Ejnar Kanding: Arild Duo

Ejnar Kanding Arild Duo (2019) for guitar, double bass & live-electronics (Max) Dur. c. 11′

Dedicated to Duo ConCordis

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Ejnar Kanding Arild Duo (2019) for guitar, double bass & live-electronics (Max) Dur. c. 11′

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. This led me to compose Arild (2003), an eight minute piece for double bass and live electronics based on the Swedish poet Marie Lundquist's "Arild".

Duo ConCordis from Switzerland asked me in 2019 if I could imagine a new version of the piece for guitar, double bass and Max. In that case, they would like to perform it for a series of concerts in Switzerland and Luxembourg. I found many good musical reasons for doing so.

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 three motifs characterized by the tremolo, the pizzicato, and the harmony, which is finally revealed in a melodic, ascending line. The composition was selected for the 2004 International Computer Music Conference.

MARIE LUNDQUIST: ARILD

English translation by Malena Mörling:

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.

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.

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.

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.

Arild is dedicated to Duo ConCordis: Irina-Kalina Goudeva, double bass; and George Vassilev, guitar.

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 a sound director is available to control the balance between instruments and live electronics the “spacebar” model can be used. The best solution, though, is to run the piece from stage using a MIDI pedal. In that case it is recommended 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 the microphones and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are connected to the loudspeakers. AUX send 1-2 from the mixer are connected to the audio interface (input 1-2). All AUX sends must be in PRE mode.

• AUX1 for the double bass – continued to audio interface input 1 • AUX2 for the guitar– continued to audio interface input 2 • 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 two instrument microphones to input 1-2 of the audio interface (same order as for the AUX sends listed above). 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 instruments is recommended. The instrument must be amplified so that it appears with a clear, present sound. Use some EQ 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: Let the internal microphone of the computer pick up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback.

CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding http://kanding.com · http://soundcloud.com/kanding http://www.edition-s.dk/composer/ejnar-kanding

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: (recommended) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression and 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: At least 2 mic inputs, 4 line inputs, 2 aux sends (PRE), 4 outputs for loudspeakers – e.g. YAMAHA 01v96 Microphones (suggestions): Guitar DPA 4099, Neumann U89, Schoeps MK4, DPA 4011 Double bass DPA 4099, Neumann U89, AKG 414, DPA 4011 SOFTWARE: The patch used for performances has been developed in Max. 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/music/ejnar-kanding/arild-duo 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, Channel (group) 2 set to Input 2.

• For rehearsing individually with the internal microphones of the Mac, the seetings depend on the instrument: • Double bass: Channet 1 set to Input 1.

• Guitar: Channel (group) 2 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 respectively.)

• Below is the “stop Max” – press “dsp stop”. It stops all audio.

• Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece.

• Below is the “CUE” – it shows the cue that is active.

• Below is the “go to CUE”. Click the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue. Use the “dec” (backward) and “inc” (forward) buttons to navigate back and forth between the cues.

• With the use of a MIDI pedal to trigger the cues, every press of the pedal goes one cue forward. Pressing for at least two seconds will go one cue backward.

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 DUO – APPENDIX RTP real-time processing MTD multi tap delay, dynamic delay because tap times are changed, tap times notated rvb reverb rec recording samp sampler f.delay Feedback delay PVE pitch variable effect, left delay, right delay, rate, depth, left feedback, right feedback 1,4,3 means bar 1, 4th beat, 3rd sixteenth note Audio files duration: 1 cymbals (see below*) spectGRM 3:35 poly1-5 0:32 polyGRM1-7** 0:16 HiBeats1-3 0:08 HiNoise1-5 0:05 LwNoise1-5 0:02 spectgliss 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, e.g. 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. * cymbals, used in a deviation MC-sampler bar 1-12. ** 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 56 with a duration of 9 sec.

CUE ACTION

RVB ROUTING

1

ready to start

2

MC-sampler

2

MTD

2400

3

MTD

OFF

3

f.delay

4

cymbals, @chans 10, transposition factor randomly between 0.4 and 1.6 4800

7200

900

1200

50%

MTD

4500

7200

9000

4

f.delay

833

1111

60%

5

PVE

373

497

6

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4500

6

f.delay

7

9600

9900

10778

11889

0:1

0:882

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70%

6333

7117

9000

9900

10800

833

1111

60%

PVE

373

497

0:1

0:882

40%

70%

8

MTD

0

6000

9600

12000

13200

14400

8

f.delay

625

833

60%

9

PVE

373

497

0:1

0:882

40%

70%

10

MTD

6000

9600

11333

12167

13200

14400

10

f.delay

625

833

60%

11

PVE

373

497

0:1

0:882

40%

70%

12

MTD

0

6000

9600

12000

13200

14400

12

f.delay

625

833

60%

13

MTD

0

6000

9600

12000

13200

14400

13

f.delay

625

833

60%

14

MTD

6000

7083

8333

12000

13200

14400

14

f.delay

625

833

60%

15

MTD

4000

6333

7167

8000

8800

9600

on

PVE to rvb

on

PVE to rvb

on

PVE to rvb

CUE ACTION

RVB ROUTING

15

f.delay

937

1250

60%

16

PVE

373

497

0:1

0:882

40%

70%

17

MTD

3333

4167

9600

12000

13200

14400

17

f.delay

625

833

60%

18

MTD

6000

9600

10500

11750

13200

14400

18

f.delay

625

833

60%

19

PVE

373

497

0:1

0:882

40%

70%

20

MTD

4000

5500

6750

8000

8800

9600

20

f.delay

937

1250

60%

21

MTD

6000

9600

11000

12000

13200

14400

21

f.delay

625

833

60%

22

audio files

spectGRM, poly1, polyGRM1 (bar 51,2)

23

audio file

HiBeats1

24

MTD

1000

2000

0

0

0

0

24

PVE

39

47

0:2

0:9

30%

40%

25

PVE

37

97

0:2

0:9

70%

70%

25

audio file

26

MTD

2400

2800

3400

4400

26

audio file

27

fadout input to RTP

28

audio file

29

PVE

70%

70%

29

audio files

30

MTD

3800

4400

5400

30

audio file

31

fadout input to RTP

32

audio files

poly3, polyGRM4

33

audio file

HiBeats2

34

MTD

1000

1800

2600

3400

kun 4 taps

34

PVE

39

47

0:2

0:9

30%

40%

35

MTD

2000

3200

4000

5400

6000

7600

35

PVE

39

47

0:2

0:9

30%

40%

36

PVE

37

97

0:2

0:9

70%

70%

36

audio files

37

MTD

5400

5700

6200

37

audio file

38

fadout input to RTP

39

audio files

poly5, polyGRM6

40

audio file

HiBeats3

41

PVE

0:2

0:9

70%

70%

41

audio file

42

MTD

8000

8100

8200

8400

8700

9200

42

PVE

373

497

0:1

0:882

40%

70%

42

audio file

43

fadout input to RTP

on

PVE to rvb

MTD to PVE

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

LwNoise3

37

97 HiNoise4

LwNoise4

CUE ACTION 44

audio file

45

PVE

45

audio file

RVB ROUTING polyGRM7 37

97

0:2

0:9

70%

70%

HiNoise5

46

MTD

13000

13100

13200

13400

13700

14200

46

PVE

373

497

0:1

0:882

40%

70%

46

audio file

47

fadout input to RTP

48

audio file

49

MTD

1000

2000

3000

5000

8000

13000

49

PVE

373

497

0:1

0:882

40%

70%

50

MTD

1000

2000

3000

5000

8000

13000

on

MTD direct out, MTD to PVE, PVE direct out, PVE to rvb, rvb

LwNoise5 spectgliss MTD to PVE on

Arild Duo Dedicated to Duo ConCordis

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Kanding: Arild Duo for guitar, double bass & Max - 4 -

5

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Version: 1.2 - 12.3.2022

5 &4 75

bending F# and use harmonic on 7th fret / 2 string

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13 sec

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improvise using very high pitches, thrilling, different bowings etc 3 sec

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Kanding: Arild Duo for guitar, double bass & Max - 5 -

Version: 1.2 - 12.3.2022

5 # œ œ œ # >œ œ œ # œ Ó &4 nœ nœ œ > 5

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Kanding: Arild Duo for guitar, double bass & Max - 6 -

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5 4 œ ‰ Œ J 40

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Version: 1.2 - 12.3.2022

a tempo

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Kanding: Arild Duo for guitar, double bass & Max - 7 -

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Version: 1.2 - 12.3.2022

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Kanding: Arild Duo for guitar, double bass & Max - 8 -

œ #œ œ œ œ œ œ œœ # œ R œ bœ 3

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45

44 44 44 45 45 45

Version: 1.2 - 12.3.2022

5 & 4 # # www 120

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Kanding: Arild Duo for guitar, double bass & Max - 9 -

a tempo

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Version: 1.2 - 12.3.2022