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Four In One - Thelonious Monk

Petter Dalane - piano
Anders Hjemmen - bass
Bjørn Andre Syverinsen - trommer
Erlend Vangen Kongtorp - tenorsax

Four In One - Petter Dalane Trio og Erlend Vangen Kongtorp

Marsj nr 23

Kjerkemusikk

https://youtu.be/lo8EposWy_g?si=gsfvh2Q17-W1ZjAp 

 Denne marsjen skreiv min gode kamerat Jan Sørlie og jeg sammen ca år 2000. Jan hadde mesteparten av barytonstemmen i hodet, jeg tror han hadde spilt på dette i mange år når jeg ble involvert.

En lystig aften satt vi sammen og spilte, skreiv noter og røykte sigaretter til kaffen. Det er sjelden sidemelodien kommer først. Men mye av jobben min var å legge melodi til barytonstemmen i første og andre del. Trioen skreiv vi sammen på en halvtime.

Marsjen ble brukt i mange sammenhenger, som kjenningsmelodi for vår lille kvintett. Vi hadde Stian Berg på trompet. Egil Ø. Andreassen på fingerbasun. Espen Ribe på tuba. Jan og jeg på hhv baryton og 2.trompet.

Vi var enige om at melodien i Trio-delen passet bedre for klarinett enn for trompet. Dette fikk vi prøvd ut en eneste gang, da vår venn Stein Enger var med og spilte ved en festlig anledning. På denne versjonen la jeg til klarinetten. Trommer er selvskrevent på marsj, det var dessverre ikke noen trommis med i gruppa den gangen.

Jan var raskt ute med tittelen "Gutta på tur". Det passet bra for oss, og jeg har friskt i minne mange flotte turer vi hadde sammen med musikalsk bagasje. Tankene går til hytta i Finnskogen og de lange lyse sommerkveldene vi hadde der. Og utallige andre. 

Jeg er sikker på at Jan ville vært stolt over å høre marsjen vår på Soundcloud. Det er jeg.

Fred over Jans minne

🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀🍀

My good friend Jan Sørlie and I wrote this march together around the year 2000. Jan had most of the euphonium voice in his head, I think he had been playing this for many years when I got involved.

 One merry evening we sat together and played, wrote notes and smoked cigarettes with our coffee.  It is rare that the side melody comes first.  But a lot of my job was adding melody to the euphonium voice in the first and second parts.  We wrote the trio together in half an hour.

 The march was used in many contexts, as the theme song for our little quintet.  We had Stian Berg on trumpet.  Egil Ø. Andreassen on finger trombone.  Espen Ribe on tuba.  Jan and I on euphonium and 2nd trumpet respectively.

 We agreed that the melody in the Trio part was better suited for clarinet than for trumpet.  We only got to try this out once, when our friend Stein Enger came along and played on a festive occasion.  On this version I added the clarinet.  Drums are self-written on the march, unfortunately there were no drummers in the group at the time.

 I'm sure Jan would be proud to hear our march on Soundcloud.  I am.

 Peace to Jan's memory

Gutta på tur. Marsj

Hildes marsj

Brudemarsj fra Hurum. Cara og Lars pr 24.06.2025

Guttorm Kittelsen «Movements II-version» - Comment

«Movements» was originally a piece for flute and piano. Later an optional bass part was added. When I formed the contemporary ensemble Octoband together with Kjell Samkopf, I rewrote the piece for the ensemble. Octoband made it possible to write a version of «Movements» using sounds and expressions more often found in rock-bands than in classical ensembles. Due to my roots in rock and jazz, combined with my classical training at the Norwegian State Academy of Music, working in the fusion between the two musical styles is one of the challenges I find the most interesting, as well as the most difficult.

«Movements-II version» is originally written for Octoband, which at first had 5 members. Around the time the piece was recorded in 1984, Octoband got a 6th member. I therefore rewrote the whole piece for a group of 6 musicians. Since I had not given the version for 5 musicians a name, and I rewrote the piece for 6 musicians in the same original score as the one for 5 musicians, I considered the last version to be the second version. The first version is the one for flute and piano only (with optional bass). «Movements-II version» is therefore the final version, which is recorded on the LP «Octoband» (AR 1903).

The structures in the piece are very simple. Everything is developed from one twelve-tone row. Even if twelve-tone technique is used, I wanted to derive themes and harmonies as if traditional western harmony was the foundation. For those who might be interested it is possible to find retrogrades and inversions of themes. I feel, however, that the main thing is listening to the music and hopefully be moved by it, rather than tearing it apart to find some fragments of construction.

The flute part is written with «live electronics». A microphone attached to the mouthpiece is running through a pre-amplifier. From the pre-amplifier one clean signal goes directly to the mixer and one signal is directed to a Roland SPV-355 synthesizer with on/off pedal, hold pedal and VCF-pedal (filter). With this patch it is possible to play the flute and trigger the synthesizer at the same time. When using the hold pedal, a «drone-like» pedal tone is created on the synth, over which the flute plays melodic structures. When using the VCF-pedal the tones triggered on the synth passes through the synths filter section as well, creating «swell-effects» on the pedal tones.

As technology develops rapidly I see no problem in trying to achieve the same results by means of newer devices, even when the resulting sound may change. The basic idea of triggering the synth an octave (or two octaves) below the flute, the ability to hold notes as pedal tones and filter the sound with pedals or other means of controllers must however be obtained.

Substitutes may also be used for the rest of the synthesizers and electronic devises used in the piece. They are the Roland Jupiter 8 (with patches on cassette tape), Roland RE-301 Chorus/Echo-machine, Minimoog with Moog Sample & Hold Controller model 1125, 3 x Multimoog, one with Moog Percussion Controller model 1130, Moog Taurus II bass synthesizer, 2 x Spacedrum. As the years passes by I also see the beauty in making performances with the identical devices once written for if possible, as «dinosaurs» in the electronic music industry again seems to be quite popular. One problem might however be to get hold of such devices. I for one have kept mine, so as long as I am alive it is possible to get hold of these devices through me.

The score, parts and a recording of the piece can be obtained at: NB noter (The National Library)
Postboks 2674 Solli, 0203 Oslo, Norway
Telefon: 810 013 00
E-mail:  noter@nb.no

Visiting addresses:
Henrik Ibsens gate 110, Oslo
Finsetveien 2, Mo i Rana
____________________________
© 1983/2013 Guttorm Kittelsen

Movements II-version

Guttorm Kittelsen (1951 -) Norwegian composer and musician
(Flute, piccolo flute, guitars, el-bass, double-bass and vocal)

Background

- 1971-1972, 1974-1976: Flute- and compositional studies at the Norwegian State Academy of Music (NSAM).
- 1976-78: Studies in composition at NSAM. Graduated with a diploma.
- 1982: Attended summer programs at Massachusetts Institute of Technology on Techniques of Computer Sound   Synthesis and Stanford University of California on Arranging and Composing for the Jazz Combo.
- 1986/87: Studies of Pedagogical Subjects at NSAM.

Activities

Guttorm Kittelsen is known for his diversity and stylistic breadth. In addition to composing he plays flutes, guitars, electric bass and double-bass. From 1976-1982 he worked as a musician and composer at the National Theater in Oslo, in Norwegian TV and radio and in recording companies. Kittelsen was the founder and a regular member of the contemporary group Octoband. The Window and Movements II-version are written for the group. From 1983-1998 he taught at the Asker Communal Music School in Norway.

His multimedia-theatre work The Window won 1. Prize for Outstanding Original Achievement in 1989/90 in The International New Music Composers Competition in New York USA.

Concert Piece for Symphonic Band & Percussion won 1. Prize in Italy in 1990 in The 11th International Competition for Original Composition for Band. The piece was also performed at the World Music Days 2000 in Luxembourg with Musique Royale des Guides and conductor Norbert Nozy.

Each One's Chasing Happiness - But Happiness Is Just Behind, a ballett commission from the Norwegian Opera & Ballet, was premiered in concert version as the opening concert at the Big Band Festival in Sandvika (Oslo) 30th August 2000.

His production includes two large-scale sacred compositions, Credo and Kyrie. Other orchestral music includes the ballet Each One’s Chasing Happiness - But Happiness Is Just Behind, .two midi-based ballets, multimedia and compositions employing electronics, such as Movements II-version, as well as music for ensembles (some with vocals/choir) and bands, several short pieces for various instruments and electronic music.

Kittelsen has written a comprehensive book on compositional techniques (1978) based on 12-tone technique and serialism.

Movements II-version

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