Simon Steen-Andersen: Next to Beside Besides #5 (2003/06) for amplified piccolo solo

Simon Steen-Andersen Next to Beside Besides #5 (2003/06) for amplified piccolo flute 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 #5 (2003/06) for amplified piccolo flute 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

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 PERFORMANCE NOTES much direction, etc.). When ending or starting in an accentuated point, the point should Preparation: The main system (the lower system) showsthem the always be a bit louder than the crescended or diminuended sound, in order to make The piece“melt is played without mouthpiece. relative to the mouth (the together”, like a zoom (reverse reverb) orhorizontal “natural”position reverb of ofthe thetube accentuated point. tube moving sideways from the edge of the one end to In general: Amplification: thelittle edgeto of do thewith otherthe end).

And it shows normally) The use of the piccolo flute in this piece has very normal way of(as playing The piccolo should be amplified as much as gives any advantage the key action anda other fluteplaying should be theflute instrument.

It therefore hardly being flute actions. player,The when possible without it being unpleasant – atbe least positioned so that this piece.

If there should an loud advantage it would be a horizontally certain control ofthe thekey aircorresponding stream enough toand givebreathing a feeling of-zooming on the very soft the three-line system d to and theinownership of a piccolo.with Butthe the“note” pieceincan just as well be (from played byc – sounds. recorder players or even percussion players. as a normal system but missing the two upper lines) is Thetogether notation isother basically action notation to thethenormal result notation When played with versions of NTBB the (in opposition centred before lips. A note floating above the system showing describing in some degree the resulting Theedge notation goes to end amplification shouldor level out the dynamic differences meanssounds).

ON the metal of themainly tube in the “treble” show where toasblow relatively to thepiece mouth) andhave secondly how to between the instruments much(or as position possible. the instrument(where the mouth should been), “floating” blow and setup if a key is to beuse performed.

For the microphone oneactions can for example the below the system means ON the metal edge in the The sounds produced by blowing ON theend instrument, kind of headset normally are usedmainly for singers. “bass” of the tube.rather than in or through the instrument. The distance between the lips and the instrument is mostly between 0.1 and 1 cm.

Dynamics: The secondary system (the upper system) shows how The main system (the lower system) shows the horizontal ofhorizontal the tube axis. relative to Action dynamics are written in parenthesis (fff ) and to turn the tubeposition around its The lower theamount mouthof(the tube sideways edge of the onewhere end to the other indicate the energy to moving be put into an actionfrom the line is the position thethe air edge streamofwould hit the end). it shows normally) the ppp key actionunderside and other flutewords should even though theAnd resulting sound(as is much softer. The of actions. the keys –The in other the be flute is held positioned should horizontally so thatpossible the key corresponding with the in the three-line system (without parenthesis) be the softest up side down.

The“note” upper line is the position where the air (from(trying d to cto–match as a all normal system twohits upper lines) before the lips. even dynamic the soft events).but missing the stream the edge of is thecentred mechanics on which the keys A note floating above thebesystem means ON the edge the words tube inmore theor “treble” Crescendos and diminuendos should performed aremetal attached – inofother less theend normal (where the mouth piece should have been), “floating” below the system means ON the “exponentially” (very late cresc. with much direction, position of the flute. To reach the “upper” position of the metal edge in the in “bass” end of the tube. etc.). When ending or starting an accentuated mechanics the tube is turned or “rolled” away from one (the upper system) shows how to turn tubeone around point, theThe pointsecondary should alwayssystem be a bit louder than the self, and rolled backthe towards self toits get back to the horizontal axis.

The lower line is the position where the air stream would hit the underside crescended or diminuended sound, in order to make “lower” position. The glissando line between the two oftogether”, the keyslike – ina zoom other(reverse words the flute side down.

The this upper linemovement. is the position them “melt reverb) oris held uppositions indicates rolling whereofthe stream hits the edge of the mechanics on which the keys are attached – in “natural” reverb theair accentuated point. other words more or less the normal position of(Athe flute. To reachindicated the “upper” of by horizontal position in the position lower system the mechanics the tube is turned or “rolled” away from and rolled back towards In general: a note or aone keyself, in combination with the “mechanics to get the has “lower” position. Theposition” glissando lineline) between the two positions The use ofone the self piccolo fluteback in thistopiece very little (upper in the upper system therefore means indicates this rolling movement. to do with the normal way of playing the instrument. to blow on the mechanics at the horizontal position that (Ahardly horizontal position indicated the lower system by a note keyorinkey.) combination with It therefore gives any advantage being ainflute corresponds with or thisanote the playing “mechanics position” line) player, when this piece.

If there(upper should be an in the upper system therefore means to blow on the mechanics at the horizontal position that corresponds with this or key.) advantage it would be a certain control of the air stream Suggested way ofnote holding the instrument: and breathing - and the ownership of a piccolo. But the of by holding instrument: piece canSuggested just as well beway played recorderthe players or even percussion players.

The notation is basically action notation (in opposition to the normal result notation showing or describing in some degree the resulting sounds). The notation mainly goes to show where to blow (or position the instrument relatively to the mouth) and secondly how to blow and if a key actions is to be performed.

The sounds are mainly produced by blowing ON the instrument, rather than in or through the instrument. The distance between the lips and the instrument is mostly between 0.1 and 1 cm.

(Turning or ”rolling” the tube away from one self around its horizontal axis and very close to the mouth.)

(Turning or ”rolling” the tube (Moving tube sideways away from one self around close to the mouth.) its horizontal axis and very close to the mouth.)

very

(Moving tube sideways very close to the mouth.)

Airnoise noise by rather focused air stream – on edges holes or theholes wood inor on Air bya a rather focused air stream – or onkey edges oron key between.

(Noisier than the very focused air stream, but not necessarily completely the wood in between.

(Noisier than the very focused air stream, but not Air noise by a rather focused air stream – on edges or key holes or on the wood in between.

(Noisier than the very focused air stream, but not without whistletones.) necessarily completely without whistletones.) necessarily completely without whistletones.)

Whistle tone by a very focused air stream (also dependant ofairdistance Whistletone tonebyby very focused stream (also dependant of distance and speed).

Whistle aa very focused airair stream (also dependant of distance and air speed).

(Clearer high pitch(es), but not necessarily completely and air speed).

(Clearer high pitch(es), but not necessarily completely (Clearer high pitch(es), but not necessarily completely without air noise or completely without air noise or completely stable.) without stable.) air noise or completely stable.)

Blowthrough throughthe the tube (from “bass” end) the mouth completely closed Blow tube (from thethe ”bass” end) withwith the mouth completely closed around thethe opening. around the opening.

Blow through tube (from the ”bass” end) with the mouth completely Fast trill on the key that blown Fast trill on the key that is is blown on.on. closed around the opening.

Focused (with thethe mouth – not withwith the the lounges as in Focusedair airininand andout outasasfast fastasaspossible possible (with mouth – not

Fast trillason the key that is blown on. lounges in hyper ventilating). hyper ventilating).

Focused air in and out as fast as possible (with the mouth – not with the Airinin/air out.in nothing elseisiswritten written always out.

Air / air as out.

IfIfnothing always airair out. lounges hyperelse ventilating).

Press in in order to make a clear Pressdown downaasingle singlekey key(a(abitbitexagerated exagerated order to make a clear sound), (If not folsound), (If not followed by a ”lift key” sign, release silently.) lowed by a “lift key” sign, release silently.)

Lift a asingle exagerated in order to make a clear sound).

Air in /single air key out.

Ifbitbit nothing else written always air out.

Lift key(a(a exagerated inisorder to make a clear sound).

Snap release a single key: If allready down, by sliding off the key while

Snap release a single key: If allready down, by sliding off the key while pressing down Press down a single key (apassing bit exagerated inInorder to make a clear pressing down – ifby unprepared, it downwards. bothresulting cases sound should be – if unprepared, passing it by downwards.

In both cases the sound), (If not followed by a ”lift key” sign, release silently.) the resulting sound should be louder and clearer than by simply lifting the louder and clearer than by simply lifting the key.

key.

Lift a single key (a bit exagerated in order to make a clear sound).

Tounge stop.

Not slap tounge butbut clearly distinctable from from a normal Toungestart startorortounge tounge stop.

Not slap tounge clearly distinctable a normal attack. attack.

Snap release a single key: If allready down, by sliding off the key while 1)1. Within notated key run (not(not justjust keys).

Withinthe thesystem: system: Normally notated key run single keys). In both cases pressing down – ifNormally unprepared, by passing itsingle downwards.

2)2.Above / Below system: Hit treble / bass end opening with the palm of of left/right hand.

Above/below system: Hit treble/bass end opening with the palm the resulting sound should be louder and clearer than by simply lifting the left / right hand. key.

Staccato possible––no nomatter matterthe thenote notevalue. value.

Staccatoalways always as as short short as as possible

Tounge start or tounge stop. Not slap tounge but clearly distinctable from a normal attack.

1) Within the system: Normally notated key run (not just single keys).

2) Above / Below system: Hit treble / bass end opening with the palm of left / right hand.

Staccato always as short as possible – no matter the note value.

Next To Beside Besides #5 for amplified piccolo flute solo (or as movement or part in any combination of pieces from the NTBB series)

(pianissimo) furioso

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Simon Steen-Andersen 2006

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fine: bcn oct.03 / ba dec.03 / cph apr.06 Dur.: 3.30-4.00 min.

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