Simon Steen-Andersen: Next to Beside Besides #12 (2003/08)

Simon Steen-Andersen Next to Beside Besides #12 (2003/08) for amplified accordion 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 #12 (2003/08) for amplified accordion 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 Preparation: Take off front cover.

Position: Place instrument on the lap turned as it is on the picture on the next page (as if seen from the audience). Put right arm strap around the neck (or use another solution leaving both hands free). Only very little bellow movement is needed.

Paint roll: The piece is placed with a small paint roll in the right hand (use a very soft roll with a width as the right hand key board).

II indicates playing with the roll. (If there is enough time the roll can be put aside when not used if preferred).

Staging: Use a low stand for the score making the whole instrument visible to the audience.

Signs and techniques are explained in the score as they appear.

fff

Dynamics: Action dynamics are written in parenthesis ( ) and indicate the amount of energy to be put into an action even though the resulting sound is much softer. The ( ) should be as loud as possible (“tutta la fuerza”), the (without parenthesis) should be the softest possible even dynamic (trying to match all the soft events).

fff ppp

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

When ending or starting in an accentuated point, the point should always be a bit louder than the crescended or diminuended sound, in order to make them “melt together”, like a zoom (reverse reverb) or “natural” reverb of the accentuated point.

Staccato: As short as possible no matter the note value.

Tremolo: As fast or dense as possible, unmeasured.

Amplification: The accordion should be amplified as General notation: The two systems refer to the same much as possible without it being unpleasant – at least keyboards and registers as normally. The upper line in General notation: loud enough to give a feeling of zooming in on the very each system indicates the very highest rows of keys, the The two systems refer to the same keyboards and registers as normally. The upper line soft sounds. lower line indicates the very lowest rows of keys. in each system indicates the very highest rows of keys, the lower line indicates the very lowestwith rowsother of keys.

When played together versions of NTBB the

(In the upper system a note or a cross always represents (In the upper a note differences or a cross always represents of of rows of keys). amplification should level out system the dynamic severalseveral of rows keys). between the instruments as much as possible.

When using the areas between the keyboards there will be an indication of the horizontal When using the areas between the keyboards there will position (left, middle, right). be an indication of the horizontal position (left, middle, right).

button) (air(air button)

Next To Beside Besides #3 for amplified accordion solo Instrument position, tone and air production: see preface

(pianissimo) furioso

q =60

key guiro r.h. l.h. r.h. ("nails") ("nails")

¿ 4 &4 ¿ ( fff )

3

l.h.

¿

¿

& ?

¿

3

¿

¿3

¿

¿3

¿

? 44 4

sim.

¿

¿

¿

3

¿

—.

?≈

¿ –.

‰

¿

5

11

&¿

(l.h.)

(f) ?

ã

˜

¿

3

¿

¿

¿

(r.h.)

3

¿

¿3

¿

¿

¿

2 4 ¿ ∏ (air) –.

24

r.h.

5

œ ˜æ. ∏

43 43

—.

—.

¿ –.

(sim.)

3

—. —.

–.

≈

¿ –. ¿ 3

1

¿

—.

—.

5

–.

¿

¿ –.

("hit" down air button)

≈ ‰.

(with paint roll in right hand)

(back and forth next to the keys)

ã

42 œ > (tone cluster) F 42

¿

(l.h.) (r.h.)

¿ ¿ .. fl ( fff )

‰

5

5

5

¿

¿

—.

–. ¿ –.

(r.h.)

¿3

—. (snap air button)

r.h. l.h.

(always tone on cluster gliss. with roller)

¿

3

(highest tone)

¿3 ¿ 3 ¿ 64 ¿ 3 ¿ ¿ ¿ ¿ ¿ ( fff ) ¿ –. ¿ 46

8

&

¿

˜æ ∏

5:3

¿

¿

3

¿

j œ

P

42 42

—.

& 42

14

∏ ? 42 ‰ .

18

¿

& ( fff ) ?

5

¿

‰

‰.

—.

¿

¿

r ¿–

–.

5

≈ ‰

—.

ã

˜

‰

ã

>˜ 3 &4æ ∏ ? 43

≈

—.

–¿

‰

5 ∏

≈

¿ –.

43 ‰ .

–.

5

– P

3

—.

‰

—.

–.

‰

3

5

43 43

‰.

∏ ã

42 ∏ –. ¿ . ¿ –. ¿ ‰ 42

¿ –.

5

3

¿ –.

≈‰ ‰ 3

5

l.h.

24 ¿. ¿. > 42

—. —-

—.

(* action 4-8: stay furthest to the right)

˜ æ

3

¿

‰

5

P ∏ –. ¿ – – >¿ –. ‰ ≈ ≈

5

—.

–.

—.

≈ 43

‰.

‰.

—.

5

5

˜ æ

5

41 ¿ ( fff ) ¿ –. ‰ ≈ ≈ ≈ 41

3

œ ˜æ ˜æ

‰

≈

¿ –.

(r.h.)

–.

3

—.

Œ

P

?

29

≈

3

& 43 ∏ ¿ ? 43

&

–.

—.

22

26

—.

(don't stop air before releasing the button)

P

–. ¿

‰.

5

˜ æ ≈

74 74

‰.

4) short guiro on damping mechanics r.h. l.h. r.h.

5

43 (freeze)

6) tap front plastic r.h. l.h.

3

ø Û . ¿ ¿ –– ∏ .

5) tap wood

3) register button furthest to the right

2

43 8) guiro gliss. from right to left on damping mechanics

7) scratch on bellow

l.h.

Û

ã

38 œ œ œ œ œ ˜ œ 38

5

32

ã

& ˜æ œ ˜æ œj

24 æ˜

˜ æ

(tone gliss.)

3

(start next to the keys)

?

37

& ∏ – ?

38

42

‰ ‰ 46

ã

œ ˜ œ œ œ œ

œ

3

¿ æ

¿ 64 ‰ Œ Ó

œ œ

¿ æ

5

( fff )

9) guiro on damping mechanics from the middle to the right

r.h. l.h.

–– Û ‰

ã 24 ¿ æ

∏

–.

? 46 ≈ ‰ Œ

Œ

Œ

*) roll once from next to the keys to the edge of the keys

& 42 ? 42

¿ æ

¿

ã*

ã

very small trem.

*

3

æ æ æ ø ˜ ø ˜ ˜ œ ˜ œ

Œ

38

∏ –

very big trem.

38 8) bass register button furthest to the right 9-10) middle buttons

¿ ‰ 85 ≈ .

P ø Û. ¿ ¿ – >¿ –. ø 3 > øø 58 ≈ ‰ ∏ Œ ø

38 ˜ œ æJ ∏ Û ø l.h. ø 38 r.h.

œ ˜æ. œ Ffl

3

≈ ‰

‰

42

l.h.

85 ( fff ) 85

ø ø ––

(bend) (reg 2, 3)

r.h.

46

trem. between reg. buttons furthest to the right

j æ ø Û –– . .

3

38 œ

∏

46

* stay furthest to the left

38

¿ ¿

l.h. r.h.

guiro with a nail on the bellow (stay in the middle)

42 œ bass reg., right, left

¿

(deepest 11) single tone) reg. but. furthest to the left

guiro on damping mechanics, left to right 3

¿

–

P

r.h.

∏

¿ æ

3

>r ¿–

(guiro gliss.)

l.h.

42

8) scratch 3) short guiro on 7) (deepest) damping mechanics 5) scratch single tone bellow bellow from left to the middle (scratch) like m. 30 (stay furthest to the right) 5

46

¿ 45 æ

42

Ó

45

‰ ‰ & 85 ¿ ¿ ¿ ¿ ø Û > (* action 1-7: . ¿ l.h. stay furthest ––. ø j to the left) ? 85 ‰ ‰ œ

& 46

42

(freeze)

38

2) register 1) slap lowest button 4) tap 6) register keys with l.h. furthest front button (bass) to the left 40 furthest 3 to the left

43

—.

(l.h.)

42 42

6 16 6 16

(from the middle to the right)

¿.

J

6 j & 16 Û. l.h. ? 16 6

50

(like m. 40, stay furthesst to the left) l.h.

¿.

J

7 ‰ & 16 ∏ø ? 16 7 .

54

38 ‰ ¿> ¿ ¿ ¿ ø Û. ¿ l.h.

––. ø 38 ‰ ‰ ( fff )

r.h.

j –– Û ‰ œ

‰.

3

ã

œ 5 ¿. ≈ ¿. j &8 j J ¿ ø Û *stay on ¿ r.h.Û. theright ˘ l.h. middle – – side to right ? 85 ‰ Œ. ( fff ) ∏ P 3

58

& 38

62

l.h.

j Û ø –– ‰ œ.

ã

∏3

œ 38 j j J ¿ Û ∏ ( fff ) 38

42 Ͼ

j ˜ 3 8 œ˜ œ˜ œœ æ

˜ æJ

5

38 3

j

œœœœ

45 Œ

? 44

45

n

ã

¿ 3 &4 ø Û Ûœ˜ œ > . –– . . ∏ P ? 43

70

3

right

left r.h. l.h.

3

˜ æ

˜ æJ

l.h.

4

left r.h. l.h.

j 58 ¿ ø> Û – Û œ ˜ œ ˜ œ œ . –. .

P ∏ 58 3

44 ˜ ∏

n

œ

44 ˜ æ

3 8 38

˜ œ æ

ã

44 44

n

43 P 43

left

œ˜ 24 ¿ ø Û Û œ ˜ œ. > . –– . . ∏ P 42 3

n

5

œ

right

¿ ø Û Ûœœœœ > . –– . . ∏ P

85

(tap front furthest to the right)

˜ ˜ ˜ ˜ æ æ æ æ

3

n

˘ 3 ¿ ¿ ¿¿¿¿ 4 ø ø ø øøøøøø 3 P ( fff ) ¿¿¿ 43

ã

ã

85 P

(registers left to right) r.h. l.h. r.h. l.h.

6 3 3

r.h.

left 3

n

38

˜. æ

l.h.

n

3

3

38 ˜ . æ ∏

right

∏ >œ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ 4 &4 æ æ æ æ æ æ æ

66

7 ‰ 16 ¿> ¿ ¿ ¿ ø Û. ¿ ––. ø 7 ‰ ‰ 16 ( fff ) ∏

œ ˜æ. œ fl F

(x=tap keys with roll)

ã

¿ J

(sim.)

‰

42

(roll on bass regs) l.h. snap 3 single key

right

(from the middle to the right)

‰

‰ ‰ ¿ œ . . ¿. Û. ¿ – ã 6 ¿ l.h. tap front –. furthest to the left ? 38 ‰ ‰ øøøøø ‰ ‰ ø ¿ 3

‰

3

7:4

fine: bcn.oct.03/ ba.dec.03/ cph.aug.08

Dur.: 3.30-4.00 min.