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Simon Steen-Andersen Next to Beside Besides #8 (2003/06) for amplified guitar 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 #8 (2003/06) for amplified guitar 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

Preparation: 1st–5th string should be completely dampened by the bridge. Scordatura: 6th string should be tuned down until it has no audible pitch and vibrates percussively against the fretboard when played louder than ~p–mp (in ppp it shouldn’t rattle at all). 5th string should be tuned down a major third (C#). Amplification: The guitar 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. When played together with other versions of NTBB the amplification should level out the dynamic differences between the instruments as much as possible. (The music is notated where it should be played – not as it sounds.)

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 (without parenthesis) should be the softest possible even dynamic (trying to match all the soft events).

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. Signs and abbreviations: ▽ Tapped on a dampened string (only the backside of string sounding because of the damping at the bridge). If played on the 6th string: damp with right hand or arm. ▲ Tapped on 6th string without damping. ○ Plucked by right hand on the left side of the stopping r.h. finger. ■ Noisy sound (not impulses) by scratching 6th string with fingernail at the indicated possition (e.g. ~XX : at the “20th” fret). + Left hand pizzicato – on the left side of the stopping finger. Tremolo is always unmeasured and to be performed as densely as possible. Staccato is always as short as possible (no matter the length of the note).

Next To Beside Besides #8 for amplified (acoustic) guitar solo (or as movement or part in any combination of pieces from the NTBB series) Scordatura: see preface

(pianissimo) furioso

q = 60

V 44

Simon Steen-Andersen 2006

(To let the 6th string vibrate freely bend away 5th and 4th string with l.h. in the highest possition) 3 3

œ œ œ œ œ œ œ œ œ œ œ œ downtuned 6th string should vibrate as countinously and percussively as possible) ( ƒ ) (the (percussive in the vibration against the fretboard, not in the attack)

œ r.h. ~XX

–. ppp

∆

–. # ∆

–.

scratch on 6th string with r.h. finger nail (at the indicated poss.) - matching dynamically the other sounds. 5

V≈

–.

‰.

# ∆ –.

2 V4 ∆ (f) 10

r.h. ~II

– ppp

∆ 2 . ‰ ≈ ‰ V4 . – #∆ 14

r.h. ~XX

∆

+ j ∆

‰

≈

∆.

>œ r.h.–.~XX (f) ‰.

–.

ppp

> ∆ ≈‰

V # ∆–

(F)

r.h. ~XX

Œ ∆ – #∆

‰

5 ppp

# ∆ –.

≈

. –

∆

≈

‰

∆

# ∆ –.

‰.

(r.h. pluck behind l.h. finger) 3

∆ ˜

‰

(F)

r.h. ~II

‰.

∆ 3

‰

œ œ œ œ œ œ œ œ œ (ƒ)

#∆ –

r.h. ~III ∆ ∆ ∆ ∆ ∆ 34 ≈ . . . #∆– – ∆ –∆ –

–. ppp ‰

(sim. bend away strings in highest poss.)

∆ –∆

+ r.h.5 ~II

‰

∆

≈

∆

‰.

r.h. ~XX

. – 5

2 4

5:3

œ œ (ƒ)

r.h. pont. > XX

–. # ∆ ∆

>(sim.)

‰

≈

(sim.)

– – –. ∆ –. œ ( F ) ppp ( ƒ ) 34 ∆ #∆

∏

‰

∆

–.

‰

œ 5

≈ ≈ ≈ 41 ∆ –.

V 41

∆ . ∆ –. ∆

# –. ∆ ∏

œ (ƒ)

V 43 ‰ . 27

–.

> 3 V4 – ∏

≈‰ ‰

∆

(tapped but not dampened)

–

‰

# ∆ –.

‰.

–. ∆

–

24 > # –∆ (F)

r.h. ~II

(sim.l.h. bend away strings)

–

(hit stringswhile moving from highest to lowest poss.)

(keep nail on string)

‰ Œ

Œ (more and more vib. along the string, until a noise tremolo) m.v. s.v.

V 42 ˜ ∆ ∆ ˜ – –– – 46

r.h. ~II

– (f)

~IXX

38 j ‰ #∆

∆

38 j –æ ppp

∆

r.h.

∆3 b∆2

∆

2 3 4 ∆ b 3 +∆ ∆ j 8 ˜ > 3

2 4

5 6 3 ∆ (œ) b∆ 42 ∆ ∆ # ∆ œ 1 2

‰

(bended, release)

l.h.

2 ∆3 # ∆

(bend)

> 5 8 —————— œ 3 –. r.h. molto ∏sul pont. (F) l.h.

4 5

r.h. ~XX

–

(sim. cont. (sim. bend bend with with r.h.) l.h.) 5

–

5 ∆ ∆ #— — — #— —— 3 – – œ œ ∏

–

r.h. ~XX

b ∆ ∆J ∆ 2 58 ∆ ¿ ¿¿ ¿¿ ¿¿ ˜ ∆ 4 ¿ œ œ œ œ œ œ >¿ ¿ ¿ ¿ # ∆ ppp ˙ (ƒ)

≈ 43

– # ∆ –. r.h. ~XX

–

5 > 5 3 ∆ 4 > 6 j 24 — — — — — — œ ∆ 38 b∆ ∆ ∆ ∆ ∆ ∆ ∆ ∆ 3 –. – – – r.h. molto sul pont. r.h. ~II (F) ∏

5 4 3

–.

∆

∑

r.h. bartok pizz. behind l.h. finger

6 V4

–

continue gradually bend with l.h. bend string with r.h. ~XVI 3 5

∆ 3 V 8 ‰ ‰ 46 ‰ Œ Ó #∆

∆

‰.

V 45

≈

# ∆. –. (keep nail on string)

∆

(gliss.)

#œ

6 16

œœœœ . (ƒ)

5 4 3

(bended, release) (gliss.)

(sim.)

5 4 3

(bend) (gliss.)

3 2 1 2 3 3 ∆ 4 6 6 ∆ ∆ ∆ ∆ ∆ ∆ œ œ ) ) ( ( b∆ 7 38 j ∆ b ∆ 16 œ œ œœ œ ∆ 42 V 83 ¿ ¿ ¿ ¿ ˜ ∆ ∆ ∆ #œ #œ #œ ¿¿ ¿¿ ¿¿ ¿¿ # ∆ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ˜ # ∆ œ œ œ œ œ œ 3 3 ∏ > > ∏ ∏ ( fff ) (ƒ) (ƒ)

V 42 ˜

æ – (f)

≥

≤ j –

–

∆

5 —> œ V8 (F)

V 45 Œ

‰ n

> — œ V (F)

∆

3 >∆ >∆ >∆ >∆ >∆ 4 (F)

∆

∆ ∆ ∆ ∆ – – – ∏

sul pont

∆ 3

∆

∏

#¿ ∆ ∆ ∆ 3 >∆ 4œ œ J 8 >>> 3

æ –

1 2

(1st string plucked on head)

∆

24 —> 6

(F)

5 8

æ –

r.h. ~XX

5 4

w 6

∆ æ – –

sul pont

r.h. ~XX

sul pont

∆4 5 3 > ∆ 43 — œ ∆ ∆ – 3 (F) ∏

r.h. ~II

ø # # ∆∆ > +∆ ∆ +∆ ∆ b∆ ∆ – ∆ ∏ r.h. ~II

r.h. ~XX

Ÿ~~~~~~ > 4 œ 4 œ ˙.

∆ b∆ ∆ ∆ – ∏ r.h. ~II

fret guiro between 2nd and 1st string

44 6œ

œœ œ œ

–.

∆∆∆ >>>

œ (ƒ)

towards fretboard

–. ∏ 5

> 5 6 bend 5 3 gliss. 5 5 4 3 ∆ ∆ > ∆ ∆ b∆ ∆ j n œ ∆ 38 85 ∆ ∆ ∆ ∆ > > > > #œ –. œ – – – ∏ r.h. ~II (ƒ) (F) 4

≤

≥

r.h. ~II

r.h. ~XX towards bridge

sul (bend) pont

1 2 3

(more and more vib. along the string, until a 5 noise tremolo) r.h. ~II s.v. m.v.

∆ 3

r.h. ~II

∆

r.h. ~II

∆ ∆ – ∏

7:4

r.h. ~XX

æ –

r.h. ~XX

–

fine: bcn oct.03 / ba dec.03 / rm oct.06

Dur.: 3.30-4.00 min.