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Simon Steen-Andersen Next to Beside Besides #2 (2003/05) for (any) saxophone solo, amplified (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 #2 (2003/05) for (any) saxophone solo, amplified (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: The instrument should be stuffed completely with a piece of cloth. Amplification: The saxophone 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. (A limiter or compressor may be used to even out the dynamic levels in passages changing between techniques or fingerings with very different dynamics). When played together with other versions of NTBB the amplification should level out the dynamic differences between the instruments as much as possible.

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.

Crescendos and diminuendos should be la pe The (fff) should bedirection, as“loud” “loud” aspossible possible (“tutta la cresc. with much etc.). When ending o The (fff) should be as as (“tutta cresc. with much direction, etc.). When end parenthesis) should be the softest possible even point, the point should always be possible a bit louder thad parenthesis) should be the softest even point, the point should always be a bit loude soft events). diminuended sound, in order to make them “mel soft events). diminuended sound, to be make them Crescendos anddiminuendos diminuendos should beperforme perform reverb) or “natural” reverb in oforder the accentuated po Crescendos and should reverb) or “natural” reverb of the accentuate cresc. with much direction, etc.). When ending cresc. with much direction, etc.). When ending oro point,the thepoint pointshould shouldalways alwaysbe beaabit bitlouder louderthan tha Signs: point, Signs: Signs: diminuended sound, in order to make them “melt diminuended sound, in order to make them “melt reverb)oror“natural” “natural”reverb reverbofofthe theaccentuated accentuatedpoin po reverb) Air sound blowing through the instrument Air sound blowing through the instrument with th with the written fingering. Air sound blowing through the instrument w Signs: Signs:

Air sound on through the mouthpiece letting Air sound blowing theinstrument instrument without th Air soundblowing blowing on the mouthpiece letting Air sound blowing through the with the out the air without removing the mouthpiece Air sound blowing on the mouthpiece letting mouthpiece from the mouth. from the mouth. mouthpiece from the mouth.

Percussive sound. Either keysound sound letting Air sound blowing on the mouthpiece outth Percussive sound. Either a akey by taking Air sound blowing on the mouthpiece letting out by taking the written note or when Percussive sound. Either a key sound by mouthpiece from the mouth. indicated byfrom “snapping” a(ny) key with a fitting ta so mouthpiece the mouth. indicated by “snapping” a(ny) key indicated bySliding “snapping” a(ny) key with a fitt system). (Snap: finger off the key, sound with a fitting soundSliding and dynamic system). (Snap: finger off the key, s (cross below system). (Snap: Sliding Percussive sound. Either a key soundby bytaking takingth Percussive sound. Either a key sound finger off the key, sounding a bit indicated by“snapping” “snapping” a(ny)key key withaafitting fitting so Percussive sound by making a “vacuum t” with t indicated by a(ny) with sou louder than just lifting). Percussive sound by making a “vacuum t” system). (Snap: Sliding finger off the key, soundi sound, simply moving away the tongue from the system). (Snap: Sliding finger off the key, soundinw sound, simply moving away the tongue from making a slight vacuum). Percussive sound by making a “vacuum t” making a slight vacuum). with the tongue. (Very soft and simple sound, Percussivesound soundby bymaking making “vacuumt”t”with withthth Percussive aa“vacuum simply moving away the tongue from the upper sound, simply moving away the tongue from theu Harmonics. No specific pitch. The harmonic gliss sound, simply moving away the tongue from the part of the mouth while making a Harmonics. No pitch. The One harmonic making slight vacuum). independent from thespecific key movements. arro making aaslight vacuum). slight vacuum). independent from the key movements. One highest possible tone. highest possible tone. Harmonics. No specific pitch. The harmonic Harmonics. Nospecific specific pitch. Theharmonic harmonicglissa gliss Harmonics. No pitch. The glissando should be thought of as independent independent from the key movements. One arrow Play the written tones as normally with the left ha independent from the key movements. One arrow from thePlay key movements. One arrow up: high with the the written tones as normally highest possible tone. highest possible tone. tone. Two arrows: highest possible tone.

Staccato: As short as possible no matter the note Play the written as flutter normally with the Staccato: short as possible no the matter the Play the written tones as normally with theair leftsou ha Tremolo: On tones aAs tone: tongue. On an Play the written tones as normally with left han left hand high D key Tremolo: Ondown. a tone: flutter tongue. On an ai lounges or mouth). lounges or mouth). Baryton sax: Always play the deep A instead of the d Baryton sax: Always play theno deep A instead of Staccato: As short as possible no matter thenote note Staccato: As short as possible matter the Staccato: As short as possible no matter the note value. Tremolo: On a tone: flutter tongue. On an air sou Tremolo: On a tone: flutter tongue. On an air soun Tremolo: On a tone: flutter tongue. On an air sound: lounges mouth). lounges orormouth). hyperventilation (with lounges or mouth). Barytonsax: sax: Always Alwaysplay playthe thedeep deepAAinstead insteadofofthe thede d Baryton Baritone sax: Always play the deep A instead of the deep Bb.

Next To Beside Besides #2 for (any) saxophone solo (or as movement or part in any combination of pieces from the NTBB series)

Preparation:stuff the opening with a piece of cloth

(pianissimo) furioso

Simon Steen-Andersen 2005

q = 60 (breahthe in quickly when nessecary) 4 &4 bw ( fff ) 4

(as loud as possible even though the result isn't very loud)

+. . ¿ . +. . –œ 42 – œ – 5 ppp 5

(air sound through (slap instrument with tongue) written fingering)

. . – ≈ ‰ &

¿ . +. –œ‰

¿ . ≈ – ‰

[ + l.h. D ]

–

& 42 # œ ( fff )

∏

j . –. ¿ – ¿ + +œ +œ +œ +œ –. œ. ‚ 3 n ≈ &4 ¿ bœ 3

[growl]

3 (snap a key)

¿ . & – ‰. 5

+ ¿ œ –. 46 ¿ bw. ( fff )

‰.

rK ‚. ˙. ( fff )

(snap a key)

(blow ON mouthpiece (keep previous fingering))

['t]

œœœœ œœœ bœ ( >f )

– œœœ

œ œ œ# œ

¿ 24 ‰ . +œ –. ≈ ‰ 5 ppp

–. ≈ œ. ‰ – – –. ≈ –. ¿ ppp b˙ ¿ >) ( fff ) J ( F (snap a key) 3

(sim.)

–.

∏

+. . – ‰. ≈ œ ‰ 5

+ – ¿ R (F) (sim.)

¿+ – œ‰

∏

+ 3œ 4 . ‰ ¿ J ∏

+œ –. .– +œ +œ ¿ +œ – œ. +œ. ≈ ‰ ‰ ‰ ‰. &

∏5

–. 2 &4 (sim.) ¿ ∏

(snap a key)

¿. ¿ – + œ‰ ¿

¿ . – ‰.

.– ¿ – ≈

– œœ#œ œœ bœœ

+. ¿ . . & 43 ‰ . – ≈ ‰ ‰ œ – ‰ .

¿ –. ≈

–

42 (F)

∑

—

2 4

– . > + 2 – 3 ( ) O # œ œ œ œ rK & 4 ¿ # ¿ # ¿ n ¿ ¿ ¿ # ¿ n ¿ bœ ¿ n ¿ b O n O 8 œ œ ¿ 5 ∏ (F)

–

[ + l.h. D ]

¿ . .– +œ. ‰ ≈ ≈ – ≈ 41 bœ 3 5 ( fff )

[ + l.h. D ]

34 >– ∏

–

#œ 3

–

œ œœœ

9:4

2 &4

3 +œ ‰ ‰ 8J

33 [ +D ]

–

6 4

‰Œ

2 >j 4¿ b– (F)

œœ bœ

[ + l.h. D ]

–

∏

(without D)

37 [ +D ]

& b – bœ – œ œ œ œ ∏ 3

˘ 5 & 8 b¿ bœ¿ RÔ ( fff )

+ (œ.) œ ¿n¿ #¿ ¿ #O

("low" harmonic)

[]

bœ .

(higher)

[ +D ]

[]

œœ

(highest)

——

#¿ O J n¿ O 3 ∏

——

O OnO O

(flutter)

b˙

OOOO 4

b˙

˙æ.

( fff ) ¿ 38 J ‰ ‰

[+E]

2 &4 œ

——

& 42 # O

–

[ + l.h. D ]

#œ

– –

——

OOO O O

˘– œ

[growl]

#œ

—

[ + l.h. D ]

9:4

[ r.h. Bb ]

. – (hyperventilate) (œ) 2 œœœœ 38 j O O O O O O O O 4 O O O œbœ –æ O OO

∏

[ r.h. Bb ]

14:8

. . + (œ) ˘ 38 #¿ b ¿ œ ¿n ¿ # ¿ ¿ # O b œ œ œ œ œ œ bœ¿ n¿ O RÔ 5 3 3 ∏ ( fff ) æ

[ + l.h. D ]

[ r.h. Bb ]

–

œ. +. [ + r.h. high E ] + #œ > > (œ) 3 2 œ # O œ rK b œ n œ O O ¿ ¿# ¿ n ¿ bœ ¿ n ¿ O 8 4 O O J

5 –. 8 ¿ ¿ #¿ # ¿ n¿ (F) ∏

6 –. ‰ Œ Œ Œ Œ – &4

bœ

——

[ + l.h. D ] . æ 4:3 æ 3 ˘ + (œ) 3 7 38 # ¿ 16 #O O O O O b ¿ œ ¿ n ¿ # ¿ ¿ #O & #O O O O O O œ b œ œ œ O œ bœ œ œ œ œ œ œ bœ¿ n¿ O RÔ 5 3 3 ( fff ) ∏ ∏ ( fff )

[ + l.h. D ]

6:4

—

[ + l.h. D ]

˘œ – .

5 3 2# œ O O &8 O 4 O b œ n œ œ # œ # œ nOO ( fff ) ∏6

[ + l.h. D ]

[growl]

—

5 5 O 38 bœ ¿ ¿ ¿ O O & 8 b ¿ ¿ b¿ ¿ O O n¿ b œ nœ œ # œ nœ b O (–. ) ( fff ) (F) ∏6

–

6 j œœœœœ 16 bœ – . ∏

7:4

–

– œ œœœ œ bœ – 6

≤ j b– .

(breath in)

≤

j b– n

85 (F) 43

(F)

[ + l.h. D ]

3 ¿ ¿ æ & 4b–rK¿ (–. ) n ¿ b ¿ n ¿ ¿ # œ( fff ) (F)

+ œ

[ + l.h. D ] 63

r (¿ )

¿ > fingersnap on opening ∏

#¿

¿ ¿ ¿ 38 œ bœ œ nœ n ¿ ¿ ¿ ¿ # ¿ n ¿ ¿ # œ ¿ ¿ n¿ #¿ #¿ b¿ + > ∏

¿ ¿ æ ¿ n ¿ # ¿ n œ-

–

+ œ. œ #œ œ œ œœœ j œœ æ bœ – 3

(hyperventilate)

~~~~~~ (ord.)

—

– – – + > 5 4 8 Kr ¿ œ ¿b¿ OnO O# œ œ œ œœœœœœ 4 – b¿ ¿ 5 (–) (F)

tr. [l.h. D] [ ]

& 44

bœ >

˙.

& 44 ˙ ∏

—

(F)

9:4

[ + l.h. D ]

– (hyperv.) > + &–rK ¿ ¿ œ ¿b¿ OnOO#œ œ œ œœœœœ æ b(¿–) œ–

[ +D ]

∏3

∏

9:4

45 Œ

44 ∏

bw n

[ + l.h. D ]

—

– (hyperv.) # œ œ œ œœœœ œœœœbœ –æ

[ + l.h. D ]

– (hyperv.) + > 34 rK b¿ OnOO #œ œ œ œ œ œ ¿ œ ¿ – b¿ ¿ œ –æ (–) (F)

9:4

—

∏

9:4

(F)

[ + l.h. D ]

– + > 42–rK ¿ ¿ œ ¿b¿ OnOO #œ œ œ œ œ œ b(¿–) œ– (F)

4:3

∏

6:4 7:4

fine: bcn oct.03 / ba dec.03 / scala sept.05

Dur.: 3.30-4.00 min.