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Simon Steen-Andersen Next to Beside Besides #1 (2003/05) for amplified double bass solo (or as a movement or part in any combination of pieces from the NTBB series) Dur. 3′30″–4′

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Simon Steen-Andersen Next to Beside Besides #1 (2003/05) for amplified double bass 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

even dynamic (trying to match all the soft events). even dynamic (trying toin match allthe thebe soft events). Crescendos and diminuendos should performed When ending or starting an accentuated point, the“exponentially” point should alw( even even dynamic dynamic (trying (trying to to match match all all the soft soft events). events). Crescendos and diminuendos should be performed “exponentially” (v Crescendos and diminuendos should beperformed performed “exponentially” When ending or starting in an accentuated point, the point should or diminuended sound, in order to make them “melt“exponentially” together”, like (v a(( Crescendos Crescendos and and diminuendos diminuendos should should be be performed “exponentially” When ending or starting in an accentuated point, the point should al When ending orstarting starting in anaccentuated accentuated point, thepoint pointshould should al or diminuended sound, inin order to make them “melt together”, like reverb of the accentuated point. When When ending ending or or starting an an accentuated point, point, the the point should alw al or diminuended sound, in order to make them “melt together”, like or diminuended sound,in inorder order tomake makethem them“melt “melttogether”, together”,like likea reverb of the accentuated point. or or diminuended diminuended sound, sound, in order to to make them “melt together”, like reverb of the accentuated point. reverb ofthe theaccentuated accentuatedpoint. point. PERFORMANCE NOTES Inreverb general: reverb of of the accentuated point. In piece general: The should be played as “dry” as possible, not letting open strin In general: MUTE: In general: The piece should be played as “dry” as possible, not letting open str In In general: general: The piece should be played as “dry” as possible, not letting open str Thepiece piece should beplayed playedas as“dry” “dry”as aspossible, possible,not notletting lettingopen openstri str The piece should be played with a heavy practice mute. The Signsshould and abbreviations: The piece should be be played as “dry” as possible, not letting open str Signs and abbreviations: Signs and abbreviations: Amplification: Bowing on the body of the instrument. If the sign Signs and abbreviations: Signs andabbreviations: abbreviations: Signs Signs and and abbreviations: The bass should be amplified as much as possible is above the system it indicates the body on the Bowing the instrument body of the instrument. If the sign is ab without it being unpleasant – at least loud enough to treble sideon of the – below the system Bowing theofbody of the instrument. thesystem sign isi the trebleon side the instrument – below Ifthe give a feeling of zooming in on the very soft sounds. indicates theonbass side of of thethe instrument. Bowing the body instrument. If the sign is Bowing onthe the body ofthe the instrument. Ifthe the sign isaa the treble sidebody of the instrument – below thesign system Bowing Bowing on on the body of of the instrument. instrument. IfIf the sign isis the treble side of the instrument – below the system When played together with other versions of NTBB the thetreble trebleside sideof ofthe theinstrument instrument–––below belowthe thesystem system the the treble side of the instrument below the system amplification should level out the dynamic differences Simultaneous glissando and arpeggio (or in between the instruments as much as possible. general: changing string within a glissando). Simultaneous glissando and arpeggio (or in general: ch The first cord indicates therelative relative finger positions. Simultaneous glissando and arpeggio (or in general: first cord indicates the finger The l Simultaneous glissando and arpeggio (or in general: c Simultaneous glissando and arpeggio (or in general: Scordatura: positions. The large note is and the first one first cord indicates the relative finger positions. The and then changing string in the indicated rhythm while Simultaneous Simultaneous glissando glissando and arpeggio arpeggio (or (or in ingeneral: general: ccc first cord indicates the relative finger positions. The first cordindicates indicates therelative relative finger positions. The and then changing string in string thefinger indicated rhythm wh first cord cord indicates the the relative finger positions. The The 2nd string down one quarter of a tone. tofirst be played and then changing in positions. and then changing string in the indicated rhythm wh and then changing string in the indicated rhythm wh and and then then changing changing string string in in the the indicated indicated rhythm rhythm whi wh 4th string down until the string starts vibrating the indicated rhythm while performing the (percussively) against the wood when played louder indicated glissando. Gradual transition from pure tone to pure noise (no re (using a relative high bow pressure). Gradual transition from pure tone to pure noise (no Gradual transition to pure noise (no (The music is notated where it should be played - not as Gradual transition fromfrom purepure tone tone to pure Gradual transition from pure tone tonoise purenoise noise(no (norr Gradual Gradual transition transition from from pure pure tone tone to to pure pure noise (no it sounds.) (no recognisable pitch). Dynamics: Action dynamics are written in parenthesis (fff) and indicate the amount of energy to be put into an action even though the resulting sound is much softer. The ppp (without parenthesis) should be the softest possible even dynamic (trying to match all the soft events). 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. In general: The piece should be played as “dry” as possible, not letting open strings or harmonics ring out.

Hit indicated string(s) with left hand for percussive so Hit Hit indicated string(s) with left hand indicated string(s) with leftfor hand for percussive Hit indicated string(s) with left hand for percussive ss Hitindicated indicated string(s)with withleft lefthand handfor forpercussive percussiveso percussive sound.string(s) Hit Hit indicated string(s) with left hand for percussive s

‘Press’ fourth string left hand to touch the w ‘Press’ thethe fourth string withwith left hand to touch ‘Press’ the fourth string with left hand to touch pitch). In the case of a small note above the cross,the pre the‘Press’ wood shortly for a dry ‘click’ sound (no the fourth string with left hand to touch the ‘Press’ the fourth string withleft left hand totouch touch thew pitch). In the case of a(audible small note above the cross, p for the notated length. pitch) ‘Press’ ‘Press’ the the fourth fourth string string with with left hand hand to to touch the the pitch). In the case of a small note above the pitch). In the case of small note above the cross, pp pitch). In thecase case ofaaa asmall small notepitch) abovethe thecross, cross,pr for theInIn notated length. (audible pitch). pitch). the the case of of small note note above above the cross, p for the notated length. (audible pitch) cross, press the indicated note and keep it down forthe thenotated notated length. (audible pitch) for for the notated length. length. (audible (audiblepitch) pitch) for the notated length. (audible pitch) Col legno battuto (while damping string).

c.l.b. c.l.b. Col legno battuto (while damping string). c.l.b. Col legno battuto (while damping string). c.l.b. Col Col legno battuto (while damping string). legno battuto (while damping string). +c.l.b. Left hand pizzicato. c.l.b. Col Col legno legno battuto battuto (while (while damping damping string). string). + Left hand pizzicato. ++ Left hand pizzicato. Left hand pizzicato. Tremolo is always unmeasured and to be performed as ++ Left Left hand hand pizzicato. pizzicato. Left hand pizzicato. Tremolo is always unmeasured and to be performed Tremolo always unmeasured and to be performed Tremoloisisis isalways alwaysas unmeasured andto to(no beperformed performed short asperformed possible matter the a Tremolo Tremolo is always always unmeasured unmeasured and and to be be performed Tremolo isStaccato always unmeasured and to be as Staccato is always as short as possible (no matter th dense as possible. Staccato always as short as possible (no matter the Staccatoisis isalways alwaysas asshort shortas aspossible possible(no (nomatter matterthe the Staccato Staccato is always as short as possible (no matter the Staccato is always as short as possible (no matter the length of the note).

Next To Beside Besides #1 for amplified double bass solo (or as movement or part in any combination of pieces from the NTBB series)

(pianissimo) furioso

q = 60 (≤) 3 t 44 œ œ ( fff )

Simon Steen-Andersen 2005

4th string is to be tuned down until a percussive continous slapping of the string against the wood occours when playing ~(mf) or louder (with relative hard bowpressure)...

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knock on wood

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fine: bcn oct.03 / ba dec.03 / cph jan.05

Dur.: 3.30-4.00 min.