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Percussion and Max: a collection of short works forsolo percussion and live electronics

Andrew Tierauf University of Iowa

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PERCUSSION AND MAX: A COLLECTION OF SHORT WORKS FOR SOLO

PERCUSSION AND LIVE ELECTRONICS

by

Andrew Thierauf

An essay submitted in partial fulfillment ofthe requirements for the Doctor of Musical

Arts degreein the Graduate College of

The University of Iowa

May 2015

Essay Supervisor: Professor Daniel Moore


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Copyright by

ANDREW THIERAUF

2015

All Rights Reserved


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Graduate CollegeThe University of Iowa

Iowa City, Iowa

CERTIFICATE OF APPROVAL

D.M.A. ESSAY

This is to certify that the D.M.A. essay of

Andrew Thierauf

has been approved by the Examining Committeefor the essay requirement for the Doctor of Musical Arts degreeat the May 2015 graduation.

Essay Committee:

Daniel Moore, Essay Supervisor

David Gompper

Lawrence Fritts

Jennifer Iverson

William LaRue Jones


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To my parents, who have no idea what I am doing but trust me nonetheless


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ACKNOWLEDGMENTS

I would like to thank all those who have helped, and are helping me on my journey. I

would like to thank those on my committee for their time, support, and wisdom. I have learned a

great deal from each through academic courses, rehearsals, and performances that will stay with

me for a long time. I would like to especially thank Dan Moore for allowing me the freedom to

choose my own path and helping me along the way. I have had some fantastic experiences at the

University of Iowa and I am truly grateful for the opportunities afforded me here.

I have had the pleasure to be taught by some fantastic individuals who have given so

much encouragement. I am so fortunate to have had Bob Browning and Chris Zerges as music

teachers in high school; their musicianship, passion, and humor will stay with me forever. I am

grateful to have studied with such a genuine musician and person as Rusty Burge.

To be sure, I would be nowhere without the unending love and support from my parents.

From beginning band concerts in fifth grade to graduate recitals and beyond, they sat through

many performances and I could not be happier to have them in the audience. They are truly

amazing people who inspire me everyday.


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PUBLIC ABSTRACT

The combination of solo percussion with live electronics is one of the newest genres of

music today. An outgrowth of the instrument and fixed media genre, live electronic music

combines a musician on stage performing with a computer or other technology performing real-

time processes. This document is a collection of five works scored for percussion and the

computer program Max intended for the collegiate level. In addition, there are explanations and

schematics of the patches to help the performer learn how to use Max. This document could

serve as supplemental material for an undergraduate percussion curriculum to help students gain

experience performing with live electronics.

Most students in university music departments are not exposed to technology unless they

seek it out themselves. This may cause many student instrumentalists to be hesitant to play works

with technology. However, as performing with electronics becomes more common, music

students without this experience are at a disadvantage. Basic knowledge of audio equipment,

having experience using a microphone, sound recording, and other technical know-how is

essential to becoming a successful performer in a contemporary setting. Being able to perform

with electronics creates new opportunities for repertoire, collaboration, and performance.

Many universities are starting new programs dedicated to interdisciplinary studies such as

digital humanities. These collaborative efforts bring together musicians, dancers, writers, visual

artists, computer scientists, and others to create new work. Music students who have some

background in performing and working with electronics could be a part of these collaborative

efforts and help produce compelling, original work.


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LIST OF FIGURES

Figure 1 – Configuring the Foot Switch Max Patch ..................................................................... 18 Figure 2 – Different Appearances of Max, MSP, and Jitter ......................................................... 20 Figure 3 – Object and Argument .................................................................................................. 20 Figure 4 – Triggering Messages in Order ..................................................................................... 22

Figure 5 – Float Numbers vs. Integers Max Patch ........................................................................ 23 Figure 6 – Max Window ............................................................................................................... 24 Figure 7 – Audio Status Window.................................................................................................. 25 Figure 8 – Tambourine Dream Max Patch ................................................................................... 30 Figure 9 – Sirens Max Patch ......................................................................................................... 33 Figure 10 – Wooden Blossoms Max Patch ................................................................................... 37 Figure 11 – The Seafarer Max Patch ............................................................................................ 41 Figure 12 – The Universe Expanded Max Patch .......................................................................... 46 Figure A1 – Recommended Configuration ................................................................................... 52 Figure C1 – Tambourine Dream Max Patch ................................................................................. 55 Figure C2 – Tambourine Dream Max Patch Detail ...................................................................... 56

Figure C3 – Tambourine Dream Max Patch Detail ...................................................................... 56 Figure C4 – Tambourine Dream Max Patch Detail ...................................................................... 57 Figure C5 – Tambourine Dream Max Patch Detail ...................................................................... 58 Figure D1 – Sirens Max Patch ...................................................................................................... 59

Figure D2 – Sirens Max Patch Detail ........................................................................................... 60 Figure D3 – Sirens Max Patch Detail ........................................................................................... 62 Figure D4 – Soundfiles Subpatcher .............................................................................................. 63 Figure D5 – Soundfiles Subpatch Detail ...................................................................................... 64 Figure E1 – Wooden Blossoms Max Patch .................................................................................. 65 Figure E2 – Pedal Subpatcher ....................................................................................................... 65

Figure E3 – Tempo Subpatch ....................................................................................................... 66

Figure E4 – Events Subpatch ........................................................................................................ 67 Figure E5 – One Subpatcher ......................................................................................................... 68 Figure E6 – One Subpatch Detail ................................................................................................. 69 Figure E7 – Delayblooms Subpatch ............................................................................................. 70 Figure E8 – Two Subpatch ........................................................................................................... 71 Figure E9 – Two Subpatch Detail ................................................................................................. 72 Figure E10 – Three Subpatch ....................................................................................................... 73 Figure F1 – The Seafarer Max Patch ............................................................................................ 74 Figure F2 – Event Trigger Subpatch ............................................................................................. 74 Figure F3 – Events Subpatch ........................................................................................................ 75

Figure F4 – Events Subpatch Detail ............................................................................................. 75

Figure F5 – Events Subpatch Detail ............................................................................................. 76 Figure F6 – Events Subpatch Detail ............................................................................................. 77 Figure F7 – Pitch Change Subpatch.............................................................................................. 77 Figure F8 – Events Subpatch Detail ............................................................................................. 78 Figure F9 – Echo Very High and Very Low Subpatch ................................................................. 78 Figure F10 – Events Subpatch Detail ........................................................................................... 79 Figure F11 – Events Subpatch Detail ........................................................................................... 80


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Figure F12 – Events Subpatch Detail ........................................................................................... 80 Figure F13 – Room Filter Subpatch.............................................................................................. 81 Figure F14 – Events Subpatch Detail ........................................................................................... 81 Figure F15 – Loops Ascending Subpatch ..................................................................................... 82 Figure F16 – Loop Subpatch......................................................................................................... 83

Figure F17 – Filter Subpatch ........................................................................................................ 84

Figure G1 – The Expanding Universe Max Patch ........................................................................ 85 Figure G2 – Expanding Universe Max Patch Detail .................................................................... 86 Figure G3 – Events Subpatch ....................................................................................................... 87 Figure G4 – Event Control Subpatch ............................................................................................ 87 Figure G5 – Looperase Subpatch .................................................................................................. 88 Figure G6 – Expanding Subpatch ................................................................................................. 88 Figure G7 – Expanding Subpatch Detail ...................................................................................... 89 Figure G8 – Expanding Subpatch Detail ...................................................................................... 90 Figure G9 – Expanding Subpatch Detail ...................................................................................... 90 Figure G10 – The Expanding Universe Detail ............................................................................. 91

Figure G11 – Pitch Set Subpatch .................................................................................................. 92

Figure G12 – Expanding Subpatch Detail .................................................................................... 93

Figure G13 – Filter Subpatch with Band Pass Filter .................................................................... 94 Figure G14 – Filter Subpatch with Oscillator ............................................................................... 95 Figure G15 – Events Subpatch Detail ........................................................................................... 96 Figure G16 – Tapseg Subpatch ..................................................................................................... 96 Figure G17 – Playloop1 Subpatch ................................................................................................ 97 Figure G18 – Segment Subpatch .................................................................................................. 98 Figure G19 – Expansion Stages Subpatch .................................................................................... 99 Figure G20 – Loop Expansion Stage 1 ......................................................................................... 99

Figure G21 – Expand Audo File2 Subpatch ............................................................................... 100


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Chapter 1: Introduction

Background Information

The combination of solo percussion with live electronics dates back to 1939 with

Imaginary Landscape No. 1 by John Cage.1 Since then there have been many pieces composed

for electronics and percussion but it is still a relatively new genre. As the field of computer

science advances, the technology used to create and perform music also develops. Faster

processors, smaller computers, and more integration between performer and computer make

performing with electronics easier for the performer and possibly more compelling for the

audience. Though solo percussion and electro-acoustic music have co-existed for several

decades, they have only recently become so common as to be programmed on student recitals. In

2001, the Percussive Arts Society International Convention Focus Day presented a session titled

“Wired for Percussion,” that featured works using electronics. Then in 2013 and in 2014, PASIC

included an extra daylong session dedicated to electronic music including numerous

performances, demonstrations, and clinics. At the time of this writing, there are relatively few

performers who can be found regularly using interactive technology. However, the computer

programs composers use to create these works are becoming more reliable and easier to use in

performance.

Most composition departments at major universities have an electronic music studio and

most utilize programs such as Max,2 yet the study of electronics are often omitted from the

curricula of instrumental studios in these same schools. Though not the only software available,

Max is arguably one of the most popular programs used by composers for live electronic music.

1 Peter Manning, Electronic and Computer Music, 4th ed. (New York: Oxford University

Press, 2013), 41.

2 Max, also known as Max/MSP and Jitter, is distributed by the company Cycling ’74.


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This unique computer software allows composers to create a patch or graphic interface that a

performer can then use in conjunction with other devices such as a microphone and foot pedals

or other triggers. Using Max or other programs in a live performance gives more expressive

control to the performer than fixed media works, which have a set duration. The idea, though, is

not to abandon fixed media practices but rather empower the performer’s musicality and

interpretation.

Classically trained musicians are often hesitant to play live electronic music for a variety

of reasons – established large body of repertoire, negative attitude toward electronic music,

aesthetics, lack of experience or accessibility to name only a few. However, percussionists are

often more inclined to perform with electronics due to the similarity in sounds, the relatively

small repertoire that exists for percussion, and experience in experimental music, i.e. works of

Cage, Varese, etc. If composers can use Max effectively to create works that are musical,

expressive, engaging, and perhaps most importantly glitch free, then other musicians might

choose to perform them.

Purpose

The purpose of this document is to help percussionists unfamiliar with technology

perform works for percussion and live electronics through a hands-on, progressive approach.

Students may then be emboldened to perform other repertoire in the genre and create their own

works with Max.

Description of Project and Limitations

This project consists of five original works for percussion and Max based on specific

techniques found in the current repertoire, starting with simple techniques such as using a pedal


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to start a sound file, then moving towards more complex interactions with the computer. This

document describes the necessary equipment and explains how to use it in each work. Each

composition is scored for a different instrument: tambourine, timpani, marimba, snare drum, and

vibraphone respectively. In addition, each patch is described in detail with schematics and

illustrations to explain how the program works.

This collection of works only addresses the program Max and its use with percussion

instruments. The compositions are at an undergraduate collegiate level. It is not within the scope

of this document to include in depth discussions of the hardware needed to perform the works

such as microphones, speakers, and digital audio converters, however brief descriptions are

included. All patches in this document were created using Max 6. At the time of writing, Max 6

Runtime was the current version hence all examples use Max 6 graphics. Max 6 and later

versions of Max are able to run the patches in this document, however Max 5 or earlier may not.

Related Literature

A search of World Cat revealed that there are no etude books currently available that

cover performing works for percussion and Max. Several articles in Percussive Notes mention

Max and percussion but only one is specifically dedicated to the topic. The Percussive Arts

Society Technology Committee is currently collecting scores for percussion and electronics to be

entered into a searchable catalog. There was also a call for scores from the University of

Wisconsin-Whitewater that included works written for percussion and Max in 2005.3 Though

only a handful of solos for Max and percussion turn up in a search of World Cat there are

numerous unpublished works listed on programs from past percussion conventions and past

electronic music conventions. As an example there were five works scored for electronics and

3 “Call for Scores,” Percussion News July 2005: 12.


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percussion during the 2007Society for Electro-Acoustic Music in the United States conference4

and seven in the 2009 conference.5

J. B. Smith, percussion professor at Arizona State University, wrote an article for

Percussive Notes specifically mentioning Max. In the article he discusses the flexibility of the

program, being useful in pedagogy, developing new works, and performing works for outdated

technology.6 He begins by explaining how the program uses a graphic interface to create patches

that can do various processes including sound file playback, audio recording, and real-time audio

processing. One use he gives of Max is to preserve older electronic pieces whose equipment

needs have become obsolete or cumbersome, such as pieces with tape recorders that require an

extra audio engineer. Dr. Smith describes how he set up a Max patch to work with Daniel

Levitan’s Can’t See the Forest…music (1971) scored for speaker, wine glass, and multi-track

recorder. Another use is to make works that use looping foot pedals and other pedal effects, like

Nigel Westlake’s Fabian Theory, more easily played by eliminating the outboard gear and using

only Max. This article has many compelling arguments for the use of Max both in performance

and pedagogy, however it is limited to a short article.

There are several shorter articles, from 2001 to the present, that mention the use of Max

with percussion, most discussing concerts incorporating live electronics. Other articles are about

specific performers who use Max in their concerts, specifically Fernando Rocha from Brazil and

Joby Bergess from England both of whom have given clinics and performances at past PASICs.

4 “2007 SEAMUS Program,” http://www.music.iastate.edu/seamus/main.html

5 “2009 SEAMUS Program,” http://seamus.sweetwater.com/wp-content/uploads/seamus_2009_program.pdf

6 J. B. Smith, “Max/MSP: A Software Tool for Percussionists,” Percussive Notes 46 no 6(2008): 64-69.


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important for students to know. Method of Movement , published in 1979 by marimba virtuoso

Leigh Howard Stevens, is one example of supplemental pedagogical material. The book explains

how Stevens holds four mallets and includes detailed pictures and explanations of how the hands

should function. Professors who use a different grip would not necessarily need to be proficient

using this technique but could still discuss musicality and expression.

Similarly, this document is intended to be a supplemental method book explaining how to

perform with Max. Works for percussion and Max are becoming more common especially on

collegiate recitals. Pieces such as Prime Ordinals by Jim Casella, Mare Tranquillitatis by Mark

Berry, both available through TapSpace publications, as well as Music for Snare Drum and

Computer , Music for HiHat and Computer , and Music for Cajon and Computer all by Cort Lippe

are becoming popular. Max can also be used to perform tape pieces as demonstrated in the first

piece, Tambourine Dream. The goal of this document is to provide a sequential pedagogical

approach that will aid students who are interested in performing with electronics develop a basic

understanding of the program. With this understanding and experience they could then continue

to perform more repertoire for percussion and live electronics or perhaps compose original

works.


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Chapter 2: A Brief History of Percussion and Electronics

A brief discussion about the development of electronics and percussion will serve to

contextualize the works in this document. This chapter is not meant to be a complete history of

electronic music but will summarize the path of electroacoustic music and highlight moments of

intersection with percussion. There are several authors who have written much more detailed

historical accounts of electroacoustic music such as Joel Chadabe, Peter Manning, and Thom

Holmes.

Electronic music and percussion have followed similar lines of development. Although

percussion is one of the oldest instrument groups, composers only recently began writing for solo

and chamber percussion groups. The first compositions for the modern percussion ensemble, that

is, an ensemble that uses Western notation, were written around 1930. In the same way, the

repertoire of electronic music has only recently begun to develop. In a paper presented by

Fernando Rocha at a percussion conference at the University of California San Diego, he

suggested that electronic music and percussion offer composers new timbre options – the “all-

sound” world of Varèse and the Futurists.7 The development of both percussion and electronic

music are subject to hardware advancements; electronic music with regard to technological

changes, and percussion with regard to instrument development. But it is also often the

imagination of composers, like Edgard Varèse, that spurs advancements. In 1936, Varèse wrote:

Moreover, the new musical apparatus I envisage, able to emit sounds of any number offrequencies, will extend the limits of the lowest and highest registers, hence new organizations of

the vertical resultants; chords their arrangements, their spacings – that is, their oxygenation … The

7 Fernando Rocha and D. Andrew Stewart, “Collaborative Projects for Percussion andElectronics,” (paper presented at Roots and Rhizomes: Seventy-Five Years of Percussion Music,San Diego, California, February 21-24, 2007)


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never-before-thought-of use of the inferior resultants and of the differential and additional sounds

may also be expected. An entirely new magic of sound!8

Electronic music, or as some refer to it, electroacoustic or acousmatic music, began at the

turn of the twentieth century with Thaddeus Cahill’s Telharmonium, patented in 1896.9 This

massive device used telephone cables to transmit sounds from the machine to the audience.

Though most of the repertoire performed were light classics, other composers saw the beginning

of a new era in which new tunings could arise allowing an infinite number of tones to the octave.

In his book, Sketch of a New Aesthetic of Music, Ferrucio Busoni lauds the Telharmonium and

wonders about music of the future – new timbres, tunings, and methods of listening. He also

mentions that it will take a new audience to appreciate these advancements.10

The first documented examples of live percussion with electronics come from John Cage

and his Imaginary Landscapes. The first Landscape (1939) is scored for cymbal, piano,

amplified coil, and variable speed records along with two audio technicians who control the mix.

The audience would be in another room where the dancers of Merce Cunningham’s company

would perform to the transmitted sounds.11 Cage’s later Landscapes incorporated the

percussionists as on-stage performers. Credo in US (1942) is another example of percussion with

live electronics – scored for electric buzzer and record player. Cage instructs the performers to

choose a record, in this case a 33 1/3 RPM LP record, of a great symphonic work such as

8 Edgard Varèse, “new Instruments and New Music,” The Liberation of Sound ed. ChouWen-chung Perspectives of New Music, v. 1 (Fall-Winter 1966), 11-19.

9 Thom Holmes, Electronic and Experimental Music: Technology, Music, and Culture.4th ed. (New York: Routledge, 2012) 45.

10 Paul Sanden, Liveness in Modern Music (New York: Routledge, 2013) 93.

11 Ibid. 95.


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Antonin Dvo! ák’s New World Symphony and have it play during the performance indicating in

the score when to change the volume.

The first electronic music studios were founded in Paris and Cologne. Pierre Schaeffer,

an electronic engineer at Radiodiffusion Télévision Française, was a pioneer in electronic music

and founder of the Groupe de Recherches Musicales (GRM) in 1948.12

He would record the

sounds of trains, boats, and ambient noises of cities then manipulate the tape in different ways –

changing playback speed, reversing sounds, and cutting off the attacks of notes. This genre of

electronic music became known as musique concrète.13 Soon after in Cologne, Herbert Eimert,

Dr. Werner Meyer-Eppler, Robert Beyer, and Fritz Enkel started an electronic music studio in

1951 under the auspices of the West German National Radio dedicated to producing

elektronische Musik – music produced exclusively by electronic oscillators and recorded onto

magnetic tape.14 The process often involved several sine-wave oscillators sounding at the same

time to create complex sounds, known as additive synthesis.15 In the first few years, the engineer/

composers of each studio worked using different means: those in Paris used sampled audio as

compositional material while the Cologne studio opted to use sounds they created often in a

serial manner.16 Though the two studios were founded on opposing philosophies of electronic,

the composers soon began using both techniques in their works. For example, Stockhausen uses

prerecorded sounds of a boy’s voice, musique concrète, along with additive synthesis,

12 Thom Holmes, Electronic and Experimental Music, 87.

13 Peter Manning, Electronic and Computer Music, 20.

14 Ibid. 40.

15 Ibid. 37.

16 Nick Collins and Julio d’Escrivan, eds. Cambridge Companion to Electronic Music.(Cambridge: Cambridge University Press, 2007) 26.


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elektronische Musik in the work Gesang der Jünglinge (1955-56). Other important studios

developed in Italy and America. Most notable was the Columbia-Princeton Electronic Music

Center formed by Vladimir Ussachevsky, Otto Leuning, Roger Sessions, and Milton Babbitt,

which was the home of the RCA Mark II synthesizer.17

Shortly after the founding of these studios, in 1952, one of the first tape and instrument

works was premiered, Musica su due Dimensioni. It was composed by Bruno Maderna and

scored for flute, percussion, and tape.18 Soon after this premier, composers began writing more

tape pieces with instruments. In 1954, Edgard Varèse wrote, Déserts, perhaps the first work for

orchestra and tape.

19

One of the most revered tape pieces even today is Stockhausen’s Kontakte

(1960), scored for piano, percussion, and a four-channel tape created using sound generators,

modifiers, and other analog devices.

Composers were also experimenting with tape recorders in performance. One of the first

compositions was Mauricio Kagel’s Transicion II (1959). This work is written for a piano and

percussionist playing the inside of the piano with the aid of two technicians using tape recorders.

One tape recorder would record sounds as they occurred during the performance and then play

the tape back later in the work. The other tape would have prerecorded sounds consisting of

material that would be played by the live performers later in the piece. This technique brings

together past, present, and future.20 Stockhausen also used tape recorders in Mikrophonie I

17 Peter Manning, Electronic and Computer Music, 95.

18 Otto Leuning, “Origins,” The Development and Practice of Electronic Music, eds. JonAppleton and Ronald Perera (New Jersey: Prentice-Hall Inc., 1975), 13.

19 Leuning, “Origins,” 18-19.

20 David Ernst, The Evolution of Electronic Music (New York: Schirmer Books, 1977)153.


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(1964) in which percussionists play a tam tam with multiple implements in various beating areas

to create a wealth of different timbres. The tape recorders then amplify and electronically filter

those sounds.21

During the 1960s several improvisatory, electronic music ensembles formed in Europe

and America. In Cologne, Stockhausen had assembled several performers to play his music. In

Rome there were two competing ensembles, the Gruppo di Improvisaziono Nuova Consananza

and Musica Electronica Viva (MEV) – the latter made up of American expatriates including

Frederick Rzewski. Cornelius Cardew set up the Scratch Orchestra in England and Robert

Ashley and Gordon Mumma founded the Sonic Arts Union in America. These ensembles wrote

their own music and experimented with various kinds of theatrics and sound production. Many

of these ensembles incorporated electronic as well as acoustic instruments. The improvisers in

MEV often attached contact microphones to found objects to expand their timbrel palette.

Though the members of the MEV, Scratch Orchestra, and the Sonic Arts Union were often

conservatory-trained musicians, they began democratizing music by allowing and encouraging

audience participation in concerts.22 In December of 1967, the University of California Davis

and Mills College produced the first Festival of Live Electronic Music.23 Also during the 1960s,

percussion virtuoso, Max Neuhaus, recorded several works incorporating electronics such as,

Earl Brown’s four systems, Bussotti’s Couer pour Batteur , and Cage’s Fontana Mix-Feed .

21 Gordon Mumma, “Live-electronic Music,” The Development and Practice of Electronic Music, eds. Appleton and Perera (New Jersey: Prentice-Hall Inc., 1975), 299.

22 Robert Adlington, ed. Sound Commitments, (New York: Oxford University Press,2009), 110.

23 Gordon Mumma, “Live-electronic Music,” 299-300.


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During the 1960s and 70s, voltage-controlled synthesizers that used transistors allowed

composers and performers to more quickly and accurately create music through sine wave

oscillators. The invention of transistors decreased the size of components and voltage-controllers

allowed for precise manipulation of sound.24 These new synthesizers were more compact and

portable than previous electronic devices increasing their potential to be used in performance.

Robert Moog, one of the first and most well known audio engineers, developed the Moog

Synthesizer in 1966.25 John Chowning, working at Stanford, conducted research using

frequency modulation to mimic musical instruments.26 This opened up a new avenue for

musicians and it soon found its way into popular music. In 1983, Yamaha began manufacturing

the DX series of synthesizers that were portable and used MIDI controls.27

MIDI, or Musical

Instrument Digital Interface, was developed in 1982 by a coalition of several companies

interested in codifying a communications protocol for musical electronic devices, such as

synthesizers.28 The MIDI language allows computers, controllers, interfaces, and synthesizers to

communicate regardless of the manufacturer of each component. The Yamaha synthesizers were

just the beginning of what have come to be known as MIDI controllers. Common percussion

MIDI controllers include the MalletKat and DrumKat by Alternate Mode and the XyloSynth by

Wernick. As synthesizers were developing in the 1970s, Max Mathews, working at Bell

24 Thom Holmes, Electronic and Experimental Music, 161-162.

25 Manning, Electronic and Computer Music, 102.

26 Ibid. 195.

27 Ibid. 281.

28 Ibid. 267.


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Laboratories in New Jersey, was developing computer-assisted synthesis.29 This was the

beginning of computer music and paved the way for programs such as Pro Tools, Ableton, and

Max/MSP.

Composers continued to write many tape pieces and works with tape recorders during

the 1970s and 80s. Mario Davidovsky’s Synchronisms No. 5 (1974) has become an important

work for percussion ensemble and tape. James Tenney wrote deus ex machine in 1982 for tam

tam and tape delay system, somewhat similar to Stockhausen’s Mikrophonie I . In 1984, Javier

Alvarez wrote one of the seminal works for percussion and tape, Temazcal . Scored only for

maracas, the tape part moves from various manipulated bell like sounds and other electronic

sounds to a folk melody at the end. The percussionist has some freedom with several ad lib parts

but there are also moments that must by synchronized with the tape. Another work for tape

recorder is Space Model (1992) by Marta Ptaszynska, which requires multi-track recording and

playback abilities.

During the last quarter of the 20th century Max Mathews, along with many other

engineers at Bell Labs, continued to develop computer based music synthesis. Starting with the

MUSICn series, consisting of MUSIC1, MUSIC2, and continuing through MUSIC 11, Mathews

used IBM computers to create music electronically.30 He eventually developed GROOVE which

used knobs and buttons to control the music synthesis as opposed to using a programming

language.31 Others also developed their own computer music programs such as Music Mouse by

29 Ibid. 187.

30 Nick Collins and Julio d’Escrivan eds., Cambridge Companion to Electronic Music,58.

31 Peter Manning, Electronic and Computer Music, 207-208.


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Laurie Spiegel and the programs M and Jam Factory by Joel Chadabe.32 IRCAM, in France,

continued research in computer music and in 1988 developed the 4X, a computer peripheral that

could process an audio signal in real-time. This was not feasible on earlier computers because

they did not have enough processing power.33 Miller Puckette, also working at IRCAM,

developed a program later named Max (named for Max Mathews) as a language to control the

4X. After much research and experimenting, the company Cycling ’74 came out with Max/MSP

in 1999 and has since added Jitter, a video-editing program. Other software that was created and

is being developing concurrently with Max includes Pure Data, Supercollider, ChucK, and

Csound.

Although live interactive music is relatively new, there are already works for percussion

and Max that have become common repertoire, such as 6 Japanese Gardens by Kaija Saariaho,

Music for Hi Hat and Computer and Music for Snare Drum and Computer both by Cort Lippe,

and Prime Ordinal by Jim Casella.

Though still in its infancy when compared to other genres, electronic music has taken

over especially in popular music. Electronic instruments are as common as acoustic instruments,

hence the need for composers to call for “acoustic” guitar or “electric” bass to be clear what

instrument is intended. Though the music being produced in popular music is much different

than that of Stockhausen, the technology and techniques musicians and sound engineers use

today are results of early electronic music experiments. In fact one could argue that almost, if not

all, popular music is electronic music due to the production, distribution, and consumption of

popular music via electronic means. There is, however, a clear distinction between music in

32 Nick Collins and Julio d’Escrivan, eds. Cambridge Companion to Electronic Music,92-93.

33 Peter Manning, Electronic Computer Music, 232.


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Academia and popular music – the former pushing electronic music to the fringe and the latter

using electronic music to entertain. For music students today, it is imperative to have a basic

understanding of electronics and music technology regardless of their intended careers.


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Chapter 3: Getting Started

This chapter will explain what the performer will need in terms of hardware and

software. In order to perform the works in this document the performer needs a laptop with Max

Runtime available for free from Cycling ’74 to run the patches written for these works 34, a digital

audio interface, powered speakers, a microphone, a foot pedal, and all assorted cables. An in-

depth discussion of these items is not within the scope of this document, however a brief

explanation of the devices is included as well as a recommended set up in Appendix A.

The laptop should be able to run Max Runtime. The requirements can be found at the

Cycling ‘74 website, though almost all newer computers, manufactured within the past five

years, are well equipped to run the program. To perform the works in this document the

performer needs only to download Max Runtime.35 In order to alter existing patches or create

new ones, the full version of Max is required. Another option is to use the open source program

Pure Data, also created by Miller Puckette, to create new works. It is almost identical to Max

with the exception that objects have different names. Max will be discussed in more detail later

in this document.

A digital audio interface connects the microphone and speakers to the computer.36 It

transforms the audio signal into a digital signal using an analog to digital converter (ADC) and

vice versa by means of a digital to analog converter (DAC). Often the audio interface connects to

the computer via USB or FireWire. The interface needs at least two inputs and two outputs to

perform all of the compositions in this document.

34 The Max patches are online at http://www.andythierauf.com/max-patches.html

35 https://cycling74.com/downloads/runtime/

36 Recommended brands: MOTU and M-Audio


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In lieu of using an audio interface, an XLR-USB converter or USB microphone could be

used to connect a microphone directly to the computer.37 The audio from the earphone jack on

the computer would then need to be routed through a mixer and into speakers. However, this

method may limit the number of microphones that can be used, and the audio quality depends on

the sound card in the computer.

All of the works in this project require two speakers to produce a stereo sound field.

There are several types of speakers that fall into some combination of powered or unpowered,

and active or passive. Though powered, active speakers are recommended, any kind of speaker

system will work. Budget, venue, and other factors may determine the specific amplification

requirements.

The first two works presented in this document do not use microphones. The third work,

Wooden Blossoms, uses two while the last two compositions require just one microphone. Like

speakers, there are many different types of microphones, and most will work.38 When using a

microphone, make sure it is placed above the instrument and pointed towards the middle of the

playing area.

A USB foot switch is suggested to trigger events in these patches.39 While there are many

different kinds of switches or pedals that will work, the Max patches need to be configured

properly. Open the Max patch, “Configuring the Foot Switch” shown in Figure 1, and follow the

instructions. Generally most human interface device (HID) foot switches act like a keyboard

37 For example: Blue Icicle converter

38 A common and reliable instrument microphone is the Shure SM-57

39 For example: Delcom HID Products. Other HIDs are available through electronicsstores, often marketed to gamers or as handicap accessibility


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outputting an ASCII40 number such as 32 for “enter” or 97 for the letter “b” on the keypad. Other

HIDs send MIDI information, outputting 127 when activated and 0 when deactivated.41 For the

patches in this document, if the HID outputs ASCII numbers then it should not output 32

“spacebar” or 127 “delete/backspace” as those keys already have assigned functions. The

“Configuring the Foot Switch” patch accepts both ASCII numbers and MIDI information.

Figure 1 – Configuring the Foot Switch Max Patch

40 ASCII, or American Standard Code for Information Interchange, is the numericalrepresentation of keyboard characters.


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An Introduction to Max

Max is an object based programming environment that allows the user to create patches,

or programs, that control audio and visual processes. “Patches” get their name from the patch

cords composers and engineers used (and still use) in synthesizers to connect components in

order to achieve certain sounds and effects. Unlike other computer music programs like Csound

and ChucK, there is no programming language per se, but instead uses an intuitive graphic user

interface to create patches. A performer does not need to know how Max works but only how to

interact with the computer, such as how and when to hit a certain trigger. The following chapters

describe how to use a Max patch, explain many common objects, and provide examples of works

for percussion and Max.

Before delving into Max, a few basic functions and terms must be explained. The name

“Max” is short for Max/MSP and Jitter – three programs in one. “Max” controls discrete

messages and MIDI, “MSP,” controls audio signal in the program, and “Jitter” controls video

signal. Although the three elements run within the same program, they each have unique traits

illustrated in Figure 2. Max objects only connect to other objects and messages via gray colored

patch cords. MSP objects send audio signal via yellow patch cords and have a “~” after their

name, e.g. DAC~. Jitter objects send video signal via green patch cords and start with “jit.” e.g.

jit.qt.movie.


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Figure 2 – Different Appearances of Max, MSP, and Jitter

“Objects,” found in Max, create connections that result in sound generation, sound

manipulation, computations setting parameters for algorithms, and other procedures.

“Arguments,” found after the name of an object, control the functional parameters. For example,

in Figure 3 the cycle~ object produces a sine wave and the argument controls the frequency in

Hz, here 440 Hz.

Figure 3 – Object and Argument

There are hundreds of objects in Max and programmers are constantly creating new objects to do

new processes. The best way to figure out what an object does is to open its “helpfile patch” that

explains what it does and how to use it. When writing patches, composers often copy the

contents of the helpfile patch and paste it directly into a new patch. For composers, Max also has

many tutorials; however this document will serve as a tutorial for performers who may not want

to learn how to write patches but simply perform with Max. In addition to help files and tutorials,


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there are forums on the Cycling ’74 website dedicated to helping new and experienced Max

users troubleshoot issues.42 Many questions have answers in the forum archives and experienced

programmers are quick to answer new questions. The forums also offer a space to share ideas

and upcoming projects with fellow Max users.

Messages appear in grey ovals and carry information that can change or be changed by an

object. A common message in Max is the “bang” message. A bang is much like a dot in

geometry - it happens at an exact time and has no length. Often a bang causes other things to

happen. For example, if a sound file is playing and a stop message is “banged,” then the audio

file will stop playing. Making sure all of the bangs happen in the correct order, also known as

“scheduling” in Max, is an important aspect of the program. Figure 4 illustrates how scheduling

works to play an audio file using an sfplay~ object. In this scenario, the audio file, named

audiofile.aif, needs to be played at half speed. The button at the top sends a bang to the trigger

object abbreviated “t” followed by the argument “b” three times. The “b” stands for bang and

each “b” is correlated with an outlet – the left “b” with left outlet, the middle “b” with the middle

outlet and the right “b” with the right outlet. When the trigger object receives a bang it then

sends a bang out of each of its outlets in order from right to left almost simultaneously. Novice

users may become frustrated when a patch does not work because the operations are happening

in the wrong order. Here, the order is important because the speed at which the file is played and

the audio file name need to be specified before the sfplay~ object can do anything. The trigger

object in Figure 4 sends out bangs from right to left, first hitting the message “0.5” setting the

speed, then “open audiofile.aif” selecting the audio file, and finally “1” activating sfplay~.

42 https://cycling74.com/forums/


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Figure 4 – Triggering Messages in Order

In Max, punctuation and other syntax is critical – small details may cause drastically

different outcomes. One of the most important differentiations to make is between an integer

(abbreviated int) and a float number as demonstrated in Figure 5. An integer is a whole number

without a decimal point whereas a float number is a number with a decimal point. Though

seemingly insignificant at times it can mean the difference between a smooth decrescendo and an

abrupt cut off. Opening the patch “Float Numbers vs. Integers” will demonstrate the differences.

Clicking on the messages under “Using float numbers” create a smooth crescendo and

diminuendo, while the messages under “Using integers” cause immediate starts and stops of the

sound.


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Figure 5 – Float Numbers vs. Integers Max Patch

Comments are also useful in Max in order to remember or explain what is happening in a

patch. Comments do not affect objects or messages and can be placed anywhere to explain what

a certain object is doing, explain what numbers mean, or as a reminder for future uses. In Figure

5 there are comments above each message explaining what they will initiate. Adding notes with

text is very helpful, since Max patches can become complex and even the most advanced

programmers may forget how a patch functions after spending some time away from it.

Almost everything in Max is customizable including font size, background color, object

size, and position. In order to make changes to a patch it must be unlocked by clicking on the

small lock icon in the bottom left corner of the screen. However, it is best to have the patch

locked when performing. Patches cannot be unlocked using the Runtime version, only with the

full version of Max.

It is important to keep the objects organized and keep the flow of information clear from

the top down. In some cases this becomes impossible but in general, knowing how the patch is

designed to flow can make troubleshooting easier later. It is also essential to keep in mind that

these patches will be used in a live performance situation and making reliable patches that have


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fail-safes is critical. If something is not working, then the Max Window (Figure 6), found under

the Window menu, may show the error in red.

Figure 6 – Max Window

In order for Max to communicate with the audio interface the correct audio driver must

be selected. The Options menu includes the Audio Status where the Audio driver, input, and

output can be changed (Figure 7). As a default, it is set to Core Audio with built in Microphone

and built in output corresponding to the microphone and speakers in the computer. To use an

audio interface, select the correct device in those categories. Each audio interface is different, but

it should be listed in either the driver menu or the input or output device menus. Everything else

in the Audio Status should be ready to use.


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Figure 7 – Audio Status Window

The following original compositions and patches expand on these basic concepts,

introducing more objects that process sound in myriad ways. Though the patches become

progressively complex, the interaction between the performer and computer remains relatively

simple in that the only trigger in use is a foot switch. However, as the processes become more

complex and algorithmic, the performer gains more expressive freedom, able to choose tempi,

play out of time, and at times improvise. The performance instructions should be followed

closely in order to avoid technical issues. Familiarity with the hardware builds confidence.

Electronic works should be practiced similarly to a duet, learning one’s own part first then

putting it together with the second player, in this case the computer.


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Chapter 4: Original Compositions for Solo Percussion and Max

Introduction to the Works

This chapter contains five compositions scored for solo percussion and Max covering

several different instruments and real-time music processing techniques. The first piece is for

tambourine and fixed media, and demonstrates fundamental elements of Max. The second work,

Sirens, for timpani, incorporates a foot switch to begin and end sound files allowing the

performer more expressive possibilities. The third work, for marimba, utilizes microphones for

live sound processing including digital delay. The Seafarer , for snare drum, also manipulates

sound in real time such as changing the pitch and timbre of the recorded audio signal. The final

work, The Universe Expanded, is a guided improvisation for vibraphone that incorporates

looping and manipulated playback.

A brief introduction, program note, performance directions, and a troubleshooting aid

accompany each work. The introduction and program notes give background information about

the piece while the performance directions and troubleshooting explain how to use the Max

patch. Detailed explanations and schematics of the Max patches are included in appendices to

help students who want to learn more and build their own patches; however, they are not

necessary to performing these works. The scores are in Appendix H.


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Tambourine Dream – for Tambourine and Fixed Media

Tambourine Dream serves as a fundamental Max patch on which the subsequent works

in this collection build. Tambourine Dream could also be performed without Max since it uses

fixed media but it introduces some basic functions of the program. This also familiarizes the

performer with the scenario of playing with electronic sounds, a duet between the instrument and

computer. Since this patch can play any sound file on a computer, it could be used to perform

any standard fixed media and percussion repertoire, such as Temazcal by Javier Alvarez,43

Garage Drummer by James Campbell,44 and EDGE (corrugated box) by Bruce Hamilton.45

Program Note

Tambourine Dream explores the secret life of the be-jingled frame drum. Though the

tambourine and its ancestors have a long, fascinating history they are now relegated to the back

of the orchestra with little hope of being seen. Although some composers have chanced to

explore the musicality and virtuosity of the tambourine, by and large it remains underappreciated

at best. Percussion students scoff at the thought of practicing the tambourine when such grand

and instruments as the marimba and snare drum must be mastered – not to mention the hallowed

timpani. The tambourine, it seems, is fated to the hands of the second, third, or even fourth chair

percussionist, far beneath the proclivities of the principal player. For a moment though, the

43 Javier Alvarez, Temazcal – for tape and amplified maracas (Black Dog Editions:London, 1984).

44 James Campbell, Garage Drummer – multiple percussion solo with soundscape(HoneyRock: Everett, PA, 2005).

45 Bruce Hamilton, EDGE (Corrugated Box) – for multiple percussion solo with tape(Non Sequitur Music Publishing: Bellingham, WA, 1991).


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tambourine will show adept versatility and beautiful nuance in a through-composed stream of

consciousness.

Key Ideas and Performance Directions

- Turning the DAC~ on and off, allowing the patch to send sound to the speakers

- Selecting and playing an audio file from the computer

- Adjusting the volume using sliders in the Max patch

To perform this piece, first turn on the DAC~ by hitting the spacebar – notice an “x”

appears in the toggle above the DAC~. Next, click the “open” message above the sfplay~ object.

This will bring up a window to choose an audio file on the computer. Choose the audio file

named, “Tambourine Dream.aif,” to be loaded into the sfplay~ object.

The rightmost slider object, or gain~ object is the master volume control. When the patch

is opened it is automatically set to 127, equivalent to 0 dB. 0 dB does not mean “no sound” and

could be quite loud depending on the speakers. If the volume needs to be softer or louder, use the

master volume slider to adjust the level. The number box below the slider shows the current

volume level and can be duplicated if typed into the box above the slider. For example, if during

a sound check the volume is too loud, move the slider down to the desired level, perhaps 100.

Before the performance, after opening the patch and loading the sound file, type “100” into the

number box directly above the master volume control slider to set the same level as from the

sound check. To begin the audio file, press the play button on the playbar. The meters located

below the sfplay~ object should be indicating the audio signal level via colored bars.


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Troubleshooting

The Max Window (Figure 6) will report any issues that may occur. Text highlighted in red

indicates an error. A possible error that could occur in this patch would be that an audio file was

not loaded before pressing play. In that case, click the “open” message and select the appropriate

sound file. The Max Window is helpful as long as the problem lies within the Max patch, but

there are other possible technical issues that will not cause an error report.

One common problem is a lack of sound coming from the speakers. Make sure the

speakers have power and are on. The meters below the sfplay~ object will indicate if a signal is

passing through. If there is no signal then there may not be a sound file loaded or the DAC may

be off. Make sure the DAC is on and an audio file is loaded. If the meters indicate a signal is

passing through but no sound is heard there are two places to check. First make sure the gain~

objects are turned up and make sure the volume on the computer or mixer is also at an

appropriate level. The second place to check is the Audio Status window (Figure 7). To check

the audio status double click on the DAC~ object. This shows where the sound is being routed. If

using an audio interface, it should be selected in the driver menu or possibly the input and output

menus. It is important that the appropriate inputs and outputs are selected. If there is still an issue

with sound, try closing Max and reopening the patch.


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Figure 8 – Tambourine Dream Max Patch


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Sirens – for Timpani and Max

In this work, the performer uses a foot switch to start and stop sound files at various points

in the score, a similar technique is found in 6 Japanese Gardens by Kaija Saariaho.46 Unlike

traditional tape pieces that are fixed, using a foot pedal allows the performer to progress through

the work at their own pace. There are two ways the patch plays audio files in this piece: looping,

which creates ambient sounds through looped repetition of the electronics, and non-looping, in

which the performer plays along with the electronics, as in a fixed media work.

Program Note

Sirens is scored for timpani and the computer program Max. The performer controls the

computer via a foot switch that triggers sound files. Unlike fixed media works, this piece gives

the performer control over pacing and interpretation. There are moments when the performer is

rhythmically independent of the recorded audio files and other times when the two are

rhythmically aligned. The title alludes to both the modern concept of a storm warning and the

ancient mythological beings who lured sailors to their death through mysterious songs. Both

carry a sense of beauty and anxiety; the serenity of the calm before the storm undermined by the

knowledge of what is to come.


- Using a foot switch to start and stop sound files

To perform this work, first, type in the trigger number as discussed earlier in the

document or open the Max patch, “Configuring the Foot Switch” and follow the instructions.

46 Kaija Saariaho, Six Japanese Gardens – for percussion and electronics (ChesterMusic: London, 1995).


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Pressing the switch advances the Current Event number box forward triggering the next sound

file and/or stopping the previous sound file. The pedal remains inactive for a half-second after it

is pressed to prevent accidental triggering.

Next, drag the folder named “Sirens,” which contains the audio files, over the box

marked “Drag Folder Here.” It is located towards the upper right corner of the patch. An “X”

should appear in the box next to the words “Audio File Status” indicating that the files were

loaded.

Finally, set the master volume control to the appropriate level if necessary then press the

space bar to turn the DAC on. If the Current Event number box is not at “0,” press Backspace (or

Delete on Apple computers) to reset the counter. The patch is now ready.

The score specifies when to press the foot switch with large circled numbers corresponding

to the Current Event Counter on the screen. The computer should be in eyesight to make sure the

event numbers correlate. Some of the triggered sound files are ambient while others are

rhythmic. To practice the rhythmic sections, enter the corresponding number into the “start on

event” box then the next trigger will start that particular sound file.

Troubleshooting

First check the Max Window to see if there are any error messages. This will show if the

sound files were not loaded prior to starting the piece. If there is an issue try reloading the sound

files by dragging the “Sirens” folder back into the patch. It is important that none of the files

within the folder are renamed.

If the foot switch is not advancing the Current Event counter, check that the correct trigger

number has been entered. To determine what trigger number the foot switch is sending, open the


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“Configuring the Foot Switch” patch and follow the instructions.

Make sure the DAC is on and audio files are loaded. If the meters do indicate a signal is

passing through but no sound is heard there are two places to check. First make sure the gain~

objects are turned up and make sure the volume on the computer or mixer is also at an

appropriate level. The second place to check is the Audio Status window (Figure 7). To check

the audio status double click on the DAC~ object. This shows where the sound is being routed. If

using an audio interface, it should be selected in the driver menu or possibly the input and output

menus. It is important that the appropriate inputs and outputs are selected. If there is still an issue

with sound, try closing Max and reopening the patch.

Figure 9 – Sirens Max Patch


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Wooden Blossoms – for Marimba and Max

In this composition, the Max patch uses digital delay with feedback creating textural

backgrounds from the acoustic marimba sound inputs. Similar to the previous work this patch

also uses event-triggering techniques. Digital delay is a process of continual recording and

playback at a specified interval. Feedback is often added to the process to produce an echo effect

by routing the delayed sound back into the digital delay. The feedback level determines the rate

at which the subsequent iterations will decrease in amplitude or volume. For example, a feedback

level of 10% produces iterations that are each one tenth the amplitude of the previous – a

relatively short echo. On the other hand, a feedback level of 100% continues the iteration

indefinitely with no decrease in amplitude – useful for looping. It is important to keep in mind

that an amplitude greater than 1 causes the sound to increase in volume eventually causing

distortion. There are a number of works that utilize a digital delay, such as Nigel Westlake’s

Fabian Theory, for marimba, three toms, and delay pedal.47 Though scored for delay pedal,

performers also use computer programs like Ableton Live or Max to create the digital delay and

feedback.

Program Note

Wooden Blossoms, scored for marimba and Max, follows the journey of the hero archetype.

Our hero is a group of four notes that undergo a number of transformations beginning as a

consonant, diatonic pitch set and gradually shifting to a dissonant collection. As the pitch set

changes it also becomes engulfed in the electronic sound being captive to the rhythmic echo. The

47 Nigel Westlake, Fabian Theory – for solo percussion (amplified marimba/ 3 tom toms)and digital delay (Rimshot Music: Australia, 1987 rev. 2003).


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notes finally begin emerging, with more exuberance than before, breaking free from the

electronic sound as a new pitch set.


- Using Max to create digital delay and feedback

- Changing tempo settings for rehearsal purposes and expressive interpretation

- Recording live sound with Max using microphones

For this work, two microphones are needed – the first placed above the marimba pointing

towards the lower end and the second pointing towards the higher end. The ADC~ object or

analog-to-digital converter, located in the top left corner of the patch, routes the microphone

inputs into the Max patch. To check that the microphones are going into the correct inputs, turn

on the DAC~ and play the lowest note of the marimba. The left meter in the upper left corner of

the patch should be showing audio signal more loudly than the right. Now play the highest notes

and the right meter should indicate a stronger audio signal than the left. If the opposite happens

then switch the microphone inputs in the audio interface.

The meters under the ADC~ object will show how loud the incoming signal is via

colored bars. Adjust the gain sliders so the loudest attacks reach the suggested level – a louder

sound may cause clipping and distortion. It may also be necessary to adjust the gain of the

individual microphones on the audio interface. Consult the user manual for information on how

to adjust microphone levels.

Digital delay inherently creates a rhythm determined by the delay time. In order to

facilitate practicing and to give the performer more freedom of expression, the tempi can be

changed in the main patching window under the words “Tempo I” and “Tempo II.” These are


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also marked in the score to identify where the tempo changes.

Once the levels for the microphones and the tempi have been set, the patch is ready. Like

the previous works in this document the spacebar turns on the DAC and backspace or delete key

resets the patch. The score is marked with large circled numbers to indicate when to press the

foot switch.

The beginning of the work, up to m. 45, does not need to be precisely in rhythm with the

digital delay but should be close to the chosen Tempo I. Starting in measure 45, the low notes

echo in the rhythm of quarter notes at the chosen Tempo II. The “pesante” sections should all be

in time with the bass note echo. Meaures 64, 76-77, 86-87, and 95 are rhythmically free and

should last between 8 to 15 seconds. These sections are recorded and subsequently layered on

top of each other. At m. 104 the delay effect should be clearly audible and the following

measures, up to m. 114, should be played in rhythm. From m. 114 to the end, the acoustic

marimba part does not need to be aligned with the digital delay, yet should be in a similar tempo

as the beginning, or slightly faster.

Another challenge of performing with digital delay is the need to play slightly ahead of the

beat due to the delay, or latency, inherent in audio interfaces. The speakers should be placed in

front of the microphones, facing away from the performer to avoid feedback. The performer

should use earphones to hear the electronic sound.

Troubleshooting

First check the Max Window for any errors. Make sure the DAC is on before checking the

volume levels. The meters next to the gain~ objects will indicate if there is an audio signal

coming from the ADC~ or going to the DAC~. If there is no audio signal shown in the meters by


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the ADC~, check if the audio interface is receiving any signal from the microphones. If there is

no signal coming into the audio interface consult the user manual for trouble shooting advice. If

the interface is indicating an audio signal from the microphones but not the Max patch then

check the Audio Status window. Make sure the audio interface is selected in the driver menu or

in the input and output menus. If the foot switch is not working, make sure the trigger key is on

the correct number. To get the trigger key number, open the patch titled Configuring the Foot

Switch and follow the instructions.

Figure 10 – Wooden Blossoms Max Patch


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The Seafarer – for Snare Drum and Max

The Seafarer uses filters and digital delay with feedback to manipulate the pitch and

timbre of the acoustic sound. There are many different types of filters but this work uses mostly

bandpass filters. A bandpass filter changes the timbre of a sound by allowing only specified

frequencies, or a band, to pass through, isolating and removing various harmonics. Bandpass

filters have two parameters that affect the sound – the center frequency and the Q, or curve. The

center frequency is the most prominent frequency allowed to pass through. The curve or Q

determines the width of the frequency band around the center frequency. A very narrow Q can

isolate one frequency (the center frequency) whereas a wide Q allows many frequencies through,

only altering the timbre of the sound slightly. The patch utilizes both fixed and constantly

changing center frequencies and Qs.

Pitch is manipulated by constantly changing the delay time, a phenomenon better known as

the Doppler effect. If the delay time decreases, the pitch ascends and vice versa. A chorus pedal,

a common effect used on electric guitars, uses this same principal. Often a chorus effect is used

to give a “shimmery” sound by adding several different iterations of the sound each being

slightly different in pitch. This work uses a chorus effect but with much larger pitch variations

than commonly found in popular music.

Algorithms in the patch control the processes that change the pitch and timbre of the sound.

The algorithms take inputs and transform them into outputs using a specified mathematical

expression. For example, one algorithm determines the center frequency for a bandpass filter by

adding 100 to a given random input and the Q by dividing an input by 1000 then adding 0.2 to

the resultant. Random number generators provide inputs within a predetermined range for the

algorithms creating unique realizations for each performance. The computer then has a guided


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improvisation whereas the live performer has a specified score.

Another technique used toward the end of the piece requires live feedback from the

speakers to the microphone. This technique, taken directly from Alvin Lucier’s work I am sitting

in a room, causes the performing space to become a resonant filter. Other filters within the patch

take out high frequencies that could become over powering.

The performer uses a foot switch to trigger events though it may not be evident that a new

event has started immediately. Due to the random processes, the performer should listen to the

computer part while playing to be as expressive as possible. Composer Cort Lippe has a number

of works for percussion instruments and Max in a similar configuration such as Music for Snare

Drum and Computer , and Music for Hi-Hat and Computer .48

Program Note

The snare drum is often the first instrument a percussionist learns to play, whether as a

single entity or as part of a drum set. Though an important part of ensembles, the snare drum is

not often seen as a solo instrument. As some composers have discovered, the beauty of the snare

drum lies in the many nuanced sounds of the head, rim, and even the sticks. In The Seafarer , the

computer expands the pitch and timbre of the acoustic drum sound through processes of filtering

and digital delay. The sound processing algorithms are somewhat random allowing the performer

to take liberties with the score – exploring the sounds as they happen.


- Performing with algorithmic processing with unpredictable qualities

48 The scores and patches are available on his website:http://www.music.buffalo.edu/faculty/lippe/compositions#nav


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Only one microphone is needed, placed anywhere above the drum and pointed towards

the center of the head. The acoustic part and electronic part do not rhythmically align and so in-

ear monitors are not necessary. After the microphone level has been set, the patch is ready. The

score indicates when to press the pedal but pacing is left to the performer. Random number

generators control most of the processes and therefore each realization is similar yet unique.

Circled numbers in the score indicate when to press the foot switch. Any empty measure

indicates that the performer may take time to allow the processed sounds to fade away slightly

before beginning again. The times will vary due to the randomness of the algorithms. The ending

“room filter” event should be sound checked so as not to be too loud yet still allowing the

microphone to pick up sound from the speakers. If the “room filter” event does become

overpowering, the next event quickly lowers the amplitude to zero.

Troubleshooting

First check the Max Window for any errors. Make sure the DAC is on before checking the

volume levels. The meters next to the gain~ objects will indicate if there is an audio signal

coming from the ADC~ or going to the DAC~. If there is no audio signal shown in the meter by

the ADC~, check if the audio interface is receiving any signal from the microphone. If there is

no signal coming into the audio interface consult the user manual for trouble shooting advice. If

there is an indication of a signal on the interface but not on the Max patch, then check the Audio

Status window. Make sure the audio interface is selected in the driver menu or in the input and

output menus. If the foot switch is not working, make sure the trigger key is on the correct

number. To get the trigger key number, open the patch titled Configuring the Foot Switch and

follow the instructions.


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Figure 11 – The Seafarer Max Patch


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The Universe Expanded – for Vibraphone and Max

This composition is a guided improvisation, that is, the performer is given certain

parameters from which he or she will extemporize. For example, at the beginning the computer

displays note names that the performer may play in any order, octave, and rhythm. The formal

structure of the work is also predetermined as ABA.

The A sections consist of undulating sound clouds generated by sine and triangle wave

oscillators as well as sound files passing through very narrow bandpass filters. The center

frequencies of the filters and the frequencies of the oscillators are slightly out of tune with

tempered pitches. The computer displays the pitch names of the tones within the sound clouds

and the performer improvises using those notes. To create the sounds the computer randomly

chooses four pitches, an octave for each, and a slight deviation in frequency all based on an

algorithm. Pitch options for the computer expand as the work progresses, beginning only with

“B” and ending with all twelve pitches. The acoustic sound and electronic sound produce beating

patterns due to the slight differences in frequency.

In the B section, the performer records small rhythmic cells that are then looped. The

loops are stretched and compressed changing the length and pitch creating a rich tapestry of

chaotic sounds. The performer continues to improvise until deciding to end the looping section

and begin the final A section – a retrograde process of the beginning in which the pitch options

for the computer change from all twelve pitches to only “B.”

The vibraphone is ideal since it has the ability to sustain a relatively pure tone and to be

staccato, both qualities necessary for an effective performance. However, due to the

improvisatory nature of the work, it could be performed by any instrument or combination of

instruments.


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Program Note

The title is an homage to Laurie Spiegel, one of the many women who made significant

contributions to computer music. The work uses oscillators and filters to create waves of sound

that crash over the vibraphone. The pitches of the acoustic vibraphone blend and interact with the

electronic tones; slight differences in frequencies create various beating patterns. The energy

increases as the performer records short segments that repeat with small variations. The speed of

the segments is then varied expanding the frequency range of the electronic sounds. The score is

a guided improvisation giving the performer freedom of interpretation. Though scored for

vibraphone, any instrument could perform this work.


- Performing a guided improvisation with parameters given by the computer.

- Recording into a buffer to create loops

- Changing speeds of recorded samples to change pitch and length

Before playing, drag the audio file titled “The Universe Expanded.aif” onto the dropfile

object in the top left of the main patching window. Then set the level of the microphone(s) if

needed.

At the beginning of the work, the computer plays swells of four pitches while displaying

the note names on the screen. The performer then improvises on those notes, beginning sparsely

with long sustaining tones and moving towards more energetic gestures. As time progresses the

computer adds different pitches, starting with the note B and ending with the aggregate. The

performer should improvise in a way that leaves space for the vibraphone and electronic sounds


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to interact.

Once the computer has reached all twelve pitches (two minutes into the piece) an X will

appear in the toggle box under the words Loop Ready. At this point the performer starts

recording samples to be looped. Keeping the vibraphone pedal up is recommended to produce

clear rhythmic patterns.

Recording loops can be difficult as the slightest variance i

Documents

Percussion and Max- A Collection of Short Works for Solo Percussi