Ejnar Kanding Arild (2003) for double bass & live electronics (Max) Dur. c. 8’
Dedicated to Irina-Kalina Goudeva
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg
Ejnar Kanding Arild (2003) for double bass & live electronics (Max) Dur. c. 8’
NOTE In 2002 I was awarded the Triade Preis from Neues Kunsthaus Ahrenshoop which entailed a commission for a new composition for solo instruments and live electronics, based on a text by one of the project’s six selected poets. My choice fell on Swedish poet Marie Lundquist’s Arild: Jag har burit ett barn inuti mig. Det var när jag ännu hade en plats ledig under revbenens välvning. Barnet låg där så fint och gungade i sin lilla vattenvagga. Jag brukade sjunga för det. Bare utomhus, för den som bär ett barn inom sig behöver vindens ackompanjemang. Min kropp förändrade sig, också de delar som brukade vara fasta började röra sig på ett oigenkännligt sätt. Ibland buktade sig bukväggen i små bulor som böljade fram och tillbaka. Jag lade handen mot för att visa att jag var där. Genast upphörde rörelsen som om den aldrig hade funnits. Om det var ett barn ville det inte svara. Jag bar hans namn med mig långt innan han fanns. Namnet var Arild. Jag känner ingen människa som bär detta namn, bara en plats med stadiga vågbrytare. Jag döpte honom redan första gången jag kände sprittningarna i kroppen. Jag satt i sängen och vägde brösten och tänkte att nu behövde jag aldrig vara ensam mer. Jag hade ett rum som stod tomt och förberett för den som ville rota sig där. Jag var noga med det där rummet. Det måste hållas rent och varmt och välkomnande. Jag tvättade det med bomullstrasor indränkta i mandelmjölk. En morgon när jag vaknade var brösten mindre och buken inte lika spänd, utan mjuk och följsam under handen. Sängen var full av blod och Arild var inte längre där. Kanske hade han aldrig funnits. Jag grät inte, lindade bara en krans av hassel och nypon, för det var den tiden på året, och hängde den på väggen ovanför sängen där örngottet med hans korta namn broderat i korsstygn redan låg. English: I have carried a child inside me. It was when I still had a place vacant below the curve of the ribs. The child lay there so nicely swinging in its cradle of water. I used to sing to it. Only outdoors, for one who carries a child within herself needs the wind’s accompaniment. My body changed, also those parts that used to be fixed began to move around in an unrecognizable way. Sometimes the abdominal wall bulged with small bumps that billowed back and forth. I lay my hand against it to show I was there. Immediately the movement ceased as if it had never existed. If it was a child it did not want to answer. I carried his name with me long before he existed. The name was Arild. I don’t know any human who bears this name, only a place with sturdy jetties. I baptized him already the first time I felt a quivering in my body. I sat in bed and weighed the breasts in my hand and thought that now I will never again need to be alone. I had a room that stood empty and ready for anyone to settle in. I was careful with that room. It had to be kept clean and warm and inviting. I washed it with cotton rags soaked in almond milk. One morning when I woke my breasts were smaller and my belly not as taut, but soft and supple below my hand. The bed was full of blood and Arild was no longer there. Perhaps he had never existed. I did not cry, only wound a wreath of hazel and rosehip, for it was that time of year, and hung it on the wall over the bed where the pillowcase already lay on which his short name was embroidered with cross stitching. For the pre-produced audio files, integral to the second and third parts of the work, I used Marie Lundquist’s own recorded reading of her poem. The music is a gradual change from echoed abrupt fragments through transformations of a tremolo, a pizzicato and a harmonic motive, which finally reveals in a melodic rising line. The composition was selected for the 2004 ICMC.
LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on your computer or a MIDI pedal. If the ensemble has a sound director to control the balance between instruments and live electronics the “spacebar” model can be used. The ensemble can even run the piece from stage if one of the musicians uses a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance. The appendix provides descriptions of the cues and gives an indication of what is happening in the live electronics. SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be the of the same kind as the front speakers. Make sure the volume is balanced between the four speakers. MIXING The piece can be performed either using a mixing console that is connected to an audio interface or just using an audio interface. If a mixing console is used, connect both the microphone and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 from the mixer is connected to the audio interface (input 1). AUX send must be in PRE mode. AUX1 for the double bass – continued to audio interface input 1 audio interface output 1 – through the mixer continued to L speaker audio interface output 2 – through the mixer continued to R speaker audio interface output 3 – through the mixer continued to Lr speaker audio interface output 4 – through the mixer continued to Rr speaker If only an audio interface is used, connect the double bass microphone to input 1 of the audio interface. Connect audio interface output 1-4 directly to the loudspeakers. In both cases if you plan to perform in stereo, just two outputs are connected to the speakers. Close-miking of the instrument is recommended. The instrument must be amplified so that it appears with a clear, present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary to create a natural sound. REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended to rehearse as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer pick up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback. CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com
TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 8M or RME Fireface UFX+ MIDI-pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or Yamaha FC5 Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 1 mic inputs, 4 line inputs, 1 aux send (PRE), 4 outputs for loudspeakers (e.g. YAMAHA 01v96) Microphones (suggestions): Double bass DPA 4099, Neumann U89, AKG 414, DPA 4011 SOFTWARE: The patch used for performances has been developed in Max 7. A download of Max (which is required to run the supplied patch) is available from Cycling ‘74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot be saved without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way. The patch can be downloaded from the Edition·S website: http://www.edition-s.dk/assets/arild All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: Open the application with the title of the piece. In the left corner is the “start Max” – to start press the gray button that says “dsp start”. Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”. If a mixing console is used: Channel (group) 1 set to Input 1. If just an audio interface is used: Channel 1 set to Input 1. For rehearsing individually with a Mac’s internal microphones: Double bass: Channel 1 set to Input 1. Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker. (For stereo set channel 3 and 4 to Output 1 and 2.) Below is the “stop Max” – press “dsp stop”. It stops all audio. Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece. Below is the “CUE” – it shows the cue that is active. Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue. If you want to go one cue forward or backward, use increment (inc) or decrement (dec). Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.
EJNAR KANDING: ARILD – APPENDIX RTP MTD rvb rec samp f.delay PVE 1,4,3
real-time processing multi tap delay, dynamic delay because tap times are changed, tap times notated reverb recording sampler Feedback delay pitch variable effect, left delay, right delay, rate, depth, left feedback, right feedback means bar 1, 4th beat, 3rd sixteennote
Audio files spectGRM poly1-5 polyGRM1-7* HiBeats1-3 HiNoise1-5 LwNoise1-5 spectgliss
duration:
1 3:35 0:32 0:16 0:08 0:05 0:02 2:32
2
3
4
5
6
7
0:07 0:09 0:13 0:05 0:03
0:11 0:13 0:05 0:05 0:05
0:11 0:39
0:28 0:26
0:39
0:52
0:05 0:08
0:05 0:13
Some of the audio files accent the pulsation in quarter note = 60, fx poly1 and on a half note basis, HiBeats2&3. Audio files start when triggerred, except if bar number is notated in a parenthesis behind the name in the cue list below. *polyGRM1 is triggered in bar 43 (cue 20), but starts sounding in bar 51,2 with a duration of 16 sec. *polyGRM2 is triggered in bar 55 (cue 26), but fades in bar 52 with a duration of 9 sec. CUE
ACTION
1
ready to start
2
MTD
4500
7200
9000
2
f.delay
833
1111
60%
3
PVE
373
497
4
MTD
4500
4
f.delay
5
9900
10778
11889
0:1
0:882
40%
70%
6333
7117
9000
9900
10800
833
1111
60%
PVE
373
497
0:1
0:882
40%
70%
6
MTD
0
6000
9600
12000
13200
14400
6
f.delay
625
833
60%
7
PVE
373
497
0:1
0:882
40%
70%
8
MTD
6000
9600
11333
12167
13200
14400
8
f.delay
625
833
60%
9
PVE
373
497
0:1
0:882
40%
70%
10
MTD
0
6000
9600
12000
13200
14400
10
f.delay
625
833
60%
11
MTD
0
6000
9600
12000
13200
14400
11
f.delay
625
833
60%
12
MTD
6000
7083
8333
12000
13200
14400
12
f.delay
625
833
60%
13
MTD
4000
6333
7167
8000
8800
9600
13
f.delay
937
1250
60%
14
PVE
373
497
0:1
0:882
40%
70%
15
MTD
3333
4167
9600
12000
13200
14400
15
f.delay
625
833
60%
16
MTD
6000
9600
10500
11750
13200
14400
16
f.delay
625
833
60%
17
PVE
373
497
0:1
0:882
40%
70%
18
MTD
4000
5500
6750
8000
8800
9600
18
f.delay
937
1250
60%
19
MTD
6000
9600
11000
12000
13200
14400
19
f.delay
625
833
60%
20
audio files
spectGRM, poly1, polyGRM1 (bar 51,2)
21
audio file
HiBeats1
22
MTD
1000
2000
0
0
0
0
22
PVE
39
47
0:2
0:9
30%
40%
RVB
ROUTING
on
PVE to rvb
on
PVE to rvb
on
PVE to rvb
on
PVE to rvb
MTD to PVE
CUE
ACTION
RVB
23
PVE
23
audio file
24
MTD
24
audio file
25
fadout input to RTP
26
audio file
27
PVE
27
audio files
28
MTD
28
audio file
29
fadout input to RTP
30
audio files
poly3, polyGRM4
31
audio file
HiBeats2
32
MTD
1000
1800
32
PVE
39
33
MTD
33
37
97
0:2
0:9
70%
70%
2400
2800
3400
4400
70%
70%
3800
4400
5400
2600
3400
kun 4 taps
47
0:2
0:9
30%
40%
2000
3200
4000
5400
6000
7600
PVE
39
47
0:2
0:9
30%
40%
34
PVE
37
97
0:2
0:9
70%
70%
34
audio files
35
MTD
5400
5700
6200
35
audio file
36
fadout input to RTP
37
audio files
poly5, polyGRM6
38
audio file
HiBeats3
39
PVE
0:2
0:9
70%
70%
39
audio file
40
MTD
8000
8100
8200
8400
8700
9200
40
PVE
373
497
0:1
0:882
40%
70%
40
audio file
41
fadout input to RTP
42
audio file
43
PVE
0:2
0:9
70%
70%
43
audio file
44
MTD
13000
13100
13200
13400
13700
14200
44
PVE
373
497
0:1
0:882
40%
70%
44
audio file
45
fadout input to RTP
46
audio file
47
MTD
1000
2000
3000
5000
8000
13000
47
PVE
373
497
0:1
0:882
40%
70%
48
MTD
1000
2000
3000
5000
8000
13000
ROUTING
HiNoise1 2000
2200 LwNoise1
polyGRM2 (fadein bar 56) 37
97
0:2
0:9
poly2, polyGRM3, HiNoise2 3000
3200
3400
MTD direct out, MTD to PVE
LwNoise2
MTD to PVE MTD to PVE
poly4, polyGRM5, HiNoise3 5000
5100
5200
on
MTD direct out, PVE direct out, rvb
on
MTD direct out, PVE direct out, PVE to rvb, rvb
on
MTD direct out, MTD to PVE, PVE direct out, PVE to rvb, rvb
LwNoise3
37
97 HiNoise4
LwNoise4 polyGRM7 37
97 HiNoise5
LwNoise5 spectgliss MTD to PVE on
Arild dedicated to Irina-Kalina Goudeva Ejnar Kanding 2003
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Kanding: Arild for double bass & Max - (Score) - 10 -
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n˙
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œ R
r #œ 45 Œ
˙
V˙ p
b˙
F
45 5 4
˙ π
˙œ R
#œ
≥œ # 5 œ Œ Œ J 4 F
bœ
Ó
44
5 3 œ œ #œ œ œ œ œ œ bœ R 45 R
#œ p
a tempo
œ
44 ˙ f 44
b˙
b˙.
∑
Ó
œ
œ
˙.
Kanding: Arild for double bass & Max - (Score) - 13 -
bœ 4 R≈ 4
∑
5
∑ #˙.
‰ 45 œ 44 J
∑
w
Ó
rit. 107
f
∑
∏
bœ. œ
44
∑
∑
5 œ œ œ #œ œ. œ œ bœ R
accel.
103
13 4
#˙
3 44 b ≥œ œ œ œ # œ π
3
3
∑
∑
Ó
91
t 44
b˙
Ó
˙.
# ≥œ b œ
43
b˙
87
95
5
improvise using very high pitches, thrilling, different bowings etc 13 sec
#U w f
Œ
V
43
Œ Œ
œ ‰ J 48
π Version: 3.1 - 7.5.2018
Arild Performance score
q = 54
bœ œ #œ œ #œ t 44 ≈ J‰Ó 5 ƒ 2
1
# >Oœ V 5
5
t2 ˙ 4 t4 w 4 f
5
10
t 44 ≈ # œ
bœ œ œ œ
Ï
tÓ
‰.
25
œ #œ
b œ≤ œ b œ n œ œ # œ œ ≥ ˙. 44 7 f Sf
U̇ ≤ t 44 b ˙ π f ≥œ 33 ≥œ ≥ t 42 #œ Œ
45
t
f
bœ œ
#œ
Œ
44 b Oj bœ f
slow wild vibrato
V
œ
4
© 2012 by Edition·S, Copenhagen Engraving by Ejnar Kanding
42
#œ J p
2 ˙ 4
4 4
Œ
Ÿ~~~~~~~~~ œo œ Œ J
3
œ #œ œ œ
41 ≈
13
42
f
F
4
>œ ≈ ‰. Œ 6
j 3 j # O # œ 4 œO U ‰
q = 72
44 ‰ . œ œ b œ n œ œ œ b œ b œJ 5 F 19
5
Kanding: Arild for double bass & Max - (Perf. score) - 14 -
12
Œ ‰
œ
2 4
‰
Ÿ~~~~~~~~~~~~~ ȯ Œ
œ œ #œ #œ R ≈‰ Ó
# >œ
>œ J ƒ
5 œ. 8
œ
# œ # œ œ . œ . œ≤ . 17
42
11
∑
P
˙≤ . 43 π
free changes in distance by fingering 2 & 3 creating random harmonics
q = 48
≈
3
œ
œ
6
29
18
Œ
15
14
q = 48
5 ≥ 2 ≈ œ œ #œ bœ œ œ. 4 f Sfπ
∑
q = 72
ƒ
V
6
7
8
œ œ #œ R ≈‰ Œ Œ
t
3 ˙. 4 π
>o 34 ‰ œ 3 f
V
U Œ
6
U Œ
molto vibr
Œ
≥ # >œ >≥œ ≥ >œ . ‰ Œ 42
q = 72
9
17 > t 42 b œ >œ >œ ‰
t 44 ≈
f
3 ˙ 4 π
13
37
34 UOœ ‰ Œ J p
Oœ R
4w 4 f
9
21
>. b Ȯ .
non vibrato
34 # #UOœ ‰ Œ J p
Oœ R
f
3
V
Ejnar Kanding 2003
4
t
œ #œ R≈‰ Œ
≥ 38 b œ . Sf 16
44 ‰ .
44
œœœœœœœ
5
ƒ
j 42 œO p
œ bœ
44
b˙
42
5
U Œ
‰
t
44
5
œ bœ bœ nœ nœ Œ f
Version: 3.1 - 7.5.2018
41 3 t ‰ œ œ bœ nœ œ œ bœ bœ
ƒ
3
t 42 45
t 43 52
U 3 4 œ bœ bœ nœ nœ Œ
3
# ˙˙æ æ
22
œ
ƒ
t œœ
#œ
œ
#œ 43 œ œ ‰ Œ >>>
Œ
Œ
# ˙˙æ.. æ p
improvise
5
24
42
∑
f
27
45 Œ
Sπ
25
2 sec
tempo ad lib
j œ@˙ . æ
3 4
20
5
b ˙˙ ..
56
2 4 b ˙æ˙ æ Ï
43 œ˙æ. @J
t 42 b œ # œ 49
q = 60
5
2 4
21
42
∑
23 pizz
r 45 r ≈ ‰ . ‰ ‰ r ‰ r ‰ ‰ ≈ r ≈ ≈ b œ ‰ . 43 œ œ œ œ Ï 5
5
43
∑
pizz
5
5
5
44 b ww≤ π improvise 26
28
3 sec r ≈ œr ‰ . ‰ œr ‰ ‰ ≈ œr ≈ # œ ≈ ‰ . 43 ƒ f 5
5
5
5
29
30
44
31
U bœ œ t 44 ww bUœ # œ œ ˙ 54 Œ ww bUœ œ # œ œ ˙ . œ # œ J RÔ ÔR RÔ ®® RÔ ÔR J RÔ RÔ ÔR J 7 7 π 9 @ @ @ @ t 44 œ œ œ œ œ œ œ œ.œ œ œ œ œ.œ œ œ œ œ. œ œ œ œ 45 Œ œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ . œ œ œœæ œ. @ @ @ @
59
sul pont
44 44
9
a tempo
t 44 # œ œ œ œ œ b œ œ œ ‰ Ó 5 ƒ 5 61
32
34
t5 Ó 4 65
œ #œ œ 33
∑ 5
tempo ad lib sul pont
Uœ b œ ˙ .
37
∑
5 4
9
7
35
36
5 sec
f
Ur 7 œw # œr œ w
t 44 b œw w 9 π t 44 œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ. œ œ œ @ @
69
∑
45
∑
4 4
5
‰ r ‰ ≈ r ‰ . œr ≈ ‰ . 43 œ œ f 5
49
improvise
pizz
5
bœ œ Œ Ó
7
8 4
bœ J
#Uœ
œ œ œ œ œ œœ œ œ œ.œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ @
Kanding: Arild for double bass & Max - (Perf. score) - 15 -
9
7
Version: 3.1 - 7.5.2018
t w#œ. w
71
œ J
œ
t 45 Ó tw 77
t3 4 81
t
8 sec r Œ r ≈ ‰ . ≈ œ ‰ . 48 #œ p f j j ‰ Ó #œ # œ œ. 5
f
π
13 4
∑
˙œ R
V b˙.
45
j #œ
w
p
pizz
r Œ Œ œ ≈ ‰ . 43 #œ π
45 Ó
5
43
œ œ ˙ ‰
3
œ œ
3
3 œ œ. # œ ≤ Œ œJ J p 3
p
46
48
˙ p
34 ≥œ F
47
V
b˙
œ
≤ œ
3 44 b ≥œ œ œ œ # œ π
˙œ . R
#˙
bœ
F
b˙
œ
œ
n˙
Ó
∏
bœ. œ
œ
5
˙
3
#˙
œ R
r 3 œ #œ bœ #œ œ 5 #œ œ J œ œœ 4 Œ
f
#˙.
b˙
œ œ 5# œ œ . œ œ œ bœ R
accel.
Œ
b˙
Ó
3
#œ
Œ
j # œ 44 w f
∑
4 ≥ 4 w p
b œ 4 # ≥œ b œ 3 n œ . œ œœ R≈ 4 J
∑
œ 102 t 45 R 106
f
5 4
42
18 4
∑
13 sec
b˙ Œ p
#œ
≥œ # t 45 œ Œ Œ J F 98
44
45 ˙ .
94
t 44
œæ œ œ ˙˙ ..
improvise
w
t˙
41
p
86
90
40
5
5 4
9
improvise
a tempopizz 39
9
œ œ œ œ. œ œ œ œ. œ œ @
7
9
73
wœ . #Uœ b œR œR . ˙ . wR RÔ Ô
#Uœ . # œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ. @
tœ
38
˙
45
bœ
44
Ó
œ5œ œ œ3 œ # œ œ bœ R 45 5
a tempo
œ #œ 3
œ
rit.
œ
œ
œ ˙.
Kanding: Arild for double bass & Max - (Perf. score) - 15-bis -
44 ˙ f
b˙ #U w f
π
Version: 3.1 - 7.5.2018