Simon Steen-Andersen Next to Beside Besides #6 (2003/06) for amplified violin 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 #6 (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
even though the resulting sound is much softer. The ppp (without pa reverb of the accentuated point. even dynamic (trying to match all the soft events). Dynamics: Crescendos and diminuendos should be performed “exponentially” ( Action dynamics are written in parenthesis (fff) and indicate the In general: When ending or starting in an accentuated point, the point should a though softer. ppp open (without Theeven piece shouldthe be resulting played assound “dry”isasmuch possible, notThe letting str or diminuended sound, in order to make them “melt together”, like PERFORMANCE NOTES even dynamic (trying to match all the soft events). reverb of the accentuated point. Crescendos and diminuendos should be performed “exponentially Signs and abbreviations: Scordatura: Signs and abbreviations: When ending or starting in an accentuated point, the point should 3rd string down 3⁄4 of a tone, 4th string down a major 3rd. In general: Bowing on body instrument. If the or diminuended sound, in order to make them “melt Bowing on the the bodyof ofthe the instrument. Iftogether”, the sign is lia piece should beisplayed as “dry” asitpossible, not body letting open str The music is notated where it should be played – not as Thereverb sign above the system indicates the of thethe accentuated treble sidepoint. of the instrument – below the system it sounds. on the treble side going of the instrument – below systemuse the same When legato from string the to body, Signs and abbreviations: In indicates general:the bass sidebetween of the instrument. When moving and forth two strings in one bow. The piece should as “dry” as possible, not letting open Preparation: legato from stringbetoplayed body, use the same tilting technique Bowing on the body of the instrument. If the sign is Simultaneous glissando and arpeggio (or in in general: c Place a “crocodile clamp” at the highest point of the fret as when changing backside and forth two strings the treble of thebetween instrument – below the system Signs and abbreviations: first cord indicates the relative finger positions. The board on the 1st string, so that it vibrates against the one bow. When going legato from string to body, use the same and then changing string in the indicated rhythm whi wood when played. and forth between two strings in one bow. Bowing on the body of the instrument. If the sign Simultaneous glissando and arpeggio (or in the treble side of the instrument – below the syst Simultaneous glissando and arpeggio (or in general: Mute: general: string within atone glissando). Whenchanging going legato to use the Gradual transition fromfrom purestring to body, pure noise (nosar firstfirst cord indicates the relative finger positions. The The piece should be played with a metal practice mute. The cord indicates the relative finger and forth between two strings in one bow. and thenThe changing string in the rhythm wh positions. large note is the firstindicated one to Amplification: The violin 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.
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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).
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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.
Simultaneous and arpeggio genera be played and thenglissando changing with string in the Hit/tap indicated string(s) left hand(or forinpercuss first cord indicates thestrings relative finger positions. T (without letting the open sound). indicated rhythm while performing the Gradual transition from pure tone to pure noise (no and then changing string in the indicated rhythm indicated glissando.
Gradual transitionstring(s) from pure tone to pure Hit/tap indicated with left hand for percuss Gradual transition from pure to pure noise ( ‘Press’ or tap the indicated stringtone at the position the (without letting the open strings sound). noise (no recognisable pitch).
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s.a. Senza arco Noarco ledger lines means approximate precision. s.a.c.l.b. Senza Col legno battuto (while damping string). Tremolo is always damping unmeasured and to be performed c.l.b.+ Col legno battuto string). Left hand(while pizzicato. Staccato is always as short as possible (no matter th + Left hand pizzicato. No ledger lines means approximate precision. is always unmeasured No ledger linesTremolo means approximate precision. and to be perform Staccato is always as as possible Tremolo is always unmeasured and toshort be performed as (no matter dense as possible. Staccato is always as short as possible (no matter the length of the note).
Next To Beside Besides #6 for violin solo (or as movement or part in any combination of pieces from the NTBB series)
Preparation: - Place "crocodile clamp" on the 1st string at the highest point of the fingerboard as shown in the preface. - Detune 3rd string to a quarter tone raised C (down 3/4 of a tone) and 4th string to Eb (major 3rd).
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