MAGNIFICAT3 (2013) for realtime Csound5 (with optional intoned or spoken female voice) Including ADDENDUM for MAGNIFICAT3a Art Hunkins abhunkin@uncg.edu http://www.arthunkins.com GENERAL MAGNIFICAT3 is an elaborated version of both MAGNIFICAT (2011) and MAGNIFICAT2 (2012) for the same media. Like its sister compositions, MAGNIFICAT3 is performable on all major computer platforms, and requires a MIDI controller with 6-10 or 11 knobs/sliders. It is ambisonic, allowing for 2, 4 or eight channels of audio (stereo is the default). With multi-channel realization, equidistant speakers are arranged in a circle (to the extent possible; they are configured as stereo pairs, counting from front to rear). A standalone Lettuce executable (beginning with the letter "L") is an alternate version that includes a GUI run from the same directory as the included Csound files (no additional Csound installation is required). A Lettuce version is also available for MAGNIFICAT3a; see below. Otherwise MAGNIFICAT3(a) is performed from the command line. (The Lettuce option is Windows only.) An optional female voice may intone or speak the text of the Magnificat (see further below). Only 6 continuous controllers are obligatory; each of these represents and controls the volume of a single "tone" and its associated upper and lower (amplitude-modulated) sidebands. These controllers are contiguous; only the number of the first one is specified. Other controllers, if selected, are assigned independent numbers. (An alternative option is to select channel "0" for the first controller - which refers to continuous controller 7 on channels 1-6/11. In this arrangement, the optional controllers have predetermined numbers.) The performer selects the frequency of the first tone (within specified limits) and the percentage of this frequency that determines the amplitude- modulated sidebands (again within limits). The 6 volume controls are moved slowly, solely from one extreme to the other - the one exception being a pause around the 40 percent mark. Below this point, only the basic tone is heard; it beats prominently with the upper or lower sideband of the previous tone (depending on which sideband has been selected). Above this point the new sidebands are heard. If the beat speed or particular sideband match is not to the performer's liking (as when beats or sideband match is random), the control can be returned to zero and a different selection made (or attempted). Approaching the 40% pause point from either direction, the tone *may* be returned to its previous setting instead of continuing through to its opposite (though this should be infrequent). In such cases only the basic tone *or* its sidebands will be prominent; either way will emphasize the beat effect. All tones originate in the center of the performance space. The first tone that enters (a unique case) remains at that location in the stereo version, while moving to front center in multi-channel. All other tones then move to their specified pan positions (in the multi-channel versions, on a "circle" described by the multiple speakers). In general, panning motion begins with the appearance and growth of the sidebands (i.e., with the upper 50% of knob/ slider movement). A 7th knob/slider is only required when using the performer-controlled Pan option. In the multi-channel versions, 0 (min) and max both represent a position direct to the rear, while 50 percent is directly in front. This setting - and those for all controls except the ones regulating volume - takes effect only with the following tone event. When user Panning is not selected, pan position is random, except for the opening tone - which is always front and center regardless of how position is determined. An 8th knob/slider is optional Overall Volume control. It is not used during the bulk of performance, only for a multi-tone opening fadein or corresponding fadeout at the very end. (In the first case, with the Volume up, raise sliders individually and in the desired order, to preset an opening sonority prior to the start of performance.) The absence of such a control results in "full on" overall volume. Knob/slider 9 optionally controls beat rate of the new tone with one of the sidebands of the last-selected event. Otherwise the speed selection is random (within identical limits). Optional controller 10 is different; it selects upper or lower sideband for matching, and - without an eleventh controller - also selects modulation percentage. (Otherwise, selection of both parameters is again random.) *With* a controller 11, when set below 50%, the lower sideband is selected; 50% or above, the upper sideband. *Without* controller 11, 10 does double duty: 1) as described above, and 2) it selects modulation percentage #1 from a 25-75% setting, and modulation #2 at < 25% and > 75%. When optional controller 11 is utilized, it selects modulation percentage #2 at less than a 50% setting, percentage #1 at 50% or above. When an extra controller is available, it is probably best to use it - to separate the sideband and modulation selection functions. RUNNING FROM THE COMMAND LINE: Before running your .csd in Csound (always run from the directory where the .csd is located), view the beginning of your file in a text editor. Of interest are the lines below - the ones beginning #define. Since you lack a GUI, these represent options you must manually select, and ways of letting the file know the settings of your MIDI controller. These variables (in CAPS) are all given common default values. Changing values is simply a question of replacing the number between the two #'s; just be sure not to leave any blank spaces. Valid options are described for each case. You also may need to edit several items in the line (just above): values for -odac (audio output device) and -M (MIDI device #). If the default values abort the run, view the console output; it will indicate the active devices on your system. Pick the appropriate numbers, insert them and rerun. Users of the Lettuce GUI's may also need to set these CsOptions. Here, access to these items is through the menu bar; console output is likewise accessed through the bar. CsOptions is also where you select either 4- or 8-channel realization (2-channel is the default). Simply change the value of NCHNLS at the end of the CsOptions line to 4 or 8. SOLO COMPUTER PERFORMANCE SUGGESTIONS: All MIDI knobs/sliders must be set to zero prior to Csound start; then, *after start* move Pan Position and Beat Rate to any desired alternative opening position. (Sideband Direction and/or Amplitude Modulation Percentage can be moved prior to the *second* event.) Otherwise, all performance options are determined in advance. The performance may begin with any controller (optionally with other tones immediately adjoining; groups are linked-together/sideband-matched according to the order in which the controls are turned on). It can end with any combination of tones remaining (including a single controller). Controllers are added one at a time, always from the immediate left or right. They are also subtracted either from the far right or left side of the group of active controllers. At least one tone is "on" at all times, and only at the beginning or end (via the Overall Volume control) is more than one tone changed at a time. Normally, controllers can match (randomly or under user control) upper or lower sidebands of the adjoining controller. (The "beat rate" represents the difference between the "matched" sideband and the basic frequency of the new tone.) They may similarly select either of two specified amplitude modulation percentages of the matched sideband. (This amplitude modulation number is a percentage of the *frequency* of the matched sideband.) There are two situations where user selection of modulation percentage or sideband match may be auto-reversed. The first is when a sideband match is of a pitch out of range (i.e., below 400 or above 2500 Hz). In such a case, the alternate sideband is forced. The second is when a given tone is sideband matched by *both* its neighbors. (In such cases, the *same* sideband may have been requested by two neighbors. This can occur, for example, when controllers anywhere from 2 to 5 open the performance, and their immediate neighbors enter at some point.) Here the second neighbor is auto-switched to the other modulation percentage when necessary. In all cases of "forced" settings, user selection remains valid for the following event. Texture should never become intense or overly complex; three or four simultaneous tones is the suggested norm (particularly with voice). Careful selection of the two modulation percentages may help avoid problems. When, nonetheless, the overall sonority becomes unsatisfactory, promptly (but not suddenly) eliminate one or more tones at either end of the active controllers, and select an alternate sideband match or modulation ratio. If problem textures are continually encountered, you may wish to plan different paths of sideband matching. Overall volume is somewhat soft or moderate. If the prevailing mood of the occasion is meditative (such as a religious service), the level should be soft. MAGNIFICAT3 is particularly suited to meditative settings. FOR THE FEMALE VOCALIST (optional) 1) The vocal text of the Magnificat may either be spoken (declaimed) or intoned in simple plainchant fashion (recto tono). Each verse must be intoned on a pitch sounding on the computer at that point (the computer sonority does not change while verses are being sung). 2) Selected pitches should be within the easy, relaxed range of the vocalist. 3) The text may be spoken/intoned in any language, though Latin is preferred. 4) There are 11 verses, counting the "Gloria Patri" as the 11th verse. Normally, only one verse of text is spoken/intoned between computer interludes. However, for a shorter performance duration, some or all the following verses *may* be grouped: 1 and 2, 4 and 5, 6 and 7, and 9 with 10. 5) The performer stands center stage throughout, or may (quietly and simply) move on stage toward where the most recent computer sonority originates. (In the quad version, the vocalist remains either on stage, or if in the physical center of the sonic space, not far from her original position.) In cases where the vocalist moves, she remains in her last location for the conclusion of the piece. 6) All movement is concluded prior to vocalization. 7) The performance opens with at least 30" of computer sound; the vocalist is centrally located, and speaks/intones her first verse from this position. (Thereafer, she may move.) Between each verse there is a minimum of 20" of solo computer. Prior to each verse (or verse grouping), the computer part becomes stationary, indicating to the vocalist that it is now "her turn" (and suggesting a new stage position). The computer performer and vocalist may want to establish a system of visual or sonic cues, or otherwise create a specific performance "plan." The work concludes with at least 30" of computer sound, the vocalist remaining in place. 8) Wherever possible, the voice should not be amplified, nor should it be forced. It should, however, be well projected so the text can be clearly understood. (It is the *computer* performer's task to select a level that does not cover the voice.) FOR THE COMPUTER PERFORMER ACCOMPANYING A FEMALE VOICE 1) See above comments, especially regarding the timing of solo computer segments. Note that these are minimum, not suggested, timings. 2) It is important that MIDI settings be stabilized in preparation for the vocal phrases. Probably the computer performer should signal the vocalist when the settings are stabilized, so she knows when to speak/sing. If the vocalist is to respond to where the computer sound will come from by moving to a new position, these positions should probably be worked out in advance, with the computer performer manually determining pan position. Alternately, the computer could stabilize (and the operator so signal the vocalist), the vocalist then identify latest pan position, briefly move toward the new location, and only then deliver her verse(s). 3) Recommendation: Do not stabilize on a sonority with *vigorous* beating. (It is normal for there to be minimal to moderate beating.) 4) Overall volume with voice should be lower than when performing alone. The appropriate level is where the voice can be heard while projecting clearly, but not forcing. Overall level is fairly soft, and does not change during performance. It is the *computer performer's* task to select a level that does not cover the voice. 5) Texture should be less complex as well; more than two or three tones should rarely be heard simultaneously. (Note: this suggestion applies *only* to performance with voice, though there is no reason why solo computer versions could not also be texturally simple.) DURATION The duration of MAGNIFICAT3 for computer alone is indeterminate; length can be tailored to a variety of circumstances. In addition, use of the Overall Volume control permits performance to conclude gracefully at any point, as needed. Regarding the vocal option, *minimum* timings are as follows: with computer interlude between each verse, 6 minutes; with certain verses paired as outlined above (compact version), 4.5 minutes. ADDENDUM: MAGNIFICAT3a MAGNIFICAT3a is identical to MAGNIFICAT3, except that it tonally enhances the amplitude sidebands of the 6 tones. The sidebands are now a bit more animated and diffuse. All performance controls and parameters remain the same, however. As a result of the added richness: 1) Performance with voice is not generally encouraged. Magnificat3 is recommended for this purpose, especially when more than three simultaneous tones are desired. 2) On average, use fewer simultaneous tones (3-4 maximum). 3) One simple possibility: alternate between the *same two tones* (requiring a minimum of only 2 knobs/sliders). The associated .MP3 illustrates this option. Voice should work well with such an arrangement.