ Ó
B w
‰ Ó
w f
˙
Ó
noise 2.5 secs
Ó
Ó
Ó
Ow
bw
#˙ ˙
#w w
w f 6 subbass 32.85 Hz œ ‰ Œ Ó J
w
bw #w
∑
˙ bœ bœ π
p Ow≥ p
˙
Ó
noise 2.5 secs
bw
b˙
˙
bw
#˙
˙
#w #w Oœ J ‰ Œ ˙≤
Ow
Oœ J ‰ Œ
∑
b˙ ˙
Ó
noise 2.5 secs
subtr synth to b 37
Ó
˙
?
#˙ π
∑
≤
Œ
œ
∑
Ó b˙ ˙
∑
∑
∑
Ó
∑
∑
∑
∑
∑
#˙ ˙ w w
˙. π
∑
w
Kanding: Obscure Transparence 1 - (str-q & Max) - 20
Œ
∑
w π
∑ ∑
w
subtr synth fadeout
36
&
≥ b b Ow
∑
&
∑
B
∑
?
∑
p Ow≥
& Ó & Œ B Ó.
Oœ
p ≥ b b Ow &
ã w 42
b b Oœ
b b Oœ
p Ow≥ œ ‰cluster Œ gliss Ó J random bass
œæ Œ œ pizz. π 3 Ó # œ œ. œ. π> Oœ-
?
Œ
π
œœœœ π> . . . gliss canon 8 ‰ Œ Ó ã œJ samp 1 (40 secs) 46
&Œ &Œ B Ó
# œæ #œ Œ
j‰ ‰ Œ # œ. œ. œ > Ȯ Ó 3
Œ
3
Œ
3
‰
j # œ. œ œ. >Ȯ∑
ã
∑
Oœ ..
Oœ
b b Oœ ..
œ. œ. œ œ. >
∑
‰ Œ
Œ
Oœ
3
# œ œ. œ. > Œ
Œ n œæ œ
‰Œ
Œ
‰ Œ
Œ ∑
‰ Ó ‰ Ó
Ó 3
œ œ œ > . .
Ó
# œæ #œ ‰
Ȯ- ..
Œ
Œ
≈
r≈ ‰ Œ œ. œ. œ. œ >
Œ j‰ ‰ # œ. œ. œ > 3
3
Œ
œœœœ >. . .
∑ ∑
Ó
∑
∑
Ó
∑
∑
∑
∑
œ J 9
‰
close
Œ
Kanding: Obscure Transparence 1 - (str-q & Max) - 21
?
∑
∑
∑ Ó
‰ Ó
∑
Π3
‰ Ó
b b Oœ ..
Oœ
∑ 3
?
# œæ #œ
j œ. # œ œ. >Ȯ..
Ó 3
Oœ ..
∑
Ó
œæ œ
‰. r ≈Œ œ. œ œ. œ. >
Œ
Oœ
∑
Œ ‰
Ow
Ow
7
sul pont.
Oœ
Ow
Oœ
p
Ow
∑
w
fadeout samp 1
&
≥O w
Oœ
N.
50
&
p ≥ b b Ow & p Ow≥ B p b Ow≥ b & p
b b Oœ
arco
ã
Oœ
b b Oœ
∑
&
∑
B
∑
˙.
π
π Œ
∑
& #˙.
˙.
Œ
& ˙.
˙.
Œ
˙.
Ó
∑
Oœ
Oœ ..
Œ
# œœ æ
# œœ æ π
sul pont.
‰ Ó
Ó
Π3
∑
Œ Ó
œ bœ œ œ œ œ œ
œ close ‰ J
œ bœ
13
Kanding: Obscure Transparence 1 - (str-q & Max) - 22
œœ æ
w
Ó bw ∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
j œ œ.
Œ
∑
3
œ œ bœ œ œ œ œ œ œ œ œ
˙.
?
˙.
#˙. Œ
5
Œ
‰ Ó
∑
˙.
3
Ó
‰ Ó
∑
∑
3 5 ? ≤ 3 œ bœ œ œ œ œ œ œ œ œ œ
ã
b b Oœ ..
∑ ˙.
‰ Ó
Oœ ..
Oœ
Œ ∑
59
b Oœ ..
∑
3 ?≥ bœ. œ bœ œ œ œ œ œ œ œ. p 11 play samp 1 (115 secs) 12 complex effect œ ‰ Œ Ó ã œJ ‰ Œ Ó J
B Œ
Oœ
∑ #˙.
œœ æ
Ow
Ow
œ cluster ‰ Œ glissÓ J random bass
&
Oœ
Ow
10
55
Ow
3
bœ œ œ ∑
˙.
. & b˙
63
Œ
&
∑
b˙.
B
∑
Œ
? ã
3
œ bœ œ œ œ œ œ œ ‰ Œ J
Ó
& b˙. B Œ
ã
˙.
b œœ æ
bœ œ œ œ œ œ œ Ó
Œ
b˙.
. & b˙ &
œœ B Œ æ ? ˙
˙
Œ
∑
∑
œ ‰ J
15 close
b œœ Œ æ Ó
bœ œ Œ
˙.
˙.
Ó
Œ
œœ æ
Ó
b œæ œ
œæ œ
b˙.
˙.
Œ
b œœ æ
3 5 ≤ 3 bœ œ œ œ œ œ œ œ œ œ œ
w
∑
b˙.
b˙.
Ó
∑
∑
∑
˙.
∑
∑
∑
Œ
j œ œ.
≥
Œ Ó
bœ nœ bœ œ
œ
∑
œ ‰ Œ J
Ó
b b œœ Œ æ
˙.
Œ Ó
5
3
œ bœ œ œ œ œ œ œ œ œ bœ œ Ó
nœ bœ
Œ
œ ‰ J
18 close
bœ p
Kanding: Obscure Transparence 1 - (str-q & Max) - 23
∑
b b œœ æ
˙.
Œ Ó
œ œ bœ œ nœ bœ f 5
œ
∑
17 complex effect
∑ ˙.
Œ
3
œ. bœ.
Œ
∑
Œ
∑
œ ‰ Ó J
b˙.
˙.
∑
16 rec buffer 2 (45 secs)
b˙.
∑
b˙.
Œ
5
∑
Ó
Œ
∑
œ bœ œ œ œ œ œ œ œ œ bw
Œ
3
72
ã
5
∑
&
Œ Ó
14 complex effect
67
?
˙.
b œœ æ
˙.
b˙.
∑
∑
∑
∑
∑
∑
∑
œ. nœ. ∑
j‰ Œ œ wœ ‰ Œ J
19
Ó Ó
fadeout samp 1
rec buffer 2 fadeout 5 secs
77
b ≥Ow
∑
&
p ≥O w p N. ≥ b b Ow
∑
& B
∑
?
∑
&
ã w
Oœ b b Oœ
p Ow≥
Oœ
p
œ ‰ Œ Ó J random bass
Oœ
Ow
Oœ
Ow
Oœ
Oœ ..
Ow
Oœ
b b Oœ ..
& w π B
bw
∑
p
ã Ó
œ J
‰
& Ó
œœœ p
& w
Œ
? Ó
va: 8 tap 23 delay
ã œJ ‰ Œ
œ ‰ Ó
‰
‰ œ #œ œ ≈ ≈ œ œ œ
Œ
bw œ
Ó
≈≈œ œ ‰ œ
#œ
‰
Ó
b˙.
˙.
œ #œ J
œ #œ œ ≈ ≈ œ œ #œ ‰ p
Œ
U
Œ
œ nœ œ
œ
˙
œ close Œ J
w π w
effect fadeout
œ
Kanding: Obscure Transparence 1 - (str-q & Max) - 24
œ ‰ Œ J
Ó
œ bœ œ ≈ ≈ nœ œ œ ‰
Œ bœ
œ #œ œ ≈ ≈ #œ bœ œ ‰ ˙
Ó
b˙
w
multi tap-delay->PVE
œ bœ
?
w
≈ ≈ œ bœ œ ‰ œœœ
œ ≈≈œ œ‰
˙
w π
22
j œ ‰
‰ Ó
w w bw
w
œ bœ œ œ œ #œ œ œ U ‰ Œ
‰
‰ Ó
∑
a tempo
U
Œ
vn1+vc: open multi tap-delay->PVE
21
87
b˙
Ó
œ bœ œ œ œ #œ œ œ
? Ó
w w π
≈ bœ ‰ Œ œ œ bœ œ #œ œ œ ≈ ≈ œ œ œ p ˙
‰ Ó
∑ U
Œ
‰ Ó
b Oœ ..
∑
un poco mosso
& Ó.
# Oœ ..
Ow
∑
20 cluster gliss
83
B œ F
b Oœ
-6 dB
˙
˙
bœ
#œ
œ œ œ œ ≈≈œ œ ˙
90
∑
& & œ bœ
Œ
B
∑
?
∑
˙
ã w 95
& 44
-12 dB
≥˙ .
Œ
≥˙ . 4 &4
Œ
b w≥ 4 B4 w
∑
ã 44
∑
& 44
# ≥˙ .
42 Œ
U
Œ
42 Œ
U
Œ
42 Œ
Œ
Œ
U
24 œ ‰ UŒ J ∑ Œ
≥˙ .
Œ ∑
∑
r 4 ‰ ≈ b œ ˙ &4 œ ˙
‰ Œ
B 44 ‰ ≈ # œR ˙
Œ
? 44 ‰ ≈ r œ ˙
Œ
ã 44
U
w w
? 44
101
˙
42 Œ
∑
œ.
‰ bœ. œ. #œ. ‰
≥. 44 ˙ π 44 b w≥ πw≥ . 44 b ˙
Tenuto e flautando sempre
Œ
44
w w ≥ ˙.
Œ
π
≥ #˙. π
∑
∑
44
42
∑
44
Œ
42
∑
44
Œ
42
∑
44
42
∑
44
44 24œ ‰ Œ Ó ∑ J play samp 2 (gliss tritone to octave under) filtered noise clockwise
42
∑
42
∑
42
≥œ .
œ
≥. 44 ‰ œ
œ
44 ‰
Œ
# ≥œ
Œ
≥˙
Œ
# ≥œ
Œ
≥˙
44
42
∑
44
42
∑
44
∑
42
∑
44
∑
∑
42
∑
44
42
∑
44
∑
∑
42
∑
44
42
∑
44
42
∑
44
42
∑
44
42
∑
44
42
∑
44
Œ
∑
. 44 ≈ œJ Œ Ó
‰
42
∑
42
∑
44 b w w
w w
∑
42
∑
44 Ó
∑
42
∑
44
42
Œ œ œ œ Œ
œ. 44 ≈ J Œ
#˙ #˙ ∑
Kanding: Obscure Transparence 1 - (str-q & Max) - 25
≥˙ ˙
∑
œ œ
Œ
b ≥œ œ
42
≥ 44 ‰ b œ . œ.
œ
Œ
42
∑
‰
œ.
Ó
œ.
Œ
Ó.
#œ #œ
∑
107
& 44 ‰
bœ.
Ó
& 44 b w w
œ. 4 B4 ‰
‰
? 44 Ó
‰
ã 44 113
b˙ w w ˙
œ. œ.
∑ ∑
& Œ b˙. ˙.
42
∑
42
∑
42
?Œ ã
b˙.
42
∑
˙
42
∑
42
∑
42
∑
44
∑
44 25 wœ‰ Œ J
Ó
44 ≈ b b œœ .. J
&
b b ˙˙ ..
Œ
44 ≈ b œj. ˙ œ. ˙
Œ
b˙. ˙.
Œ
∑
44
∑
∑
44 26 wœ ‰ Œ J
Ó
˙˙ ..
Œ
& 42
∑ ∑
˙. ˙.
Œ
B 42
44 ‰ b ˙ .. ˙ ..
? 42
∑
44
∑ ∑
∑ ∑ ∑
Ó
B
‰ bœ. œ.
˙ ˙
‰ œ. ‰
w
˙
bœ.
˙ ∑
∑ ‰ bœ. œ.
Œ
‰ œ.
Œ
‰ œ.
Œ
∑
44 ‰ b ˙˙ ....
∑
∑ ∑
fadein samp 2
44
Ó
fadeout samp 2 gliss stopped octave under
Œ
∑
∑
∑
˙˙
44
Ó
∑ long reverb
∑
44
˙ ˙ ˙
44 ≈ J
& 42
∑
44 ≈b œj. ˙ . œ . ˙. bœ. ˙. 44 ≈ J
∑
119
ã 42
˙
42
42
∑ 42
B Œ ˙.
˙
Ó
∑
&
Ó
œ. ˙.
∑
bw w
w w
w
w
bw
w ∑
Kanding: Obscure Transparence 1 - (str-q & Max) - 26
˙. ˙.
Œ
42
œ
˙.
Œ
42
œ
˙.
Œ
42
œ œ
U
Ó
U
Ó
U
Ó
U
Ó
∑
42
˙
Ó
∑
∑
42
∑
fadeout samp 2
Ó Ó Ó Ó
wait for reverb fading out
U Ó
Œ
œ ‰ J
27
close reverb stop filtered noise
Sensitive Shades 1 Ejnar Kanding
Texture 2 q = 60
Violin
4 &4
∑
Viola
B 44
∑
Cello
?4 4
∑
˙
f
8
2 signature sound ÷ 44 œ ‰ Œ Ó
& #œ ‰ Œ p
÷
f
∑
∑
∑
∑
∑
∑
∑
p
Œ
® œ b œ œ >œ œ ≈ π
œ ‰ Œ
Ͼ
Ó
Œ
b >œ œ œ œ
‰ Œ
Œ
Ó
rec bar 8-11 to buffer 1 (16 secs) fadein: 250 & -out: 2750 close RTP
∑
#œ æ
# # Oœ p
#œ #œ ‰ Œ > 3
∑
∑
Ó
Œ.
B 44
∑
∑
∑
Œ
® œ bœ œ œ œ ≈ Ó > n n Ȯ
?4 Ó 4
Œ
# # Oœ
P
5 6 ÷ 44 œ ‰ Œ Œ œ ‰ sampler 1 reversed 3x
# Oœ n n Ȯ ..
vc: MTD: 3000 5000
© 2016 by Edition•S, Copenhagen engraving by Ejnar Kanding
∑
Ȯ
# Ȯ ∑
# # Ȯ
∑
∑
Sensitive Shades 1 - (str-q & Max) - 27
≈ bœ bœ bœ
Ó
f
∑ ∑
3 vn: flanger
5 4 5 4
5 4
œ
∑
Œ œ‰
5 4 ∑
∑
Œ
∑
Ó
∑
# Oœ n n Ȯ ..
‰
∑
FM chord reappears
4 &4
12
p
∑
∑
b Ͼ
Œ
œ
f
∑
3 3 j‰ 3 ‰ 3 j‰ 3 ‰3 ‰ j ‰ œ #œ œ #œ ‰ Ó ‰ ‰ bœ œ œ > p b œ >œ œ >
Œ
A tempo
w
b˙
∑
pizz.
3
sul pont
4
Ó
vn: complex PVE&flanger
Poco mosso
bœ Bbœ æ π ? Œ
œ ≈œœ bœ
∑
1
Max
#œ ‰ Œ p
U
4 4
U
Œ
4 4
U
Œ
4 4
U
4 4
Œ #œ ‰ Œ Œ ‰ # œ > bœ œ > 3
∑
# # Ȯ
∑
3
n n Ȯ
make sure rec to buffer is finished before continuing
Œ
arco
®# œ b œ œ b œ # œ ≈ ‰ Œ ‰ œ œ œ œ Œ > > π bœ œ ‰ Œ Ó > œ œ Oœ Ȯ
# Oœ
∑
Version 1.4: 18.7.2019
17
& Ó B ≈ ® œ bœ œ ≈ Œ > # # Ȯ O ? œ ÷ & Ó
?
Ó
Ó
‰
3 &2
≤
® œ b œ œ œ œ œ œ œ œ œ œ b œJ œ . > f # Ȯ
‰
Ȯ
œ
bœ
œœ
œ
œ
Ȯ
œ bœ
œ
˙
b b Oœ
Ó
œ
bœ
bœ
bœ
‰Œ Ó
w
?3 œ 2 .
8 ÷ 32 œ
b œ.
œ. Œ Ó
3
‰ œ‰Ó
vn: MTD: 3000 5000 9
27
B #œ ≈ ‰ >
? ‰ œ
Œ #œ
4 4
Ó
close RTP
‰ ≈ œ ‰ bœ ≈ nœ ‰
œœ
‰
≈ Œ
close RTP
F
œ
œ‰Œ Ó
œ œ bœ #œ œ . n œ ‰ Œ æ !æ @ Œ
‰
Ó
bœ ‰ ‰ œ œ œ ∑
® œ œ œ >œ ≈ Œ
b˙.
. b œ. b œ œ. Ó
Œ
‰Œ œ
∑ Sensitive Shades 1 - (str-q & Max) - 28
3 2
∑
œœæ
‰ œ œ œ œ‰ Ó bœ œ œ > bœ ≈ œ ‰ œ
3 2
3
! @ # œœæ œœ æ. n b œœ ‰ Œ Ó
Œ
Ó
#œ
∑
∑
Ó
3 2
Ó
sampler 1 glissando major 3rd down through 6,5 bars
10
3 2
∑
#˙ P pizz. # œ. œ. œ. Œ π 3
Œ
#œ
b b Oœ .
Ó
sul pont
Ó
Ó
∑
œ
∑
4 b b œœ œœ . œœ ‰ Œ ∑ 4 æ !æ @ p 4 Ó Œ ‰ ‰ Œ ‰œ œ œ œ‰ 4 ® œ #œ œ #œ ≈ nœ œ œ> > p 4 Ó ‰ œ‰ ‰ 4 œ ‰ ‰ ‰ ≈ ≈ ≈ œ œ œ œ fœ œ
Ó
∑
&
bœ
7
Ó π
bœ
œ
∑
23
B 32
bœ œ
π
˙ F
#œ P
Ó
∑
≈ bœ
÷
÷
n n Oœ
#œ bœ œ œ œ œ #œ ≈ ‰ Œ > f> 6
∑
20
B
‰ ≈ #œ bœ œ ≈ ‰ ® >
Ó.
‰
®œ # œ œ
œ ‰ ≈ bœ ‰ ∑
œœ! æ. # # œœ@ ‰ Œ
≈ œ ‰ bœ œ œ ≈ Œ
Œ
‰
® œ #œ œ
œ #œ ‰ ‰ œ
œ
∑ Version 1.4: 18.7.2019
31
& B ?
#œ ≈ >
‰ Œ
Ó
œ ≈ œ ‰ #œ œ
÷
& b œ! @. œ@ ‰ Œ œ œ
? ÷
‰ Œ
n b Oœ ..
Ȯ
œ ‰ Œ n œO p
Ȯ
4 &4
∑
B 44
∑
?4 4
b b Ȯ
b ≥˙ . ‰ ˙. π Ó
œ ‰
f
p
& B ? ÷
f
p
Œ
Œ
Œ
≥ ‰ bœ p f
œ ‰ 15
b˙ f
≈ œ œ œ bœ ∑ œ≈
‰
vn&vc: flanger
≥ ˙
∑
b ≥˙ . ˙.
Œ bœ ‰
œ
œ 3 ≥ œ ‰ 2 # ww
f
œ p
bœ
œ ‰ Œ
#œ
‰
œ J
f
® œ œ œ >œ œ ≈ π
3 Œ œJ ‰ œ ‰ ‰ 3
Ó
bœ
‰
3
œ œ
rec bar 47-50 to buffer 2 (16 secs) fadein: 250 & -out: 2750
spectral filtering sampler 1 close RTP
Sensitive Shades 1 - (str-q & Max) - 29
Ó
4 4 4 4
∑ bœ œ œ J b˙ 3
bœ
3
FM chord reappears
œ œ >œ œ
# œœ
‰ #œ
4 4
∑
p
bœ
Ó
4 4
∑
∑
pizz.
œ ‰ Œ 16
Œ
œ
Ó
sampler fadeout 3 13 Ó 2 œ ‰ Œ Ó
bw
∑
Poco mosso
œœ π
3 2
‰ Œ
∑
‰
œ bœ œ œ
œ
3 2 b wO
b b Ȯ
∑
f
≥
Œ
∑
Ȯ
≈ bœ bœ bœ
# Ȯ
∑
∑
Ó
Œ
œ #œ
nœ
Œ œ ‰
arco
∑
Ó
Ȯ
∑
∑
∑
b ˙ .. Ó
‰
#œ ‰ π
∑
∑
#œ
Œ œ ‰
pizz.
œ
œœ ‰
sampler 1 glissando minor 3rd further down in 2,5 bars
b˙
Ȯ
Ȯ
12
vn&vc: flanger
˙
Ó
œ ≥ # œ ‰ b b ˙˙ ..
Œ
14 signature sound ÷ 44 œ ‰ Œ Ó vn: complex PVE 45
sampler 1 glissando major 3rd further down through 3,25 bars
b Ȯ
œ ‰ Œ Ó
∑
b Ȯ
œ œ œ œ #œ
œ
11
≤ ‰ œ bœ œ ‰ Œ œ ƒ F
40
≥
œœ! @. # œœ@ ‰ Ó
œœ! @. # œœ@ ‰ Ó
arco
Œ
∑
35
B
œœ . # # œœ ‰ Ó !@ @ π b b Ȯ .. Œ p
∑
‰ Œ ‰ œœæ
3
#œ
nœ
∑
pizz. 3
j‰ ‰ Œ bœ œ p 3
Ó
‰ Ó ∑ Version 1.4: 18.7.2019
49
& œ œ ‰ Œ O B œ p b b Oœ arco ? p
O 5 w 4
& Œ O B œ
≈® œ œ œ ≈ >
‰
®œ œ œ œ œ ≈ >
b b Ȯ ..
# >œ œ ? ‰ œ œ‰
≈ ®œ >œ œ ≈
÷
‰
‰
‰
‰ b b Ȯ
®œ œ œ # >œ œ
‰
÷ & bœ ≈ ‰ œ f> Ȯ B ? >œ œ ≈ ‰ ÷
‰ Oœ
≈ ®œ œ œ >
® # œ œ œ >œ œ ≈ >œ œ œ œ ≈ ®œ # >œ œ ≈ ‰ ‰‰ ‰ ‰ P
f
Œ
Œ
4 Ó 4
‰
U
4 œ ‰ Œ 4
Œ
Œ
17 sampler 2 reversed 3x
b œ œ œ œ œ œ b >œ ≈ p f
∑
π
œ
18
® # œ œ œ >œ œ ≈ p
‰
‰
va: MTD: 3000 5000
‰
Œ
# >œ œ œ œ ≈ ® œ ‰
‰‰ ∑
≥ ‰ œ b œ œ œ ≈® œ œ œ ≈ ≈® œ b >œ œ œ œ > F> Ȯ b b Oœ f ≤ # >œ œ œ œ >œ œ œ œ ≈® œ >œ œ ≈ ‰ ≈® œ >œ œ œ œ ‰
®œ œ œ œ œ ≈ Œ >
‰ Œ
‰
Ó
Ȯ
‰
Oœ P ® œ # œ œ >œ œ ≈
Œ
‰ Œ ‰ ≈ ® œ œ œ ≈ ® œ œ œ >œ œ ≈ œœœœ > > p Ȯ b b Ȯ Ȯ
®# œ œ œ >œ œ ≈
®œ œ œ œ œ œ œ œ œ œ œ œ œ. J f p
œ œ >œ œ
‰
F
∑
6
b b Ȯ Œ
Œ
≈‰
‰
∑
58
U
>œ œ œ œ ≈ ® œ >œ œ ≈ ‰ ‰ ‰ ‰
≈‰
Œ
4 Ó 4
∑
& ≈ ® œ œ œ ≈ ‰ ® œ œ œ œ œ ≈ ‰‰ œ œ œ œ Œ > > > P O B œ b b Ȯ œO œO # >œ œ ≈
®œ œ œ œ œ ≈ π >
Œ
Œ
∑
55
?
œ œ >œ œ
arco
U
make sure rec to buffer is finished before continuing
5 4 ∑
∑
52
4 Π4
pizz.
5 O 4 w
÷
A tempo
3 3 U 5 Œ ‰ ‰ Œ Œ ® œ #œ œ œ œ ≈ 4 #œ œ œ œ > P p π
arco
Œ
3
œ bœ. J ∑
Sensitive Shades 1 - (str-q & Max) - 30
‰ ≈ bœ œ œ œ
Ó
œO œ p
∑
π
bœ
œ J œ.
bœ
œœ
œ
œœ
œO
∑ Version 1.4: 18.7.2019
œ & bœ bœ
61
B
≈ Œ
œœ
? œ J
3 2
Ó
3 2
∑
œ.
Ó
Œ
∑
‰
®b œ œ œ p
≥ ≤ ≤ œ ‰ ‰ ≈ bœ bœ f œ # œ@ œ . # œ ‰ Œ !æ
4 Ó 4 sul pont
4 œ 4 œ æ p sampler 2 glissando major 4 21 down through 6,5 bars Ó 4 œ ‰ Œ3rd spectral filtering sampler 1
Ó
w f vn: MTD: 3000 5000 20 close RTP 3 19 ‰ œ ‰ Ó 2 œ
∑
4 Ó 4
Ó
3 2
b˙
÷
œ
bœ
bœ œ ‰ Œ
Ó
spectral filtering fadeout sampler 2 loop ends
64
&œ ≈ ‰ > B‰ ?
bœ
Œ
‰ bœ bœ œ œ œ œ œ ‰ >
Ó
œ ‰
‰
Ó
‰ bœ ≈ œ
≈ œ
∑
÷
Œ
≥ œ
&Ó
Œ
B Ó
≥ œ
? œæ œ
œ! æ œ@ œ . #œ
÷
‰ Œ ® b œ œ œ >œ ≈
& œ≈‰ Œ >
‰ ‰
œ
œ
Œ
#œ
œ ≈ bœ ‰ nœ
‰ Œ
Ó
≥ B œ ≈ bœ ‰ œ œ ‰ Œ ?
∑
÷
∑
œ
œ
Ó
‰ ≈œ‰ œ ≈œ‰
‰ Œ
∑ ∑
‰ #œ œ œ œ ‰ œ œ œ>
Ó
Œ
≥œ œ bœ ≈ Œ
≈ bœ ‰
∑
∑
70
‰
Œ
∑
‰ #œ
®œ œ œ œ ≈ ‰ >
≤ œ ‰ ≈ œ ‰
œœ! æ. # œœ@
b œœæ
∑
67
‰
œœ! æ.
b œœæ
∑ Œ Œ
Ȯ ..
Ȯ
π ≥ bœ
œ bœ œ œ œ
œ œ bœ . œ ‰ Ó !@ @ π Ó
≥ œ œ ‰ ‰ œ œœ@
œ
‰ Œ
∑ b b Ȯ Œ œœ
œ bœ
b œ! @ œ@ ‰ Ó bœ. œ
sampler 2 glissando major 3rd further down through 3,25 bars
œ ‰ Œ 22
‰ ® œ bœ œ
∑
b Ȯ
Ȯ
Ȯ
# Oœ ..
‰
≤ Œ œ œ ‰ œ œ ‰ Œ œ #œ œ œ œ œ ƒ F bœ œ bO bœ. œ ‰ Ó b œ! @. œ@ ‰ Œ œ b œ bœ !@ @ p
Sensitive Shades 1 - (str-q & Max) - 31
≥
∑
∑
Version 1.4: 18.7.2019
75
&
b ≥˙ . b ˙. p
pizz. Œ œ ‰ Œ œ ‰bœ ‰ Œ π
B Ó ? b Ȯ ÷
≥˙ . # # œœ ‰ # ˙ .
bœ ≥ œ ‰ ˙˙ ..
Ȯ
Ȯ
sampler 2 glissando minor 3rd further down in 2,5 bars
œ‰ Œ Ó 23
bœ ≥ n œ ‰ 32 ww
Œ bœ ‰
b b Ȯ
œ
b Ȯ
‰Œ
Ȯ
∑
Ó
3 2
∑
3 Ow 2
Ó
3 œ‰Œ Ó 2
∑
œ≈‰ 4 ˙. ∑ 4 f arco œ≈‰ 4 b˙. ∑ 4 f œ≈ 4 ˙˙ .. œ ‰ ∑ 4 f signature sound 4 25 Ó 4 œ ‰ Œspectral ∑ filtering sampler 1&2 q = 66
24
fadeout samplers
Ó
b˙.
œ≈‰
∑
˙.
œ≈‰
∑
˙.
œ≈‰
Ó
b˙.
œ≈‰
∑
b˙. ˙.
œ œ≈‰
∑
b˙. ˙.
œ œ≈‰
Ó
? ˙˙ ..
œ≈ œ ‰
∑
‰
Ó
81
& B
÷ 87
∑ q = 60
& ww F B
? ÷
w F bw F
∑
& #w.
? ÷
bw
bw
bw
w w
bw
w
w
∑
4 4 #w π
B w. bw. w. ∑
∑
bw w
4 4 #w π
94
œ≈‰
˙.
∑ w w
4 4 w w π 4 4 ∑
∑
∑
3 2 bw. p 3 2 #w. p 3 2
3 2 nw.
#w
3 2 #w.
w w
3 2 w. #w.
4 4 w ∏ 4 4 #w ∏
∑
w. w.
#w.
bw.
w. bw.
#w.
w.
∑
4 4 w #w ∏ 4 4 ∑
Sensitive Shades 1 - (str-q & Max) - 32
Ó
U
Ó
U
Ó
FM chord reappears
∑
3 w. 2 w. p
#w
3 2
œ≈
∑
∑
∑
b˙.
U
∑
∑
w
3 2
∑
w
3 2
∑
3 2
∑
w w ∑
∑
3 œ‰ Œ Ó 2
fadeout
26 samplers
Ó
Version 1.4: 18.7.2019
String quartet, live electronics
Obscure Transparence 2 Texture 3
q = 90
Violin I
4 &4
Violin II
4 &4
Viola
B 44
Cello
?4 4
#œ > f
∑ œ‰
Œ
∑ Ó
#œ œ œ nœ >
∑
# äœ . ≈ # œ.
5
& œ œ≈ ‰ Ó ∑
B
∑
> #œ ? Œ œœ ≈ ÷
∑
9
&
#œ œ nœ ≈ >
B ‰ ? ÷
œ
#œ
∑
œ
‰
3
‰
Œ
œ œ #œ œ œ œ ‰ Œ > >
œ ˙ f
œ
œ ≈‰
‰.
∑ # äœ ‰# œ
∑
œ fl
≈ œ. â
# >œ œ n œ ≈ ∑
Œ
∑
Œ
∑
Œ ‰
∑
Œ
œ œ # œ >œ œ ≈ Œ
#œ œ nœ ≈ > ‰
Œ
Œ
œ œ œ >œ œ # œ Œ
‰
∑
∑
∑
∑
© 2017 by Edition•S, Copenhagen engraving by Ejnar Kanding
Œ
œ œ >œ œ œ >
‰
Œ
Obscure Transparence 2 - (str-q & Max) - 33
∑
œ # œ >œ œ ‰ Œ
∑ # äœ . ≈ œ.
Ó
Ó
Ó
∑
#œ ≈ ‰ Ó #œ œ œ œ >
œ #œ ≈ ‰
Ó
‰
#œ œ nœ ≈ >
œ≈ ≈ ✠œ >
∑
#œ œ nœ ≈ >
#œ fl
≤
∑
Ó
∑ # >œ ≈ ‰ # œ
Ó
‰
>œ # œ œ n œ
œ‰ Œ ‰ œ œ> â
∑ Œ
∑ >œ ≈ ‰ Œ
Ó
≈ œ. œ f
#œ œ Ó ≈œ >œ œ f
Ó
Ó
‰
#œ fl
Œ
Ó
Œ
‰ #œ œ >
delay 667, 1333
∑
&
Œ.
∑
2 delay 1333, 2000 ÷ 44 œ ‰ Œ Ó
&
∑
Œ
∑
1
Max
Ejnar Kanding
œ fl
Œ
‰
äœ ‰œ
∑ ∑
# œ ≈ œ̆ ‰ Œ fl >œ
Œ œ ≈ #œ œ ‰ fl > ∑
Version 1.0: 1.12.2017; 1.2: 3.7.2019
13
& &
œœ‰ >
# >œ ≈ ‰ œ
Œ ∑
B
÷ Ó &
œ≈‰
#œ œ œ #œ > œ B ≈ ≈ #œ œ œ œ
24
& œ
œ ≈
B
∑
÷
#œ
Ó
‰ Ó ∑
œ≈
˙
b ≥˙
œ
˙
œ J œ.
b ≥˙
bœ
˙
5
rec 6 bars to buffer
>œ # œ œ ≈ ∑
œ
œ œ. J
œ#œ. ˙ J
˙ ..
œ œ. #œ ˙ J J
˙.
œ œ. ˙ J
˙ ..
œ œ. J
j ‰ œ œ.
bœ œ. J
bœ ˙ J
œ œ. n˙ J
œ #˙. œ ˙.
œ bœ. J ∑
œ bœ. ˙ J
∑
#œ œ œ #œ >
Ó œ ‰ œœ Œ œ œ œ #œ œ œ #œ > >
Œ
œ œ Ó ≈ #œ > œ #œ
‰
b ˙ .. b ˙ ..
äœ . ≈ œ.
#œ fl
∑
∑
∑
∑ Ó
‰
äœ ‰ œ
∑
>œ ≈ ‰ Œ
# >œ œ # œ ≈ ∑
œ‰ Œ ‰ #œ œ > â
˙ fl
œ≈‰
œ fl
Œ
∑
Œ
∑
Obscure Transparence 2 - (str-q & Max) - 34
≤
œ≈ ≈ #œ œ > â
œ.
Ó
‰
Œ
∑
∑
‰
‰
œ œ œœ≈Œ #œ œ #œ > >
# ˘œ ‰
>œ ≈œ
Ó
rec fadeout 2000 ms
Œ
Œ
‰
>œ # œ œ # œ
6
#œ œ œ œ #œ ≈ >
Ó
‰
œ‰Œ
∑
Ó
œ ˙ J
œ œ. J
∑
œ œ œ >œ ≈ ‰ Œ ≈ #œ > #œ
‰
∑ ≈ #œ. â
#˙.
œ
∑
Ó
&
‰
œ
FM&filtered noise until bar 20
Ó
∑
≥ Œ ˙
œ ‰ œ‰Œ Ó
Œ
÷
œ #œ. J
close delay
4
Ó
Œ
˙
Œ
œ ‰ fl
Œ
≈ ? œ ‰
œ
Œ
Œ
&
?
‰
∑
? ≤ #œ ≈ œ ‰ œ. œ > >
20
#œ fl
≥ Œ ˙
#œ fl
‰
#œ œ #œ ≈ >
#˙ >
Ó Ó
‰ #œ œ œ >
#œ
œœŒ
∑ ∑
Version 1.0: 1.12.2017; 1.2: 3.7.2019
28
&
∑
∑
&
œ ‰Œ ≈œ œ
œÓ
#œ œ #œ ≈ >
‰
B ‰ #œ œ œ œ œ Œ >#œ
‰
œ ≈œ œ œ
‰ œœ œ œœŒ >#œ
?
∑
∑
÷
∑
∑
3 &4
32
3 &4
œ fl œ > # >œ
B 43 Œ
‰
Œ
‰
#œ >
œœŒ
?3 4 ≈ #œ ‰ œ > > #œ. > ÷ 43 37
&
œ≈‰
#œ fl
‰
œ 4 œ œ 4 Œ œ ≈ œ >
‰ ‰ ≈
>œ ≈ #œ 4 4
4 4
œ
œ fl
÷
‰
‰
‰ Œ
≈ ‰ #œ œ œ œ œ œ ‰ Œ > œ > Ó
≈œœ
‰
≥œ œ ≈ ‰ Œ
‰ œ.
Œ
≥œ œ ≈ ‰ Œ
bœ.
œ.
‰
œ.
‰
FM&filtered
#œ fl
œ≈‰
Ó
Ó
œ ≈ >œ ‰ fl # œ >
Œ
‰ œ
∑
#œ fl
œ≈‰ œ
œ
œ≈‰ ‰ œ
œ
œ≈
‰ œ
œ
œ≈
œ≈ œ≈
‰
‰ ‰
œ
œ
œ≈
∑ ‰ Ó
∑
Obscure Transparence 2 - (str-q & Max) - 35
#œ fl
‰ œ
œ≈ 3 œœ œ œ> 4
‰
≈œ
#œ >
œœ≈Œ
3 4
Œ
3 4
‰
#œ >
3 4
∑
œ≈‰
‰
bœ. ˙
œ ≈ ‰ ‰ œ. œ. ‰
bœ
œ≈‰
‰ œ
œ≈‰
‰
äœ ‰ œ 43
Œ
‰
œ‰ Œ œ œ >
∑
≥œ œ ≈ ‰ Œ
Œ
>œ ≈ ‰Œ
Œ ‰ œ #œ #œ œ œ œ œ #œ œ #œ œ œ œ œ #œ œ nœ #œ œ nœ > > > œ > B ≈ ≈ œ #œ œ œ œ œ œ ≈ Œ ‰ #œ œ œ œ œ œ ≈ Œ œ ≈ œ œ > œ≈ œ̆ ‰ ‰ # ˘œ ‰ Œ ? Œ Ó Œ &
Œ
œœ œ œ
4 7œ ‰ Œ noiseÓ 4 until bar 37
∑
Œ
#œ >
∑
b ≥œ œ ≈ ‰
4 Π4
äœ . ≈ #œ.
‰ ‰
œ. ˙
œ. ˙
∑ Œ
#œ fl
#œ œ œ nœ > ‰
# ˘œ
∑ ‰
œ ‰ fl
Œ
‰
Œ
œ œ œ #œ œ #œ >
>œ œ ≈ # œ œ œ Œ œ ≈ œ > œ ‰
Œ
Œ
œ̆
‰
∑
Version 1.0: 1.12.2017; 1.2: 3.7.2019
40
& Œ
Œ
‰
œ fl
‰
œ fl
‰
#œ fl
Œ
# äœ . ≈ # œ.
Ó
#œ fl
Ó
‰
≤ Œ Œ # œ # œ & œ >œ œ # œ œ > œ œ ‰ œœ ≈œœœ > œ #œ œ > #œ œ œ œ nœ ≈ > #œ œ œ œ nœ ≈ #œ œ > nœ > > ≤ œ œ œœœ≈‰ œ œ >œ ‰ B Œ # œ œ œ Œ Œ ≈ # œ œ Œ ‰ # œ œ œ œ œ œ œ œ > œ œ œ > > > > >œ œ # œ ≈ >œ ≈ # >œ œ n œ ≈ ? # ˘œ ‰ Œ œ‰ ‰ Œ ‰ ‰ ≈ ˙ œ ≈ œ. œ œ> > â â ‰ ‰.
÷
∑
# äœ # & ‰ œ
∑
43
&
Ó
‰
œ fl
‰
# >œ ≈# œ
? Œ ÷
∑
46
& Œ
‰
œ fl
Œ
‰
3 4 Œ
Œ
œ ‰ fl
œ 43 œ œ œ #œ œ œ œ # œ œ # >œ œ ‰ ‰ œ œ # œ œ œ œ ≈ ≈ > > #œ nœ ≈ #œ nœ ≈ > > >œ >œ ≈ 3 œ œŒ ‰ # œ œ œ Œ ‰ œ #œ œ œ œ Œ œ 4 ‰ œ #œ œ ≈ œ > œ >œ >œ > >œ # œ œ n œ ≤ # ˘œ ‰ Ó 3 # ˘œ ‰ Œ œ≈ Œ Œ 4 ‰ > œ œ ≈â
Œ. #œ #œ œ > #œ œ œ œ nœ >
B Œ
#œ fl
∑
œ ‰ fl
Œ
3 4
∑
Œ
œ ‰ fl
Œ
#œ fl
‰
‰ Œ
#œ fl
∑
# äœ . ≈ œ.
‰
œ fl
Œ
Œ Œ ‰ œ œ œ #œ œ œ # >œ œ # œ # >œ ≈ ‰ # œ # œ # œ œ œ œ œ #œ œ nœ ≈ ≈ #œ œ nœ ≈ #œ œ nœ #œ œ nœ ≈ > > > >œ B ‰ œ #œ œ œ œ Œ ‰ œ #œ œ œ œ œ ≈ ‰ ‰ # œ œ œ‰ Œ #œ œ œ œ œ ≈ œ œ œ ≈ œ >œ > >œ > >œ > > # ˘œ ‰ ? # ˘œ ‰ Œ Œ Œ # œ ≈ œ̆ ‰ ‰ œ œ ‰ œ ≈ #œ œ ‰ œ ≈ œ fl fl > > > &
÷
‰
∑
∑
∑
Obscure Transparence 2 - (str-q & Max) - 36
∑
Version 1.0: 1.12.2017; 1.2: 3.7.2019
50
& ‰
# äœ œ
Œ
‰
œ fl
#œ & œ #œ > #œ œ nœ ‰ ‰ > > B Œ
≈ œ #œ œ œ œ > > ≤ ≈ œ ‰ #œ œ. > >
? Œ ÷ œ≈ & œ ‰
Œ
&
Œ
#œ œ œ #œ >
˘ ? #œ
‰ œœ
‰
#œ
Œ
& Œ
#œ fl
‰.
‰ #œ œ œ œ #œ ≈ >
B Œ
˘ ? #œ
‰
œ œ #œ œ #œ > > Œ
∑
œ.
œ
#œ œ œ #œ >
‰
≥
œ.
‰
# ˘œ
‰
bœ b œ ‰ ‰ Œ œ ≈ bœ fl ‰
œ.
Ó
Œ
Œ
Œ
œ œ ≈ ‰ Œ ‰ bœ. ‰
œ.
#˙ >
œ ‰ fl
œ̆
‰
Œ
œœœ > œ̆
‰
œ Œ œ >œ œ > ‰ œ œ #œ œ œ œ #œ > ≤ œœœŒ Œ ≈ #œ œ œ œ œ ≈
‰
∑
œ.
œ
œ fl
# ˘œ
‰
œ.
œ ‰ Œ fl
Œ
#œ œ œ #œ > ‰
‰
‰ œœ
œœœ >
œ œ œ >œ œ œ ≈ Œ ≈ #œ > #œ ‰
Œ
œ̆
Œ
œ
‰
∑ äœ . ≈ œ.
Ó
>œ # œ œ ≈
‰ ∑
Œ
‰ œœ
œ ≈ ‰ Œ ‰ œ.
∑
œœœ œœœ≈Œ ≈ #œ > #œ
‰
‰
‰ ‰ œ̆ Œ œ
∑
until bar 55
œ fl
œ≈
œ ≈ ‰ Œ ‰ # œœ ..
∑ Œ
‰
≥
‰
œ‰ Ó
Œ
œ ≈ bœ œ ‰ ‰œŒ œ fl
œ œ ≈ ‰ Œ ‰ bœ.
FM&filtered
∑
58
÷
œ ≈ ‰ Œ ‰ œ.
8 noise
Œ
>œ œ œ ≈ Œ
≥ Œ œ
œ ‰ œ. fl
4 Π4
œœœ
œ ≈ ‰ Œ ‰ # œœ ..
≥
œ
Ó
÷
&
4 4
‰
≥ Œ œ
b ≥œ Œbœ
œœ 4 Ó 4
œ ‰ fl
B œ ≈ ≈ #œ œ nœ œ
#œ fl
4 #œ Œ 4 œ œ # œ > œ ≈
∑
55
# >œ ≈ œ
4 ‰ 4
#œ >
≈ #œ. â
#œ fl
Ó
‰
œ Œ œœ œ > > œ œ #œ œ œ œ #œ ≈ > œ œ >œ ≈ ‰ Œ ‰ #œ œ œ œ > >œ ≈ ‰
Obscure Transparence 2 - (str-q & Max) - 37
Œ
# >œ œ # œ ≈
∑
‰
≤ ≈œœ
#œ > #œ â
œ œ >œ ‰
œ
œ‰ œ>
Version 1.0: 1.12.2017; 1.2: 3.7.2019
äœ œ &‰
61
Ó
‰
œ fl
>œ ≈œ
‰
œ Œ &œ œ >#œ œ œ œ #œ >
‰ œ ‰ fl
#œ fl
3 4 Œ
Œ
œ œ ‰ œœ ‰. œ œ œ œ œ > œ œ > #œ œ #œ ≈ > œ œ œ >œ œ >œ ≈ Œ ‰ ‰ #œ œ œ œ œ Œ ≈ #œ > #œ >#œ > >œ # œ œ # œ ≤ # ˘œ ‰ œ≈ Œ Ó ‰ ≈ #œ œ > â
BŒ ?Œ ÷
∑
∑
65
& Œ
œ fl
œ̆
Œ
‰
‰
‰
œ fl
#œ œ #œ ≈ >
‰
Œ
Œ
œ ≈œ œ œ
œ
3 œ œœŒ 4 ‰ #œ œ >#œ 3 #œ 4
‰ Œ
3 4
äœ . ≈ #œ.
Œ
œ ‰ fl
#œ œ #œ ≈ >
#œ fl
#œ
Œ
‰ Œ
Œ ∑
äœ ‰ #œ
Œ
‰
œ fl
4 4
Œ
≈ B ‰ #œ œ œ œ œ œ ‰ > #œ > ? #œ ‰ ‰ #œ œ > >œ 4 ≈ & 4 ‰ #œ
≥œ Œ bœ
œ≈ œ ‰ Œ
‰
≥ Œ œ
œ≈‰ Œ
‰ œ.
≥ Œ œ
œ≈‰ Œ
#œ œ #œ ≈ >
Œ
÷
∑
69
#œ fl
4 œ &4 œ œ Œ œ > B 44 Ó ?4 4
œ
÷ 44 Œ
‰
≥
‰ #œ œ. > œ ‰ Ó
‰
FM&filtered
9 noise
until bar 73
≈œœ
∑
≥
#œ.
∑
œ ≈‰
bœ.
œ. ‰ œ. ‰ ∑
≥
œ.
‰
∑
œ ‰ œ̆ Œ b œ
œ≈ œ ‰ Œ
‰
bœ.
œ ≈ ‰
œ ≈‰ ‰ œ Œ œ œ fl œ œ ≈‰ ‰ œŒ œ fl
œ≈‰ Œ
‰ œ.
œ ≈ ‰
#œ.
‰
œ.
œ. ‰ œ.
œ≈‰ Œ ‰
#œ.
∑
Obscure Transparence 2 - (str-q & Max) - 38
‰ ∑
œ
œ ≈œ œ œ
‰ #œ œ œ œ œ Œ >#œ
∑ ‰
‰
Œ
œ œ ‰ œ œ ‰. œ œ ‰ œ œ > #œ œ #œ ≈ œ #œ œ #œ ‰ > > > œ œ œ >œ œ ‰ Œ œ œ œœ≈ Œ ‰ ≈ #œ œ œ œ œ œ #œ œ ≈ #œ > #œ #œ #œ > > > > > œ ≈ >œ ‰ Œ œ ≈œ Œ ‰ fl #œ ‰ ≈ #œ ‰ œ ≈ #œ #œ #œ. > fl > > >
&
œ Œ œœœœ > œ #œ #œ
3 4
œ ‰ fl
œ.
œ œ ≈ ‰ ‰
4 4 4 4 4 4 4 4
Œ
Ó
Œ
Œ œ ‰ œ fl
Œ
Œ œ̆ ‰
‰ Ó b œ œ b œ >œ b œ nœ > > œ
10
‰
Œ
Ó
triangle&crackle until bar 100
Version 1.0: 1.12.2017; 1.2: 3.7.2019
74
& & œ œ fl B œ̆ ? ÷
>˙ .
∑ ≈œ œ > ≈ >œ
≈ œ. œ. ‰ œ œ. œ. œ â fl ≈ äœ . œ . ‰ œ̆
‰Ó b œ œ b œ >œ b œ œ > >
÷ 83
&
÷
Œ œ‰ œ fl
b œ œ b œ >œ ‰ b œ œ > >
‰Ó b œ œ b œ >œ b œ œ > >
# >œ ‰ Œ
Œ œ‰ œ fl
Œ œœ ‰ B fl
‰ Œ
bœ Ó b œ œ b œ >œ b œ > b œ œ > > ∑
‰ Œ
w
Œ œ‰ œ œ œ fl fl Œ œ̆ ‰ œ̆
‰Ó b œ œ b œ >œ b œ œ > >
∑
≈œ œ > ≈ >œ
≈ œ. œ. ‰ œ. œ. â ≈ äœ . œ . ‰
‰Ó b œ œ b œ >œ b œ œ > >
∑
∑
∑
∑
‰ Œ
Œ œ‰ œ œ œ fl fl
≈ œ ≈ œ ≈ œ œ. ‰ œ œ œ œ. > > â
4 bœ ‰ Œ Œ œœ ‰ b œœ ≈ œœ ≈ œœ ≈ œœ œœ .. ‰ 4 œ œ œ bœ > > â fl fl fl b œ œ b >œ œ b œ > œ b œ œ > 11 4 bœ Ó bœ Ó 16 œ bœ bœ œ œ œ 4 b œ b œ b œ œ b œ >œ b œ > b œ œ b œ >œ b œ > œ b œ b œ b œ > > œ œ œ > > > > > 11 16
>˙ .
‰ Œ
‰ œ̆ ‰ œ̆ œ̆
> b œ >œ œ œ 4 œ œ b œ b œ b œ 4 œ bœ œ œ > fl
11 16
11 Œ œ̆ ‰ & 16
‰ Œ
∑
bœ & œ fl ?
‰ Œ
‰Ó b œ œ b œ >œ b œ œ > >
& œ œ fl
Œ œ̆ ‰
# >œ
˙.
b œ >œ œ œ > œ b œ b œ b œ > 11 b œ œ 4 16 œ 4
> # w &
?
‰ Œ
œ # >œ . J
˙
Œ œ‰ bœ bœ œ ‰ ‰ œ ‰ œ œ œ œ b œ >œ > œ œ œ fl > fl fl fl
∑
79
B œ̆
‰ Œ
‰Ó b œ œ b œ >œ b œ œ > >
∑
& œ œ fl
# >œ
4 4
∑
œ # >œ . J
˙
> b >œ œ bœ ‰ nœ ‰ œ b œ b œ œ b œ >œ œ œ > fl fl b ˘œ œ b œ ‰ œ ‰ œ̆ œ b œ b œ b œ œ b œ >œ > > > bœ Ó b œ œ b œ >œ b œ > b œ œ > > ∑
∑
∑
# >œ # œ n œ œ # w>
˙. œ œ fl
&
bœ œ fl
‰ Œ
Œ œ œ fl Œ œœ fl
‰ Œ
bœ Ó b œ œ b œ >œ b œ > b œ œ > >
Obscure Transparence 2 - (str-q & Max) - 39
∑
‰
œ œ fl
‰ b œœ fl
≈ œ ≈ œ ≈ œ œ. ‰ œ œ œ œ. > > â ≈ œœ >
≈ œœ ≈ œœ œœ .. ‰ > â
bœ Ó b œ œ b œ >œ b œ > b œ œ > > ∑
Version 1.0: 1.12.2017; 1.2: 3.7.2019
b œ >œ œ œ > œ b œ b œ >œ œ # œ œ 11 >œ b œ b œ œ 16
> & #˙.
87
& œ œ fl bœ & œ fl ? ÷ 91
&
÷ 96
&
÷
11 16
> b œ >œ œ œ œ b œ b œ bœ bœ œ
œ >
11 b œ >œ œ œ & Œ œœ ‰ B 16 œ b œ b œ bœ œ bœ œ > fl >
‰ Œ
11 16 11 16
∑
bœ œ œ b œ œ b >œ œ b œ > œ b œ œ >
4 œ 4 œ fl 4 ˘œ 4 œ 4 4 4 4
∑
∑
∑
‰ Œ
Œ
‰ Œ
Œ
œ‰ œ fl ˘œ œ‰
>œ ≈ b œ ‰Œ œ b œ bœ œ bœ> b œ œ > > ∑
œ œ fl ˘œ œ
≈œ œ > > ≈ œœ
≈ œ ‰ œ. œ œ. > â ä > ≈ œœ ‰ œœ ..
‰ Œ
Œ
‰ Œ
Œ
œ œ fl ˘œ œ
2 4
‰ ‰
B
>œ ≈ b œ ‰Œ b œ œ b œ >œ b œ b œ œ > >
2 4 2 4
∑
# w>
2 4
5 16
≈ œ ‰ œ. œ œ. > â ä > ≈ œœ ‰ œœ ..
>œ ≈ b œ ‰Œ œ b œ bœ œ bœ > b œ œ > > ∑
‰ œ œ fl ˘ ‰ œœ
# >œ œ n œ œ
2 4 8 ∑ 4
œ ‰ œ fl ˘œ œ ‰ Œ
∑
b œ >œ œ œ > œ b œ œ # œ œ > # œ n œ >œ # œ b œ > >œ œ # œ œ 11 >œ b œ b œ œ œ 9 4 œ 16 16 4
# >˙ . ≈œ œ > > ≈ œœ
∑
‰
∑
> b œ 5 >œ ≈ ≈ j 2 œ b œ 16 œ 8 ‰ œ 44 œ ‰ Œ Œ b œ b œ œ b œ œ œ œ œ > > fl fl fl >œ ≈ ≈ ˘œ 2 ˘œ 4 ˘œ 5 b œ ‰ Œ Œ &œ 8 ‰ œ 4 œ b œ œ b œ >œ b œ 16 b œ œ J > > >œ ≈ 5 >œ ≈ ≈ ‰ 2 ∑ 4 b œ b œ ‰ 8 4 b œ œ b œ >œ b œ 16 b œ œ b œ >œ b œ b œ b œ œ œ > > > > ∑
‰
>œ ≈ b œ ‰Œ œ b œ bœ œ bœ > b œ œ > >
>œ ≈ ≈ >œ b œ b œ b œ > b œ > > # ˘œ 2 ‰ # ˘œ 4 # >˙ . #œ #œ nœ œ 2 œ bœ œ 5 J 8 4 16 4
>˙ .
& œ œ fl ˘œ & œ ?
Œœ ‰ œ fl
bœ Ó b œ œ b œ >œ b œ > b œ œ > >
& œ œ fl ˘œ & œ ?
‰ Œ
4 4
‰ Œ
Œ
‰ Œ
Œ
œ ‰ œ fl ˘œ œ ‰B
>œ ≈ b œ ‰Œ œ b œ bœ œ bœ> b œ œ > > ∑
11 16 11 16 11 16 11 16
> b œ >œ œ œ 9 œ # œ œ œ b œ œ # œ 44 b œ b œ 16 œ œ # œ n œ b œ œ œ > > > > >œ œ 9 b œ œ b œ œ 16 œ œ # œ œ # œ n œ œ # œ 44 b œ œ b >œ b œ > œ œ > > > œ >
œ bœ b œ b œ œ b >œ
Obscure Transparence 2 - (str-q & Max) - 40
∑
9 4 œ b œ œ œ œ 16 œ œ # œ œ #œ nœ > #œ 4 > œ > > 9 16
∑
4 4
Version 1.0: 1.12.2017; 1.2: 3.7.2019
4 &4
100
>œ ≈
‰
Œ
Ó
bœ
Ó
4 >œ b œ œ œ œ œ # œ œ œ œ œ # œ œ œ n œ # œ &4 3
5
œ œ œ 3
œ bœ œ œ œ œ #œ œ #œ
‰
3
5
5
Œ
∑
3 > ≈ bœ B 44 œ ‰ œ œ œ œ œ # œ œ œ œ œ # œ # œ # œ n œ # œ n œ b œ œ œ œ œ # œ œ # œ 3
? 4 >œ ≈ ‰ Œ 4
Œ
11 ÷ 44 œ noise ‰ Œ until bar 124
Ó
FM&filtered
103
&
5
œ bœ œ œ
‰
∑
5
3 œ œ #œ œ œ œ œ #œ œ œ nœ #œ nœ bœ œ œ œ œ #œ œ #œ ‰
Ó
5
3
5
Ó
œ
‰
12
˙.
œ #œ nœ œ #œ œ œ #œ #œ #˙
œ œ œ #œ œ œ œ œ #œ #˙
bœ
Œ
∑
vn1 microtonal changes of pitch
œ
b˙.
5
&
∑
œ bœ œ œ œ œ #œ œ œ œ œ #œ œ œ nœ #œ
B
∑
Œ
?
3
5
3
5
5
Œ
5
œ bœ
∑
∑
œ œ œ œ #œ
œ bœ œ œ œ #œ #œ œ œ œ œ œ œ & 5
œ œ œ œ #œ œ œ nœ #œ
3
5
∑
106
3
‰
3
3 bœ ‰ œ œ œ œ œ # œ œ œ œ œ # œ # œ œ œ n œ # œ n œ b œ œ œ œ œ # œ œ # œj
∑
÷
5
œ bœ œ œ œ œ #œ œ #œ
∑
œ œ œ œ bœ œ #œ #œ #œ ˙
˙.
œ
5
&
∑
∑
œ bœ œ œ œ œ #œ œ œ œ œ #œ œ œ nœ #œ
B
∑
∑
Ó
3 ? œ bœ œ œ œ œ #œ œ #œ 5
÷
∑
‰
Œ
3
5
œ bœ œ œ œ œ #œ 3
∑
∑
∑
∑
Obscure Transparence 2 - (str-q & Max) - 41
Version 1.0: 1.12.2017; 1.2: 3.7.2019
109
&
bw
œ
3
bœ & œ œ œ œ œ #œ œ #œ
‰
3
5
&
Œ
Ó
∑
5
b˙
bœ
bœ
œ bœ œ œ œ œ #œ œ œ œ œ #œ œ œ nœ #œ & 5
‰ œ bœ œ œ œ œ
B Ó
3
?
∑
÷
bœ
œ bœ œ œ œ œ #œ œ #œ 3
5
œ ‰
√ #œ
œ
Œ
∑ 3
3
5
Ó
3
5
œ bœ œ œ œ œ #œ 3
œ
13
œ ≈ ≈
bœ
bœ
œ #œ œ œ œ œ #œ œ œ nœ #œ nœ bœ œ œ œ œ j #œ œ œ #œ Œ
Ó 3 16
∑
#œ
Ó
∑ b˙
∑
∑ œ
3
‰
5
∑
(√) 115 œ bœ &
∑
œ bœ œ œ œ œ #œ œ œ œ œ #œ #œ #œ nœ #œ nœ bœ œ œ 3 œ œ #œ œ #œ
÷ 112
‰
#œ
5
3
5
∑ 3
? Œ
5
Œ
B œ #œ œ œ #œ œ œ nœ #œ nœ bœ œ œ œ œ #œ œ 5
œ bœ œ #œ #œ #œ œ bœ nœ
œ bœ bœ œ œ œ bœ bœ œ #œ #œ nœ ˙
‰
œ #œ œ œ #œ œ œ nœ #œ nœ bœ œ œ œ œ 5
5
Œ
vc microtonal changes of pitch
#œ œ 3
∑
∑
2 4
∑
4 4
∑
2 4
&
∑
3 16
∑
∑
2 4
∑
4 4
∑
2 4
B
∑
3 16
∑
∑
2 4
∑
4 4
∑
2 4
3 5 4 4 6 3 5 ? ≥ 3 2 4 Œ 2 4 bœ œ œ œ 4 # œ œ œ # œ œ œ # œ œ œ œ œ n œ b œ œ 16 œ œ œ œ œ œ 4 ‰ œ œ œ #œ œ œ #œ œ #œ œ #œ #œ œ œ œ œ nœ
÷
∑
3 16
∑
œ. J
14
2 4
vn microtones off
∑
Obscure Transparence 2 - (str-q & Max) - 42
4 4
∑
2 4
Version 1.0: 1.12.2017; 1.2: 3.7.2019
2 &4
Meno mosso
∑
q = ca. 80
4 4
∑
2 &4
∑
4 4
∑
B 42
∑
4 4
∑
120
?2 4 ÷ 42
4 ‰ œ #œ œ œ œ 4 nœ #œ nw
œ b˙ œ bœ bœ œ
b˙ bœ p ∑
∑
∑
∑
w p
∑
& œ #œ #œ #œ œ ˙
˙
˙ #˙
œ ‰Œ Ó
& #w B
∑
?
∑
÷
∑
135
œ #œ œ #œ
& w
œ
bœ p
œ
∑
#˙ #˙
∑
œ bœ w b œ œ œJ œ J
∑
w
w
∑
∑
œ‰ Ó
∑
∑
16 vc microtones off
#œ #œ #œ #œ
œ ‰ Œ
Ó
∑
∑
∑
∑
∑
∑
∑
∑
‰ Œ
Ó
w
w
Ó
˙
œ j œ b œ n œ b œ œJ # w
w ˙
˙ #w
˙ #˙
w
w
œ œ #˙ w
∑
∑
∑
∑
œ‰Œ Ó
∑
17 spectralsampler fadeout in 4 bars
∑
˙ #˙
œ #œ n˙
j j œ #œ œ nœ w
∑
#œ
#w
Ó
˙ #œ
˙
#˙
∑
∑
#˙. œ
˙ #˙
˙
∑
Œ
‰
Œ
∑
fadeout of FM/noise in 3.25 bars 8333 ms
˙
∑
w
spectral filtering of sample buffer 4 15 4 œ‰Œ Ó ∑
˙
j #œ œ œ j œ #w #œ œ p œ
6
127
&
Œ
∑ ˙ #˙ #˙
∑ w
œ #œ œ nœ #œ nœ œ œ œ œ œ
B
∑
?
∑
∑
∑
∑
∑
∑
∑
∑
÷
∑
∑
∑
∑
∑
∑
∑
∑
3
Obscure Transparence 2 - (str-q & Max) - 43
Version 1.0: 1.12.2017; 1.2: 3.7.2019
143
∑
&
∑
& w
œ ‰ Œ Ó
B #œ œ œ #œ œ ˙
˙
5
?
∑
÷
∑
#w p
150
&
∑
∑
&
∑
∑
B ?
˙ ˙.
÷
? ÷
œ
∑
&
B
˙
w
∑
œ œ #œ œ ∑
w
#w f
∑
∑
∑
∑
∑
∑
∑
˙
˙
#˙
#œ œ
w
˙
#œ œ œ #œ
œ œ #œ œ
œ #˙. ∑
œœ ˙
#˙
∑
∑
∑
œ #œ #œ nœ œ bœ. bœ bœ œ œ bœ J ∑
∑
∑
3
Ó
Œ
∑
∑
∑ ∑
#˙
#˙
#˙
#w ∑ ∑
#w
w
Œ Ó œ‰ #œ œ
#˙
∑
#œ #œ nœ #œ
∑
∑ œ≈
w
bœ œ œ œ œ bœ bœ bœ œ f
˙
∑
nœ œ
∑
3
nœ œ
∑
∑
#˙
#˙
∑
∑
≥ ˙
Ó
#˙
∑
∑ #˙
˙
w ∑
∑
f
∑
˙
∑
œ
#˙.
∑
#w
#˙
#˙.
∑
157
&
#˙
n˙
∑
3
3
œ
# ≥œ # œ
‰ Œ
œ œ œ #œ #œ nœ ˙ 3
3
∑
∑
∑
∑
∑
∑
∑
∑
Obscure Transparence 2 - (str-q & Max) - 44
Version 1.0: 1.12.2017; 1.2: 3.7.2019
163
&
#w
œ≈
#œ bœ & œ œ #œ œ nœ œ œ #œ B
∑
?
∑
÷
∑
168
÷
b˙
∑
5 ≤ 3 3 œ œ œ #œ œ œ bœ œ œ bœ bœ bœ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ≈ b˙
nœ œ #œ #œ . #œ
w
∑
∑
∑
∑
≥ bœ bœ
w
œ≈‰ Œ Ó
∑
∑
≥ ‰ Œ bœ bœ
w
œ≈‰ Œ Ó
∑
∑
œ œ œ
œ
œ
bœ
∑
≤ nœ
b˙
˙
#˙
∑
∑
nœ b˙
∑
∑
b b Ow
b b Ow
b b Ow
b b Ow
∑
b b Ow
b b Ow
b b Ow
b b Ow
∑
nw w p 18 spectral sampler fadein œ ‰ Œ Ó
w
w
w
& &
∑
B
∑
b b Ow p b b Ow p
Oœ O .. œ J
#˙
b Ow
Œ
bO ‰ œ p
b Oœ b b Oœ
˙
≤ nœ
b b Ow
Ó
∑
3
#œ
b Ow
∑
÷
œ #œ œ œ œ #œ.
∑ ≥ #œ
œ≈‰ Œ
˙
∑
175
#w
#˙
Ó
w ˙
∑
∑
∑
w
? ≥˙
?
# ≥˙
∑
œ≈ & ‰ Œ Ó B
∑ w
f
∑
&
Œ Ó
#w
3
5
‰
∑
∑
Obscure Transparence 2 - (str-q & Max) - 45
∑
œ ‰ Œ Ó
∑
w ∑
19 spectral sampler fadeout
Version 1.0: 1.12.2017; 1.2: 3.7.2019
Viola, cello, Max
Sensitive Shades 2 Mosaico 3
≥ ˙ #˙ ˙ ˙ p intenso # w≥
Adagio q = 60
Viola
B 44
U
Cello
?4 4
U
∑ ∑
1
high freq noise
4 ã 4 œJ ‰ Œ Ó
2 "wind" on C0
Max
9
B
? œ œ œ bœ ã B n˙. ˙.
œ. nœ J #œ
ã
Œ œ
Ó
#w w
w p intenso
˙ ˙
œ‰Œ Ó J triangle C1 16 sec ∑
U
#w w
#w w
˙ ˙
w w ∑
3 rec samp1 18 sec
n ˙˙
b ˙˙ bœ
"wind" gliss to D0 in 4 sec
œ‰Œ Ó J
∑
5
17
?
b˙.
≥˙ #˙
∑
Ó
œ bœ ˙
n ˙˙
bw
∑
Ó
U
# ˙˙ ∑
spectral filter of samp1 fadein 20 sec
œ‰Œ Ó J triangle D1 8 sec
∑
6
œ
#œ œ œ #œ J ∑
n˙
˙ nœ
#˙
œ œ bœ J J
∑
˙ ˙
n˙ ˙
∑
∑
≥ # ˙˙
Ó
#˙
Œ
˙ ˙
œ ˙
#œ ∑
#œ
∑
≤ b >œ b œ œ n >œ b œ b œ bœ ‰
w
#˙
#œ œ
"wind" noise fadeout of 12 sec
œ ‰ Œ Ó J 7
œ bœ
a tempo
w œ
œœ .. b œœ ˙˙ J
Œ bœ
Ó
samp1 rec fadeout 2 sec
4
≤ b ˙˙
U
n ˙˙
œ‰Œ Ó J
∑
w
# ˙˙
rit.
≥ œ #˙ œ.
≥ # ˙˙
#˙ # ˙ ∑
crackle 8 sec
≥ # ˙˙
∑
˙ #˙
Ejnar Kanding
Œ
∑
œ b˙
w
œ ‰ Œ Ó J crackle 4 sec
∑
8
triangle D1 in 4 sec
>œ > b b œ bœ œ bœ > bœ ≤ œ œ œ œ b œ b œ >œ b œ œ n œ b œ b w B œ bœ œ œ bœ œ œ ‰ œ bœ œ bœ œ œ J ˙ > ≤ ?Œ ≤ œ œ ‰ b œJ œ b œ≤ œ b œ ‰ œ ‰ bœ bœ œ œ b œ b œ # œ œ b œ b œ # œ œ œ œ b œ b œ # œ >œ b œ # œ œ œœ œ bœ bœ œ œ bœ œ > > > > 23
ã
∑
29
œ œ J
B jœ œ
∑
œ
∑
© 2018 by Edition•S, Copenhagen Engraving by Ejnar Kanding
∑
∑
∑
≥œ- -≤ ≤ œ- œœ œ #œ œ b œ≤ œ œ œ b œ œ œ # œ-œ # œ œ œ≤ # œ œ œ≤ œ œ œ # œ œ œ # œ œ ‰ ‰ #œ nœ ‰ & ‰
? œ œ œ > # œ œ œ w> bœ bœ ã
∑
3
œ œ ‰ œ #œ œ ‰ #œ œ œ #œ œ #œ #œ œ nœ spectral filter fadeout 12 sec
œ‰ Œ Ó J 9
3
∑
∑
Sensitive Shades 2 - (viola, cello & Max) - 46
œ #œ œ
≥œ- -≤ -≤ œ- œ#œ œ œ œ #œ œ3
3
∑
∑ Version 1.0: 11.10.2018
œ #œ œ œ œ bœ nœ - œ- b œ- b œ- ‰ b œ≤ œ b œ ‰ b œ≤ œ b œ œ # œ œ ˙ b œ B ˙ #œ œ b œn œ#˙ #œ 3 3 ≤ œ ≤ 3 ≤ >œ œ - b œ- ‰ ≤ œ >œ b œ œ œ œ ? ‰ bœ œ ‰ œ bœ œ œ #œ œ #œ œ bœ nœ b œ œ ‰ œ œ œ # œ # œ bœ œ bœ œ bœ œ bœ œ œ b œ- b œ- - n œ#œ > 3 35
& bœ
ã
∑
∑
B
w > ≤ >œ # œ # >œ ? ‰ œ #œ œ
B œ nœ #˙ ? ã 54
B
w
œ
#˙.
∑
# ˙˙
∑
samp1 & triangle fadeout 12 sec
ã œJ ‰ Œ Ó 62
B œ
œ
˙
? n ˙˙
˙ #˙
ã
∑
Œ
≤ n ˙˙
Ó
≥ #œ œ
∑
∑
œ b˙
# ˙≤ # ˙ ∑
Œ
œ
∑
Œ
≥ œœ
b˙ ˙
˙ ˙
˙˙ ..
n ≥˙ ˙
Ó
U w
U
˙ ˙
#w w ∑
œ #œ ˙. # œœ
œ ˙.
∑ bw
4 sec fadein/-out highpass cf ascending
˙ #˙ ∑
# ˙≤ ∑
œ b ˙≤ ˙
Ó
Œ # œœ
˙
˙ "wind" noise
œ ‰ Œ J
Ó
13 fadeout of 12 sec
Sensitive Shades 2 - (viola, cello & Max) - 47
∑
˙.
bœ
n˙ ˙
∑ Ó
≥ n ˙˙
Ó
∑
œ b˙
#œ
#˙. ˙
˙˙
∑
œ
œ b˙
∑
11 triangle E1 fadein 16 sec
œ #œ œ œ #œ ˙ J J
∑
∑ œ
#œ
œ
œ‰Œ Ó J crackle 21 sec
∑
n˙
œ
≥˙ .
# ˙˙
∑
Ó
∑
œ #˙
∑
? ˙˙
Ó
Ó ˙
˙
w
12
"wind" noise fadein 12 sec
œ ‰ Œ J
∑
10
47
∑
≤ ≤ >œ œ œ œ > œ œ œ b ˙ œ œ œ ‰ bœ nœ ‰ ‰ œ œ œ œ bœ nœ œ bœ nœ bœ nœ œ œ bœ nœ œ œ œ > > > ≥œ œ œ œ # œ œ œ œ œ œ œ j Œ J J œ œ œ. w #œ #w
41
ã
∑
˙ #˙
œ b˙ Ó
∑
bœ b ˙≤ ˙ ∑
#U w w
ww #˙
˙ ∑
U
w
∑
Version 1.0: 11.10.2018
String quartet, live electronics
Obscure Transparence 3 Texture 5
q = 52
Ejnar Kanding
Violin I
4 &4
∑
∑
∑
∑
5 4 ∑
U
Violin II
4 &4
∑
∑
∑
∑
5 4 ∑
Viola
B 44
∑
∑
Cello
?4 4
Max
Ó sul pont
sul tasto
b ˙æ f
bw
˙æ f
w
p
∑
w
4 4
Ó
U
Œ
4 4
5 4 ∑
U
Ow p
5 4
U
4 # # Ow 4 p
w f
5 4 ∑
∑
Œ
Œ
4 4
Œ
Make sure rec to buffer finished before continuing
U
4 4
Œ
∑
œ ‰ Œ
b b Ow
Ow
Ow
Ow
Ow
Ow
Ow
Ow
Ow
B # # Ow
# # Ow
# # Ow
# # Ow
# # Ow
# # Ow
# Ow p
# Ow
b Ow
b Ow
Ow
&
?
∑
÷
∑
∑
∑
b b Ow
b b Ow
Ow
Ow
Ow
Ow
B # # Ow
# # Ow
# # Ow
? Ow
# # Ow
Ow
13
& &
÷
œ ‰ Œ 4
Ó
play sampler
© 2016 by Edition•S, Copenhagen engraving by Ejnar Kanding
∑
∑
∑
b b Ow
b b Ow
b b Ow π
b b Ow
b b Ow
Ow
Ow
Ow π
Ow
b b Ow
Ow π
∑
∑
Ow
π
œ ‰ Œ 5
Ó
sampler - major 2nd down
Obscure Transparence 3 - (str-q & Max) - 48
Ó
3
b b Ow
&
∑
O ‰ œ p
Œ
Ow
7
Oœ O .. œ J
p
sul tasto
w ˙ p 1 rec bar 1-5 to buffer (25 secs) 2 ÷ 44 œ ‰ Œ625 ms Ó fadein & -out ∑
Oœ b b Oœ
sul tasto
sul pont
q = 48
œ ‰ Œ 6
Ó
fadeout 7500 ms
Version 1.3: 20.10.2017
Ow
Ow
# Ow
# Ow
b Ow
bO &b w
b b Ow
b b Ow
b b Ow
b b Ow
B Ow
Ow
Ow
Ow
Ow
? b b Ow
Ow
Ow
# # Ow
Ow
19
&
÷
∑
play sampler latest transposition
œ ‰ Œ
∑
7
Ó
∑
# Ow
∏ Ow ∏
b b Ow ∏ b b Ow ∏
œ ‰ Œ
∑
8
Ow
Ow
# Ow
# Ow
b Ow
b Ow
O & w
Ow
Ow
Ow
Ow
Ow
B b b 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
Ow
25
&
÷
∑
œ ‰ Œ 9
Ó
∑
fadeout 7500 ms
Ow
Ow
Ow
O & w
wO
wO
B b b Ow
b b wO
b wO
? b b Ow
b b Ow
b Ow
31
&
÷
∑
œ ‰ Œ 11
Ó
sampler - perfect 4th down
∑ Ow
Ow
b wO f
b wO
f
b b wO f
∑
b b Ow f
play sampler latest transposition
œ ‰ Œ 10
Ó
π π
b Ow ∑
Obscure Transparence 3 - (str-q & Max) - 49
œ ‰ Œ 12
∑
π
b wO
Ó
Ó
sampler - major 3rd down
π
fadeout 10000 ms
3 4
∑
3 4
∑
3 4
∑
3 4
∑
3 4
∑
Version 1.3: 20.10.2017