Ejnar Kanding: Arild

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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˙

3

≤ œ

˙œ .

R

#˙

œ

3

œ

bœ

Œ

Œ

5

œ

œ #œ 3

b˙

œ

œ #œ œ J #œ bœ œ œ œ œ

f

n˙

œ

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