Simon Steen-Andersen: Next to Beside Besides #11 (2003/07)

Simon Steen-Andersen Next to Beside Besides #11 (2003/07) for amplified vibraphone solo (or as a movement or part in any combination of pieces from the NTBB series) Dur. 3′30″–4′

SCORE

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Simon Steen-Andersen Next to Beside Besides #11 (2003/07) for amplified vibraphone solo (or as a movement or part in any combination of pieces from the NTBB series) Dur. 3′30″–4′

NEXT TO BESIDE BESIDES Choreographic translations for amplified solo instruments in various possible combinations Next To Beside Besides is a series of ‘translations’ of the piece Beside Besides for solo cello, which is itself a modification of the ending of the piece Besides for three amplified and three muted instruments. The translations take into account the parts of the original composition that were conceived of with a focus on the gestures of the movements producing the sound – a kind of choreographic translation. All translations can be played together in any combination simultaneously as duos, trios, etc. up to ensemble pieces. The only versions that I recommend playing solo (unless for a specific conceptual or dramaturgical reason) are #0 and #1. Different combinations can be played after each other as movements or between other pieces in a concert as ritornellos, but one should look for maximum variation in the order or build-up in order to avoid the feeling of repeating a piece. Combinations with video (preferably including different versions for the same player) are called Self-Reflecting Next To Beside Besides. Ideally the instruments should sit in a line to emphasise the parallel movements. The piece may be played with a click track.

Feel free to contact the composer to discuss the possibilities of a given instrumentation or setup, including amplification and staging.

The versions so far are: #0 Cello #1 Double bass (version 1) #2 Saxophone (any size or combination) #3 Accordion (version 1) #4 Snare Drum (percussion version 1) #5 Flute (can also be played by a percussion player) #6 Violin (a) or viola (b) #7 Piano (with whammy pedal) #8 Guitar (version 1) #9 Double bass (version 2) #10 Camera (please contact the composer about this version) #11 Vibraphone (percussion version 2) #12 Accordion (version 2) #13 Guitar (version 2) A click track is available at: http://www.edition-s.dk/assets/next-to-beside-besides Simon Steen-Andersen, 2017

PERFORMANCE NOTES Instrumentation: The piece should be played on a vibraphone with a steady and quiet motor/fan. The piece is played without sticks, only the fingers and a straw are used.

Amplification: í The actions should be amplified through a head-set microphone worn by the player. í The actions should be amplified as much as possible without it being unpleasant – at least loud enough to give a feeling of zooming in on the very soft sounds. í When played together with other versions of NTBB the amplification should level out the dynamic differences between the instruments as much as possible.

Dynamics: Since the sound is being amplified through the head-set it is necessary to keep the head close to the sounds that are not by nature being produced close to the microphone – and even to Instrumentation: Instrumentation: Instrumentation: The piece should be played on a vibraphone with a steady and un-noisy motor/fan. The piece is played Instrumentation: adjust the resulting dynamics adjusting the distance from the head to the sound source.

The piece should beplayed played onaavibraphone vibraphone withby steady andun-noisy un-noisy motor/fan.The The piece played The piece should be on with aasteady and motor/fan. piece isisplayed Instrumentation: without sticks, only the fingers and a straw are used.

Instrumentation: Instrumentation: The piece should bethe played onand a vibraphone with a steady and un-noisy motor/fan. The piece is played Instrumentation: without sticks, only the fingers and astraw straware are used. without sticks, only fingers a used.

The piece should be played on a vibraphone with a steady and un-noisy motor/fan.

The piece is played Instrumentation: The (without parenthesis) should be the softest possible even dynamic (trying to match all Instrumentation: Amplification: Thepiece piece should be played on vibraphone with steadyand and un-noisy motor/fan.

Thepiece pieceisis isplayed played The piece should be played on aavibraphone vibraphone with steady and un-noisy motor/fan.

The piece played Instrumentation: without sticks, only the fingers and a straw are used.

The should be played on aand with aaasteady un-noisy motor/fan.

The Amplification: Instrumentation: Amplification: without sticks, only the fingers a straw straw are used.

The piece should be played on a vibraphone with amicrophone steady and un-noisy motor/fan.

The piece is played The piece should bebe played onon aand vibraphone with a asteady and motor/fan.

The played The actions should be amplified through a are head-set worn by the player. without sticks, only the fingers and straw are used. without sticks, only the fingers used.

The piece should played a vibraphone with steady andun-noisy un-noisy motor/fan.

Thepiece pieceis played“exponentially” (very late Amplification: without sticks, only the fingers aaastraw used.

The actions should be amplified through aare head-set microphone wornby by theplayer. player.

The piece should beevents). played onand a vibraphone with a steady and un-noisy motor/fan.

The piece isisplayed The actions should be amplified through a head-set microphone worn the the soft Crescendos and diminuendos should be performed Amplification: without sticks, only the fingers and a straw are used. without sticks, only a astraw are used.

The actions should befingers amplified as much as possible without it being unpleasant – at least loud enough to Amplification: Amplification: without sticks, onlythe the fingersand and straw are used.microphone The actions should be amplified through aas head-set wornunpleasant by the player.

Amplification: The actions should be amplified as much as possible withoutititbeing being unpleasant leastloud loudenough enoughtoto without sticks, only the fingers and amuch straw are used.

The actions should be amplified as possible without ––atatleast The actions should be amplified through head-set microphone worn by the player.

Amplification: Amplification: give a cresc. feeling ofwith zooming in on direction, the veryasoft sounds.

The actions should beamplified amplified through ahead-set head-set microphone worn bythe theplayer. player.

The actions should be amplified through aa head-set microphone worn by the player.

Amplification: much etc.).microphone When or starting with accentuated point, the point The actions should be amplified as much as possible without it ending being unpleasant – at least loud an enough to The actions should be through worn by give aactions feeling ofzooming zooming inon onthe the very soft sounds.

Amplification: give a feeling of in very soft sounds.

The actions should be amplified as much as possible without it being unpleasant – at least loud enough to The should be amplified through a head-set microphone worn by the player.

The actions should be amplified through a head-set microphone worn by the player.

When played together with other versions of NTBB the amplification should level out the dynamic The actions should be amplified as much as possible without itbeing being unpleasant –atat atleast least loudenough enoughtoto to The actions should be amplified as much as possible without it being unpleasant – least loud enough The actions should be amplified through a head-set microphone worn by the player. give a feeling of zooming in on the very soft sounds.

The actions should be amplified as much as possible without it unpleasant – loud When played together with other versions of NTBB theamplification amplification should levelout out the dynamic The actions should be amplified through a head-set microphone worn by the player.

When played together with other versions of NTBB the should level the dynamic give a feeling of zooming in on the very soft sounds.

The actions should be amplified as much as possible without it being unpleasant – at least loud enough to should always be athe bit louder theititcrescendoed diminuendoed sound, in order to make The actions should bebethe amplified as much as possible without least loud differences between instruments as much asthan possible. give afeeling feeling ofzooming zooming inother onthe very soft sounds. give feeling of zooming in on the very soft sounds.

The actions should amplified as much as possible without itbeing beingunpleasant unpleasant –at least loudenough enoughto When played together with versions of NTBB the amplification should level––or out the dynamic give aa of in on very sounds. differences between the instruments assoft much aspossible. possible.

The actions should bethe amplified asthe much as possible without being unpleasant atatleast loud enough toto differences between instruments as much as When played together with other versions of NTBB the amplification should level out the dynamic give aplayed feeling of zooming in on very soft sounds. give a afeeling of zooming inin on the very soft sounds.

Dynamics: When played together with other versions ofNTBB NTBB theamplification amplificationshould shouldlevel levelout outthe thedynamic dynamic When together with other versions NTBB the amplification should level out the dynamic give feeling of zooming the very soft sounds. differences between the instruments as much as possible.

When played together with other versions ofof the Dynamics: give a feeling of zooming in onon the very soft sounds. them “melt together” like a zoom (reverse reverb) or “natural” reverb of the accentuated point.

Dynamics: differences between the instruments as much as possible.

When played together with other versions of NTBB the amplification should level out the dynamic When played together with other versions of NTBB the amplification should dynamic Since the sound is being amplified through theas head-set it is necessary to level keep out the the head close to the differences between theinstruments instruments asmuch much as possible. differences between the as possible.

ppp

Whenplayed played together with otherversions versions of NTBB theamplification amplification should level out thedynamic dynamic Dynamics: differences between the instruments as as much ashead-set possible.

Since the sound being amplified through the necessary keep the head closetotothe the When together with other of NTBB the should level out the Since the sound isisbeing amplified through the ititisisnecessary totokeep the head close Dynamics: differences between the instruments much as possible. differences between the instruments as ashead-set possible. sounds that are not by nature being produced close to the microphone – and even to adjust the resulting Dynamics: Dynamics: differences between the instruments asmuch much as possible.

Since the sound is being amplified through the head-set it is necessary–to keep theto head close the Dynamics: sounds that arenot not by nature being produced close tothe the microphone –to and even to adjust theto resulting differences between the instruments as much as possible. sounds that are by nature being produced close to microphone and even adjust the resulting Since the sound is being amplified through the head-set it is necessary keep the head close to the Dynamics: Dynamics: dynamics by adjusting the distance from the head to the sound source.

Since the sound is being amplified through the head-set it is necessary to keep the head close to the Since the sound is being amplified through the head-set it is necessary to keep the head close to the Dynamics: sounds that are not by nature being produced close to the microphone – and even to adjust the resulting Since thethe sound isnot being amplified through the head-set itsound isitmicrophone necessary keep thethe head close to resulting the dynamics by adjusting the distance from the head thethe sound source.to– to Dynamics: dynamics by adjusting the distance from the head totothe source. sounds that are by nature being produced close to and even to adjust the Since sound isby being amplified through the head-set is even necessary keep head close to the In general: Since the sound is being amplified through the head-set it is necessary to keep the head close to the The ppp (without parenthesis) should be the softest possible dynamic (trying to match all the soft sounds that are not by nature being produced close to the microphone – and even to adjust the resulting sounds that are not nature being produced close to the microphone – and even to adjust the resulting Since the sound is being amplified through the head-set it is necessary to keep the head close to the dynamics by adjusting the distance from the head to the sound source. sounds that areadjusting not by by nature being produced close to the microphone –toand even to the resulting The ppp (without parenthesis) should bethe the softest possible even dynamic (trying toadjust match allthe the soft Since the sound isparenthesis) being amplified through thesoftest head-set itthe is necessary keep the head close to the The ppp (without should be possible even dynamic (trying to match all the soft dynamics by the distance from the head to the sound source. sounds that are not nature being produced close to microphone – and even to adjust resulting sounds that are not by nature being produced close to the microphone – and even to adjust the resulting events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much dynamics by adjusting the distance from the head sound source. dynamics by adjusting the distance from the head to the sound source. sounds that are not by nature being produced close to the microphone – and even to adjust the resulting The ppp (without parenthesis) should be the softest possible even dynamic (trying to match all the soft dynamics by adjusting thethe distance from the head to sound source. events).

Crescendos and diminuendos should be performed “exponentially” (veryThe late cresc. with much sounds that are notparenthesis) by nature being produced close tothe the microphone – and even to adjust the resulting Only the upper 9th (E -F) of the vibraphone is used. piece is notated with an octaveevents).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much The ppp (without should be the softest possible even dynamic (trying to match all the soft dynamics by adjusting distance from the head to the sound source. dynamics by the from the head to the source. direction, etc.).

When ending orshould starting with an accentuated point, the point should always be athe bit louder Theppp ppp(without (without parenthesis) be the softest possible even dynamic (trying tomatch matchall allthe soft The ppp (without parenthesis) be the softest possible even dynamic (trying to match all the soft dynamics byadjusting adjusting thedistance distance from head to thesound sound source. events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much The parenthesis) should be the softest possible even dynamic (trying to soft direction, etc.).

When ending orshould starting with an accentuated point, the point should always be bit louder dynamics by adjusting the distance from the head to the sound source. direction, etc.).

When ending or starting with an accentuated point, the point should always be aabit louder events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much The ppp (without parenthesis) should be the softest possible even dynamic (trying to cresc. match all the soft The ppp (without parenthesis) should be the softest possible even dynamic (trying to match all the soft than the crescended or diminuended sound, in order to make them “melt together”, like a zoom (reverse events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much events).

Crescendos and diminuendos should be performed “exponentially” (very late with much The ppp (without parenthesis) should be the softest possible even dynamic (trying to match all the soft transposed treble clef.

The vibraphone is mostly played by blowing on it.

In order to make the direction, etc.).

When ending or starting with an accentuated point, the point should always be a bit louder events). and diminuendos should be performed “exponentially” (very late cresc. with much than theCrescendos crescended orending diminuended sound, order make them “melt together”, like azoom zoom (reverse The ppp (without parenthesis) should be the softest possible even dynamic (trying tolike match all the soft than the crescended or diminuended sound, inin order totomake them “melt together”, acresc. (reverse direction, etc.).

When or starting with an accentuated point, the point should always be a bit louder events).

Crescendos and diminuendos should be performed “exponentially” (very late with much events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much reverb) or “natural” reverb of the accentuated point. direction, etc.).

When ending orstarting starting with an accentuated point, thepoint point should always be abit bit louder direction, etc.).

When ending or starting with an accentuated point, the point should always be bit louder events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much than theor crescended or diminuended sound, in order to make them “melt together”, like a zoom direction, etc.).

When ending or with an accentuated point, the should always be aa(reverse louder reverb) or “natural” reverb of the accentuated point. events).

Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much reverb) “natural” reverb of the accentuated point. than the crescended or diminuended sound, in order to make them “melt together”, like a zoom (reverse direction, etc.).

When ending or starting with an accentuated point, the point should always be a bit louder intended sounds itaccentuated is sound, necessary to be very close to thealways instrument with the mouth when blowing direction, etc.). ending with accentuated point, the point should be louder In general: than the crescended or diminuended sound, inorder order tomake make them “melt together”, likeaaazoom zoom (reverse than the crescended or diminuended sound, order make them “melt together”, like zoom (reverse direction, etc.).When When ending orstarting starting withan an accentuated point, the point should always beaa(reverse abit louder reverb) or “natural” reverb ofor the point. than the crescended or diminuended inin toto them “melt together”, like In general: direction, etc.).

When ending or starting with an accentuated point, the point should always bitbit louder In general: reverb) or “natural” reverb of the accentuated point. than the crescended or diminuended sound, in order to make them “melt together”, like abe zoom (reverse than the crescended or diminuended sound, inpoint. them together”, a azoom (reverse Only the upper 9th reverb (Eb-F) vibraphone isorder used.

The piece is “melt notated with an like octave-transposed treblereverb) or “natural” reverb ofthe theaccentuated accentuated point. reverb) or “natural” of the accentuated than the crescended or diminuended sound, orderto tomake make them “melt together”, like zoom (reverse In general: reverb) or “natural” of Only the upper 9threverb (Eb-F) of the vibraphone isinpoint. used.

The piece isnotated notated withThis anoctave-transposed octave-transposed treble– at some points actually touching it with the lips. makes it rather problematic to read the than the crescended orreverb diminuended sound, in order to make them “melt together”, like a zoom (reverse Only the upper 9th (Eb-F) of the vibraphone is used.

The piece is with an trebleIn general: reverb) or “natural” of the accentuated point. reverb) oror “natural” of accentuated point. clef.

The vibraphone is mostly being playedis bypoint. blowing on it. Inisorder to make theoctave-transposed intended sounds ittrebleis Ingeneral: general: In general: reverb) “natural” reverb the accentuated Only the 9threverb (Eb-F) ofofthe the vibraphone used.

The piece notated withthe an In clef.

The vibraphone ismostly mostly being playedby by blowing on it.InInorder order tomake make the intended soundsititisis reverb) orupper “natural” reverb of the accentuated point. clef.

The vibraphone is being played blowing on it. to intended sounds Only the upper 9th (Eb-F) of the vibraphone is used.

The piece is notated with an octave-transposed trebleIn general: In general: necessary to be very close to the instrument with the mouth when blowing – at some points actually Only the upper 9th (Eb-F) of the vibraphone is used.

The piece is notated with an octave-transposed trebleOnly the upper 9th (Eb-F) of the vibraphone is used.

The piece is notated with an octave-transposed treblescore while playing and/or communicating visually with other instruments, which speaks for In general: clef.

Theupper vibraphone is mostly being played is by blowing on it.when Inisorder to make the intended is Only the 9th (Eb-F) oftoto the vibraphone used. piece notated with an octave-transposed necessary tobe be very close the instrument with theThe mouth when blowing some pointssounds actuallyit trebleIn general: necessary to very close instrument with the mouth blowing ––with atat some points actually clef.

The is mostly being played by blowing on it.

In order to make the intended sounds is Only thevibraphone upper 9th (Eb-F) ofthe the vibraphone isblowing used.

The piece is notated an octave-transposed Only the 9th (Eb-F) ofof the vibraphone is used. piece is notated with an octave-transposed touching itvibraphone with the lips.

This makes itplayed rather problematic to read the score while playing and/or clef.

The vibraphone ismostly mostly being played by blowing on it.

In order tomake make the intended soundsititittrebleitisis istrebleclef.

The is mostly being by on it.

In order to make the intended sounds Only theupper upper 9th (Eb-F) the vibraphone is used.

The piece is notated with an octave-transposed treblenecessary to be very to the instrument with theThe mouth when blowing – atthe some points actually clef.

The vibraphone isclose being played by blowing on it.

In order to intended sounds touching it with the lips.

This makes it rather problematic to read the score while playing and/or Only the upper 9th (Eb-F) of the vibraphone is used.

The piece is notated with an octave-transposed trebletouching it with the lips.

This makes it rather problematic to read the score while playing and/or necessary to be very close to the instrument with the mouth when blowing – at some points actually clef.

The vibraphone is mostly being played by blowing on it.

In order to make the intended sounds it is memorizing the piece and with perhaps using ablowing click-track when playing with clef.

The vibraphone isclose mostly being played blowing on In order totomake the intended sounds it itis communicating visually with other instruments, which speaks for learning it––at by hard, and maybe for using a others. necessary tobe be very close to the instrument with themouth mouth when blowing atsome some points actually necessary to be very close the instrument with the mouth when blowing at some points actually clef.

The mostly being by blowing on it.

In order make the intended sounds touching itvibraphone with the lips.

This makes it played ratherby problematic toit. the score playing and/or necessary very toto the instrument the when points actually communicating visually with other instruments, which speaks for learning by hard, and maybe foritusing using clef.

The vibraphone isismostly being played by blowing on it.read Infor order to make the intended sounds isis aa communicating visually with other instruments, which learning it––itwhile by hard, and maybe for touching itittowith with the lips.

This makes it rather rather problematic to read the score while playing and/or necessary to be very close to the instrument with thespeaks mouth when blowing at some points actually necessary be very close toto the the when blowing at–atsome points actually click-track when playing with others. touching with the lips.

This makes ratherwith problematic toread read the score while playing and/or touching the lips.

This makes problematic read the score while playing and/or necessary to be very close theinstrument instrument with themouth mouth when blowing – some points actually communicating visually with other instruments, which speaks forthe learning itwhile hard, and maybe for using a touching ititto with the lips.

This itititrather problematic toto score playing and/or click-track when playing with others. necessary to be very close tomakes the instrument with the mouth when blowing –itby at some points actually click-track when playing with others. communicating visually with other instruments, which speaks for learning by hard, and maybe for using a touching it with the lips.

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This makes itinstruments, rather problematic to read the score while playing and/or Signs: click-track when playing with others. communicating visually with other which speaks for learning it by hard, and maybe for using a communicating visually with other instruments, click-track when playing with others. click-track when playing with others.

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Signs: Signs: click-track when playing others.

Signs: blow on a key. click-track when playing with others. blow on a key.

Signs: blow on a key.

Signs: Signs: blow on a key.

Signs: blow on key. blowon into the tube to the right of the key (fan-movements not audible). onainto key. blow on aaakey. key. blow blow thetototube toofofthe right of the keynot (fan-movements not audible). blow into the tube theright right thekey key(fan-movements (fan-movements not audible). blow into tube the the audible). blow onthe a key. blow blowon onaa akey. key. blow into the tube to the right of the key (fan-movements not audible). blow on key. blow into the tube to the right of the key (fan-movements not audible). straw action.

(The straw is mainly used to make gliss. across the keys or to stick into the fan). blow into the tube to the right of the key (fan-movements not audible). blow into the tube to the right of the key (fan-movements not audible). straw action.

(The straw is mainly used to make gliss. across the keys or to stick into the blow into thethe tube to the right of the keykey (fan-movements notnot audible). straw action.

(The straw mainly used tomake makegliss. gliss.across across the keysor ortotostick stickinto intothe the fan). straw action.

(The straw isisright mainly to the keys fan). blow into tube to the of used the (fan-movements audible). blow ofofthe key not blowinto intothe thetube tubeto tothe theright the key(fan-movements notaudible). audible). straw action.

(The straw isright mainly used to(fan-movements make gliss. across the keys or to stick into the fan). blow into the tube to the right of the key (fan-movements not audible). straw action.

(The straw is mainly mainly used to make gliss. across the keys or to stick into the fan). fan). fan-sound: either by blowing on it used or by to touching it with the straw.

(Toor blow on the fan the lips straw action.

(Thestraw straw mainly used tomake makegliss. gliss. across thekeys keys ortoto tostick stick into the fan). straw action.

(The straw make gliss. across the keys or stick into the fan). straw action.

(The isisismainly across the into the fan). fan-sound: either by blowing onititused orused byto touching with the straw.

(To blow on the fan the lips fan-sound: either by blowing or by touching ititgliss. with the straw.

(To blow on the fan the lips straw action.

(The straw is on mainly to make across the keys orinstick to stick into the fan). straw action.

(The straw is ismainly used to make gliss. across the keys into the should touch the instrument and the air stream should be rather focused order to make the straw action.

(The straw mainly to make gliss. across thefocused keysor orto tostick stick into fan). fan-sound: either by blowing on itthe orused by touching itor with the straw.

(To blow on the fan thefan). lips fan-sound: either by blowing on it by touching it with the straw. should touch the instrument and the air stream should be rather focused in order to make the (To blow on the fan the straw action.

(The straw is mainly used to make gliss. across the keys or to into the fan). should touch the instrument and air stream should be rather in order to make the fan-sound: either by blowing on ititor or by touching with the straw.

(To blow on the fan the lips fan-movements as audible as possible.) fan-sound: either byblowing blowing on orby bytouching touching withthe the straw.

(Toblow blow onthe the fan thelips lips fan-sound: either by blowing on itthe by touching itititwith with the straw.

(To blow on the fan the lips should touch theas instrument and air stream should be rather focused inon order to make the fan-sound: either by on it or it straw.

(To fan the fan-movements as audible as possible.) fan-movements audible as possible.) should touch the instrument and the air stream should be rather focused in order to make the fan-sound: either by blowing on it by orair by touching it with the straw.

(To blow on the fan the lips focused in order to fan-sound: either by blowing on itthe or touching itshould the straw.

(To on the fan the lips should touch the instrument and the air stream should be rather focused in order to make the lips should touch the instrument and the air stream should be rather should touch the instrument and the stream be rather focused order to make the fan-sound: either by blowing by touching itwith with the straw.

(Toblow blow on the fan the lips fan-movements as audible as possible.) should touch the instrument and air stream should be rather focused inin order to make the fan-sound: either by blowing onon it itoror by touching it should with the straw.

(To blow on the fan lips fan-movements as audible as possible.) should touch the instrument and the air stream be rather focused in order tothe make the should touch instrument and the airair stream blow on thethe right side edge of the key. fan-movements as audible as possible.) fan-movements as audible as possible.) should touch the instrument and the streamshould shouldbe berather ratherfocused focusedin inorder orderto tomake makethe the fan-movements as audible as possible.) blow on the right side edge of the key. should touch the instrument and the air stream should be rather focused in order to make the blow on the right side edge of the key. make the fan-movements as audible as possible.) fan-movements as audible as possible.) fan-movements asas audible fan-movements audible aspossible.) possible.) blow on the right side edgeas of the key. fan-movements as audible as possible.) blow on the right side edge of the key. blow onthe theright upper edge /side lower edge thethe key rightside side edge ofthe the key.ofof blow on the right side edge the key. blow on edge ofof key. blow on the edge blow on the upper edge lower edge thekey key key. blow on the upper edge / /lower ofofthe blow on the rightright side edge ofedge the key. blow edge ofofthe key. blowon onthe theright rightside side edge the key. blow on the upper edge / lower edge of the key blow on the right side edge of the key. blow on the upper edge //lower lower edge of the key in general: the very upper partedge /edge the/ of very lower part ofof thethe key. key blow on the upper edge lower edge blow onthe theupper upper edge lower edge ofthe the key blow on the upper edge of the key blow on edge / /lower key general: the very upper the very lower partofofthe thekey. key. ininblow general: the very upper part / /the very part on the upper edge / part lower edge oflower the key blow on upper edge / lower key (No arrow: atupper the middle of theedge key /ofabove the tubes) blow onthe the edge /of lower edge ofthe the keypart in general: the very upper part /edge the very lower of the key.

(No arrow: at the middle the key / above the tubes) blow on the upper edge / lower of the key (No arrow: at the middle of the key / above the tubes) in general: the very upper part / the very lower part of the key. (No arrow: at the middle of in general: the very upper part //the the very lower part of the key. ingeneral: general: the very upper part the/very very lower partofof ofthe thekey. key. in general: the very upper part /the very lower part the key.

(No arrow:the at the middle ofpart the above thepart tubes) in very upper / key lower (No arrow: at the middle of the key //above above the tubes) in general: the very upper part / the very lower part of the in general: the very upper part /key the very lower part ofofthe -the above the system: hit the “motor cover” with atubes) fingernail –key. tapping in the softer nuances and (No arrow: at the middle ofthe the above the tubes) (No arrow: at the middle of the key /above the general: the very upper part /key the very lower part thekey. key.

(No arrow: at the middle of / the tubes) key / above the tubes) -in above the system: hit the “motor cover” with a fingernail – tappingininthe thesofter softernuances nuancesand and in general: the very upper part / the very lower part of the key. above the system: hit the “motor cover” with a fingernail – tapping (No arrow: at the middle of the key / above the tubes) (No arrow: middle ofofthe key / above the finger-snapping inmiddle the louder nuances.

(No arrow: atthe the the key / above the tubes) – tapping in the softer nuances and -finger-snapping above theat system: hitlouder the “motor cover” with atubes) fingernail in the louder nuances.

(No arrow: at the middle of the key / above the tubes) finger-snapping in the nuances.

---above above the system: hit the “motor cover” with aafingernail fingernail ––with tapping in the softer nuances and above the system: hit the “motor cover” a fingernail – tapping in the softer nuances within dampened key played with a fingernail – tapping in the softer nuances above the system: hit the “motor cover” with fingernail tapping in the softer nuances and the system: hit the “motor cover” with a – tapping in the softer nuances and in the louder nuances.

--finger-snapping the system: hit the “motor cover” with a fingernail – tapping in in the softer nuances and -above the system: dampened key played with fingernail tapping inthe the softer nuances within the system: dampened key played with aaafingernail –––tapping softer nuances finger-snapping in the louder nuances.

-within above the system: hit the “motor cover” with fingernail tapping in the softer nuances and -finger-snapping the hit the “motor cover” with a afingernail – –tapping ininthe softer nuances and finger-snapping in the louder nuances. finger-snapping inthe the louder nuances. finger-snapping in the louder nuances.

-and above thesystem: system: hit “motor cover” with fingernail tapping the softer nuances and -above within the system: dampened key played with a fingernail – tapping in the softer nuances in louder nuances. and finger-snapping in the louder nuances.

-and above the system: hit the “motor cover” with a fingernail – tapping in the softer nuances and finger-snapping in the louder nuances. finger-snapping innuances. the louder nuances.

-and within the system: dampened key played with fingernail tapping in the softer nuances finger-snapping in dampened the louder finger-snapping ininthe louder nuances.

-within within thesystem: system: dampened key played withaaaafingernail fingernail––––tapping tappinginin inthe thesofter softernuances nuances -finger-snapping the system: key played with fingernail tapping the softer nuances the louder nuances. finger-snapping in the louder nuances.

-and within the dampened key played with finger-snapping in the louder nuances. and finger-snapping in the louder nuances.

- within the system: dampened key played with a fingernail –audible tapping in the softer nuances -and within the system: dampened key played with a afingernail inpitch. the softer nuances played with asystem: fingernail (tapping/finger-snapping sim.)–––tapping finger-snapping in thelouder louder nuances. and finger-snapping in the louder nuances.

-key within the system: dampened key played with fingernail tapping in the softer nuances -and within the dampened key played with a fingernail – tapping in the softer finger-snapping in the nuances. key played with a fingernail (tapping/finger-snapping sim.)

– audible pitch.

-key within the system: dampened key played with a fingernail – tapping in the softer nuances played with a fingernail (tapping/finger-snapping sim.) audible pitch. and finger-snapping in the louder nuances. and ininthe nuances. andfinger-snapping finger-snapping thelouder louder nuances. key played with a fingernail (tapping/finger-snapping sim.) – audible pitch. and finger-snapping in the louder nuances. key played with a fingernail (tapping/finger-snapping sim.)

– audible pitch. nuances and finger-snapping in the louder nuances. key played with a knuckle – more defined pitch. fingernail (tapping/finger-snapping sim.)

– audible pitch. key played with fingernail–(tapping/finger-snapping (tapping/finger-snapping sim.)––audible audiblepitch. pitch. key played with aaaafingernail sim.) key played with more definedpitch. pitch. key played with knuckle –(tapping/finger-snapping more defined key played with aknuckle fingernail (tapping/finger-snapping sim.) – audible pitch. key sim.) keyplayed playedwith withaaaafingernail fingernail (tapping/finger-snapping sim.)–– –audible audiblepitch. pitch. key played with knuckle –(tapping/finger-snapping more defined pitch. key played with fingernail sim.) audible pitch. key played with a fingernail (tapping/finger-snapping sim.) – audible pitch. key played with a knuckle – more defined pitch. glissando: move in a straight line from the first point to the next in the given time. key played with a knuckle – more defined pitch. key playedwith withaaknuckle knuckle –more more defined pitch. key played – defined pitch. glissando: move in a straight line from the first point to the next in the given time. glissando: move in straight line from thepitch. first point to the next in the given time. key played with aaknuckle –immediately. more defined pitch. key played with a should knuckle –knuckle more defined The movement start key played with a knuckle – more defined pitch. glissando: move in a straight line from the first point to the next in the given time. key played with a – more defined pitch.

The movement should start immediately. key played with a knuckle – more defined pitch.

The movement should start immediately. glissando: move in straight line from the first point to the next in the given time. glissando: move inaaaastraight straight linefrom fromthe thefirst firstpoint pointtoto tothe thenext nextinin inthe thegiven giventime. time. glissando: move in straight line from the first point the next the given time.

The movement should start immediately. glissando: move in line The movement should start immediately. glissando: move a straight line from the first point to the next inpoint the given time. glissando: move in immediately. aline straight line from the first to the next in the given time. The glissando: move in ainastraight from the first point totothe next ininthe given time. gradual transition.

The movement should start immediately.

The movement should start immediately. glissando: move in straight line from the first point the next the given time.

The movement should start gradual transition. glissando: move in a straight line from the first point to the next in the given time. gradual transition.

The movement should start immediately.

The movement should start immediately.

The movement should start immediately. gradual transition.

The movement should start immediately. movement should start immediately. gradual transition.

“The tube under the missing key”: Fb; next to Eb, Cb; between Bb and Db. gradual transition. gradual transition. gradual transition. key”:Fb; Fb;next nexttotoEb, Eb,Cb; Cb;between betweenBb Bband andDb. Db. “The tube underthe themissing missingkey”: “The tube under gradual transition. gradual transition. gradual transition. gradual transition.

“The tube under the missing key”: Fb; next to Eb, Cb; between Bb and Db. gradual transition. key”: Fb; next to Eb, Cb; between Bb and Db. “The tube under the missing key”:Fb; Fb;next nexttoto toEb, Eb,Cb; Cb;between betweenBb Bband andDb. Db. “Thetube tubeunder underthe themissing missingkey”: key”: Fb; next Eb, Cb; between Bb and Db. “The tube under the missing “The key”: Fb; next to Eb, Cb; between Bb and Db. “The tube under the missing “The tube under the missing key”: F ; next to E , C ; between B and D . key”: Fb; next totoEb, Cb; between BbBb and Db. “The tube under the missing key”: Fb; next Eb, Cb; between and Db. “The tube under the missing key”: Fb; next to Eb, Cb; between Bb and Db. “The tube under the missing

b

b

b

b

b

b

Next To Beside Besides #11 for amplified vibraphone solo (or as movement or part in any combination of pieces from the NTBB series)

(pianissimo) furioso q = 60

MOTOR ON, MAX SPEED

( p3 ) 3 ≤ sim. ≤ M ≤ M µ –‹ –æ –‹ –æ –‹ æ Œ æ Œ æ M M M

BREATH IN BLOW on ("naturally") MOTOR

≥ M µ –æ 4 †4 Œ ( fff )

M µ–æ Œ

STRAW on MOTOR (the dynamic of the straw decides the general dynamic (fff) - it can be adjusted a bit by changing the distance to the head-set microphone by moving the head a bit away)

M ≤ 4 µ–æ µ –‹ †Œ æ M 3

7

‚. ‰ . ≈ †

M ≤ M ≤ –æ –‹ –æ –‹ Œ æ Œ æ M M

> 2 † 4µ – ( fff )

10

† (F)

5

(nail on the "motor cover")

(blow on the (side) edge of key)

M –æ Œ

‚. œ.

5

key - audible pitch)

≤ –‹ æ M

≤ ≤ M (,) –‹ µM – –æ µ ‹ –æ 2 æ Œ æ Œ 4 M M

M –æ Œ

3

3

(finger snap on "motor cover")

42

(crescendo by moving moving closer from far away with the head-set mic.)

. ‚. ¿. œ 2 ≈ ‰ † 4 ‰.

5 ppp

19

¿.

3

M ≤ 5:3 ≤ ˘ ( ,) . ¿. . . . . ¿. . . ¿. . M ¿ æ – M – M 5 M‹ – 3 µ 34 œ ‚ œ ‚ ≈œ œ ‚ œ µ ‹ Œ‹ – .. µ‹ µ –Œæ ‹ –Œæ j æ æ n‚ µ– æ µ– n ‚ . æ M M 3 3 ppp ppp ( fff ) (f)

14

˘r œ¿ ‚

3

3

. . . . ¿ ‚ œ ‚ 42 5 ppp (nail on

3

≤ .¿ œ. ‚. ¿. µM – 64 Œ–æ µ ‹ æ M ( fff )

≤ M ≤ M ≤ – µ ‹ –æ –‹ –æ –‹ æ Œ æ Œ æ M M M

M µ–æ Œ

3

3

¿. ‚. ≈ ‰

5

5

3

M ≤ M ≤ M ≤ µ–æ µ –‹ –æ –‹ –æ –‹ Œ æ Œ æ Œ æ M M M

3

¿. ‚. œ. ‰

≤ M ≤ M ≤ – µ ‹ –æ –‹ –æ –‹ æ Œ æ Œ æ M M M

‚ ¿. œ. ‰ 5 ppp

¿. ‚.

. . ‰. ‚ ≈ œ ‰ 5

5

≤ M ˘ . ¿ ¿ – ‚. ≈ œ ‰ ‚ ‚ ‚ ‚. ‹ –æ ≈ æ Œ M 3 ( F ) ppp ( fff )

‰.

‰.

5

KNUCKLE

. œ. œ. ¿. œ. ‚ œ œ. . . ‚ ≈ ‰ ‰ ‰ œ ‚ ‰.

5

(3F )

3

PED

1

≤ –‹ æ M

3

5

¿œ.

43

‰

‚. œ. ‰ ¿. ≈ ≈ ‚. ≈ 1 4 3

5

¿‚.

42 ∏

µM– 1 †4 ( fff )

23

27

† 43 ‰ .

5

¿. . ¿. ‚. ¿. œ. ‰ 3

‚. ≈ ‰ ‰ œ. ¿. ‚. ‰ .

3

3 >‚ †4 ∏

‚

‚

µ – n‚

5

5

Œ

Œ

Œ

43

r 3 > j ‚ ¿

œ œ b –

2.

3 4 8 µ – µ – – – – n‚µ – n‚ µ – n ‚ ‚ ( F ) 5 ∏3

2‚ 4

‚

3 8

Œ

Œ

Œ

(upper edge of the key)

PED

(dampened)

. "freeze"... . ¿ œ 3 6 †8 J ‰ ‰ 4 ‰Œ Ó

‚. ‰ Œ 6 †4

43

Œ

(normal)

(the tube without key next to Eb)

>r ¿‚ 2 Ó 4 MOTOR SPEED: (F) MINIMUM

‚

(straw gliss. on the lower part of the keys, nail hit on the lower part of the E key, sim. the middle of the key, straw "gliss." over the crack between E and Eb, nail hit on the middle of the D# key, blow on the upper edge of the D# key)

˘r 3 – ‹ 85 J ‹ œ œm ‹ œ ‚ ‚ > >. . . . . ppp ( fff ) MAX

MOTOR SPEED: ACCEL.

µM– M– M– M– M– 5 †4

Œ

Œ

‚µ – n‚µ –µ – – – µ– M– – – M–

∏

3

24 µ –

r 58 ‚.¿> œ œ b –. – J 5 3 ∏ (F)

(upper edge of tube)

‚

(gradually blow on the upper edge of the tube to make a sharper noise)

2 † 4 m –– ‚ –– ‚ ‚ µ – n ‚ µ – 3

– n‚ . ‚ > (f)

M 3µ – µ – µ – 2 8 æJ µ– 4m ‚ ∏ 3 2

5

. ¿ 38 J

–

PED

46

(,) ¿. . ‚ ≈ 3 4 ‚

3

5

34

39

74 Œ

5

‚

. ‚. ¿ ≈ ‚

5

"freeze"...

(lower edge of the key)

29

¿. ‚. ‰.

(head-set mic must be close to the sound source)

(MOTOR SPEED: MIN.)

‰

46

(between Eb and E)

j 38 m ‚. n œ. œ. –– > 3

MOTOR SPEED: ACCEL.

‰

5 4

M 3µ– .

8

42

MAX

( fff )

MOTOR ˘r (MS: MIN) SPEED: ACCEL. 51 3 –‹ µM– j † J ‹ œ œm ‹ œ m ‚ > >. . . . . ppp ( fff )

(hyperventalition/ rapid panting or in and out with the mouth only)

56

† 42µ –

æ – n‚ . ‚ ( >f )

˘r (MS: MIN) 3 –‹ µM– M– .

7 j J ‹. œ. œ.m ‹. œ. 16 m ‚ J J > > ppp ( fff ) MS: ACC.

MAX

38 ‚ . ∏

MS: RIT. r M 58‚. b¿. ¿. ¿. ¿. ¿. µ–

(MS: MAX)

‚.

(F)

n

3

MAX, RIT.

M 38 –

M– 42 J ∏

( fff )

MIN

– J ∏

( fff )

MIN

j 38 µ– n ‚ µ – n ‚ µ – n ‚ 5

r >Û 3 M M- . . o. M- . . . ˘ K >. >¿. . . . . . . ‚ ¿ ¿ ¿ ¿ ¿ b ‹ µ ‹ b ‹ µ – µ ‹ r b¿ ¿ ¿ ¿ ¿ ¿ 3 ¿ m ‹ m ‹ . j 34 . b ‹ .

8 ¿ œ. ¿. µ– µ– – n‚ æJ J 3 3 3 3 (F) ( fff ) ∏ 3 open (or close) the "motor cover"

60

(MS: MAX)

‚.

‚.

† ∏

n

(tube between Bb and Db)

85

(straw gliss. on the mechanics from below the tube next to F all the way up in 1 movement)

Mr 65 5 > – œ b – œ j † 85 . µ – n ‚ µ – n ‚ µ– n ‚ ∏ (F) 3

44 >‚ – –

(blow directly on the key)

–

–

–

–

–

– n

PED

68

† 45 Œ

–

n

–

–

–

44 ‚ ∏

‚

µ–

µM– M– ‚ æ æ n

Mr 3 34 –. œ> œ b– µ– n‚µ– (F) 3 ∏

µM– M– æ æ

PED

Mr 71 3 µ–. œ> œ b– † µ– µ – – n‚ ∏ (F) 3 PED

µM– æ

M– æ n

Mr 7:4 n – ‚ fine: bcn oct.03 24 –. œ> œ b– / ba dec.03 µ – n‚ µ – . / pfzh sept.07 ∏ (F) 3 Dur.: 3.30-4.00 min.

PED

3

n

45