Ejnar Kanding: tonlos Los tonlos

Ejnar Kanding tonlos Los tonlos

(2007)

for tam-tam and live electronics (MaxMSP) Dur. 13-17â&#x20AC;&#x2122;

Commissioned by and dedicated to Christian MartĂnez

SCORE

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

Composed with support from the Danish Arts Foundation Skrevet med støtte fra Statens Kunstfond

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

Ejnar Kanding tonlos Los tonlos

(2007)

for tam-tam and live electronics (MaxMSP) Dur. 13-17’

NOTES

PERFORMANCE NOTES

tonlos Los tonlos is a movement from the timbrally diverse through the polyrhythmic toward the homogeneously sounding tremolo with a latent crescendo, which fades as a quiet wordless elegy. As a child I was fascinated by the sound of the tam-tam, which my grandmother would use when she called for lunch. When the musician treats his instrument he is visible. Meanwhile the real-time processing of the computer is invisible but audible. As with water and wind, the toneless expression of the work might be experienced as the world and its mirror.

tonlos Los tonlos begins with an open-form concept consisting of mosaic fragments. For each performance you have to choose whether you are going to play Mosaic A or B. Never play both of them. The mosaics consist of a pre-, inter- and postlude. Pre- and postlude have a fixed order of fragments, but in the interlude it is up to the performer to decide the order of the fragments. All fragments must be played, none of them most be repeated, and do not choose two of the same kind after each other.

“Einsam steigt er dahin, in die Berge des Urleids. Und nicht einmal sein Schritt klingt aus dem tonlosen Los.” Rainer Maria Rilke, Die zehnte Elegie

The fragments are characterized in five groups which are defined below:

“Alone, he climbs to the mountains of Primal Pain. And never once does his step resound from the soundless lot.” Rainer Maria Rilke, The Tenth Elegy

A Place a clave tilted at the tam-tam, use different placements obtaining changements in sound colour, use another clave to strike the former.

“Ensom stiger han indad i ursorgens bjerge. Og af hans tonløse lod klinger selv ikke hans skridt.” Rainer Maria Rilke, Tiende elegi

B Use different mallets or even a tubular bell hammer to strike the tam-tam, mute obtaining different almost harmonic partials.

The tam-tam and gong are similar metal instruments, but often confused. Whereas the gong has a definite pitch, the noise spectrum of the tam-tam is varied and rich in sound potential; just like wind or water. A selection of different mallets are utilised in my composition, varying in both size and hardness, for example rubber with resin, brushes, a double bass bow, metal sticks, drumsticks and claves. Listening to the resulting sound of these objects is tremendous on its own, but I use the computer to go deeper into the sound. The computer does not add synthetic or pre-produced sounds, but manipulates the tam-tam in real-time and the result is heard in surround-sound.

C Use a metal stick to slide upon the surface of the tam-tam obtaining metallic almost violent sound colours.

Many works in the 20th century include the tam-tam and increasingly show a tendency to use noise as a form of musical expression. In 1964, Karlheinz Stockhausen (19282007) composed Mikrophonie I, a work for tam-tam and electronics involving six musicians and two microphones with the intent that, as Stockhausen put it, “normally inaudible vibrations . . . are made audible”. I zoom in on this sound with the help of a soloist and a computer. To handle the electronics I have developed a program in MaxMSP, an object-based programming language. Ejnar Kanding, 2008

D Use drumsticks to create virtuos phrases, the character most be irregular, which means e.g. in 17 secs you might have 5 small phrases in different lengths. E Use whiskers to create a discontinous character, experimenting with as many different playing techniques as imaginable.

INSTRUMENTATION Tam-tam:

Explanations for the setup:

c’: either big soft mallet or arco with resin

The microphones should be set up on each side of the tam-tam.

d’: soft mallet

The MaxMSP software requires 1 input (both mics should be

e’: medium mallet

sent to aux 1 in pre mode).

f’: hard mallet g’: rubber ball with resin

The MaxMSP software uses 6 different outputs:

a’: whiskers back & forth

ch 1-5 should be routed to a loudspeaker each

c’’: whiskers attack

ch 6 should be routed either independently to ch 6 or to both

e’’: drumstick

ch 1 & 3 ch 1 is L

Also to be used:

ch 2 is C

2 woodblocks

ch 3 is R

Metal stick (normally used for triangle or crotales)

ch 4 is Rs

Eventually a hammer (normally used for tubular bells)

ch 5 is Ls ch 6 is subwoofer

Requirements for the electronics:

Explanations for the software:

Macintosh computer (G4), 1 GHz processor, 1024 MB RAM MaxMSP software

The electronic part is composed in surround 5.1 format.

Audio firewire interface, e.g. MOTU Traveler MIDI foot pedal

The electronics consist of soundfiles and of realtime processing

2 cardioid microphones, e.g. DPA 4011

of the tam-tam interactively controlled by the amplitude of the

Mixing console (recommended YAMAHA 01v96) with at least:

input, or controlled by random or well defined processes.

2 mic inputs & 6 line inputs 1 aux send pre mode

The entire part is specially programed and developed for this

5 or 6 outputs depending on configuration of subwoofers

piece using the MaxMSP graphical music software environment.

Loudspeaker system in 5.1 surround format setup (probably 2 subwoofers)

The various soundfiles and realtime processing are triggered by a MIDI foot pedal. 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/tonlos-los-tonlos

The overall form: Mosaic A or B - section 1 - intersection - section 2 - coda

N.B.: Play either mosaic A or B

tonlos Los tonlos dedicated to christian martínez

ejnar kanding 2007

for tam-tam & interactive computer (MaxMSP) play eitherto mosaic A ormartínez B dedicated christian MOSAIC A

prelude

tonlos Los tonlos

mosaic A b 7A or B play either a 7 mosaic

ejnar kanding 2007

a5 beats

c 11 secs in 1-3 strokes

b5 beats

d5 secs

a3 beats

e5 secs

claves a7 b7 mosaic A mallet

metal stickin c 11 secs 1-3 strokes

mallet b5 beats

drumd5 sticks secs

claves a3 beats

whiske5 ers secs

mallet drumb5 d5 sticks beats secs c 11 secs in mallet1-3 strokes drumsticks metal stickin c 11 secs 1-3 strokes

claves a3 beats d7 secs claves drumd7 sticks secs

whiske5 ers secs e7 secs whiskers whiske 7 ers secs e 11 whisksecs e7 ers secs whiske 11 ers whisksecs ers e 13 whisksecs e 11 ers secs whiske 13 ers whisksecs ers whiske 13 ers secs a1 beat whiskers claves a1 beat

beats prelude

interlude

ejnar kanding 2007

for tam-tam & interactive computer (MaxMSP) play either mosaic mosaic A A or B dedicated to christian martínez prelude

beats

beats prelude claves interlude a7 beats

beats

claves a5 beats

mallet b7 beats

claves a5 beats

metal stick c 11 secs in 1-3 strokes

interlude claves

mallet

claves

metal stick

interlude

b3 beats mallet b3 beats

cmetal 11 secs stickin 1-3 c 11strokes secs in 1-3 strokes metal stickin c 11 secs metal stick 1-3 strokes

claves a 2 beats

b 2 mallet beats b3 beats mallet b 2 mallet beats

cmetal 11 secs stickin 1-3 c 11strokes secs in 1-3 strokes stickin cmetal 11 secs metal stick 1-3 strokes

claves a2 beats e 17 secs claves

mallet b2 beats d 17 secs mallet

metal stick c 11 secs in 1-3 strokes c 11 secs in 1-3 strokes metal stick

whiske 17 ers secs

drumd 17 sticks secs

metal stickin c 11 secs 1-3 strokes

d 11 drumsecs d 7 sticks secs drumd 11 sticks drumsecs sticks d 13 drumsecs d 11 sticks secs drumd 13 sticks drumsecs sticks drumd 13 sticks secs b1 beats drumsticks mallet b1 beats

whiske 17 ers secs

drumd 17 sticks secs

metal stick c 11 secs in 1-3 strokes

mallet b1 beats

claves a1 beat

whiskers

drum5 sticks

metal stick

mallet

claves

a2 beats

postlude

postlude postlude

5

tonlos Los tonlos dedicated to christian martínez for tam-tam & interactive computer (MaxMSP)

ejnar kanding 2007

dedicated christian play eithertomosaic A ormartínez B MOSAIC B

prelude

tonlos Los tonlos

for tam-tam & interactive play either mosaic A or B computer (MaxMSP)

mosaic B

dedicated to christian martínez prelude

mosaic B

interlude

ejnar kanding 2007

play A ora B5 a 7either mosaic b7 prelude beats beats beats

c 11 secs in 1-3 strokes

b5 beats

d5 secs

c 11 secs in 1-3 strokes

e5 secs

aclaves 7 bmallet mosaic B7 beats beats

aclaves 5 beats

cmetal 11 secs stickin 1-3 strokes

bmallet 5 beats

ddrum5 secs sticks

cmetal 11 secs stickin 1-3 strokes

ewhisk5 secs ers

mallet

claves

metal stick

mallet

metal stick

b7 beats

a5 beats

c 11 secs in 1-3 strokes

b5 beats

drumsticks d5

whiskers e5

mallet

claves

metal stick

mallet

prelude claves interlude a7 beats interlude claves

secs drumsticks

c 11 secs in 1-3 strokes d7 metalsecs stick

interlude

postlude postlude

a3 beats

b3 beats

c 11 secs in 1-3 strokes

aclaves 3 beats

bmallet 3 beats

cmetal 11 secs stickin 1-3 strokes

claves a2 abeats 3 beats aclaves 2 beats claves

mallet b2 bbeats 3 beats bmallet 2 beats mallet

metal stickin c 11 secs c1-3 11strokes secs in 1-3 strokes cmetal 11 secs stickin 1-3 strokes metal stick

claves

mallet

metal stick

a2 beats a1 beat claves aclaves 1 beat

b2 beats b1 beats mallet bmallet 1 beats

c 11 secs in 1-3 c 11strokes secs in 1-3 strokes metal stick cmetal 11 secs stickin 1-3 strokes

claves

mallet

metal stick

a1 beat

b1 beats

c 11 secs in 1-3 strokes

claves

mallet

metal stick

6

secs e7 secs whisk-

ddrum7 secs sticks

ers ewhisk7 secs ers

drumd 11 sticks dsecs 7 secs ddrum11 secs sticks drumsticks drumd 13 sticks dsecs 11 secs ddrum13 secs sticks drumsticks drumsticks d 13

whiske 11 ers esecs 7 secs ewhisk11 secs ers whiskers whiske 13 ers esecs 11 secs ewhisk13 secs ers whiskers whiskers e 13

secs d 17 secs drumd 17 sticks drumsecs sticks

secs e 17 secs whiske 17 ers whisksecs ers

drumsticks d 17

whiskers e 17

secs

drumsticks

whiskers

section 1 x = 80

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intersection see eventually alternative notation of page 8

1) continue playing the sixteen notes with two different mallets in both hands 2) soon after start gradually a slowly developing accellerando in right hand 3) reaching a very fast tempo start gradually a slowly developing ritardando 4) reaching the original tempo repeat the process with left hand

section 2 4 4

q = 60

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61

q = 60

9 16

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e. = 90

7 16

e.Iq = 40

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q = 60

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q = 60

3 4

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in following section: at the g': create glissando-like sounds with a rubber ball at the c': use the bow creating different sound colours from the very soft and intense to the screaming the bars represents durations of 7 secs or 11 secs, those durations should be reagarded as approximate taking care of the surroundings of sound 7 rubber ball

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the original notation of page 8 is as seen below

4 8

e = 60

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61

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ ˙ ḟ

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