Simon Steen-Andersen: Next to Beside Besides #7 (2003/06) by Edition·S

Simon Steen-Andersen Next to Beside Besides #7 (2003/06) for amplified piano solo with whammy pedal (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 #7 (2003/06) for amplified piano solo with whammy pedal (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

Inside preparation: Whammy pedal: The 2 first notes should be raised respectively 1⁄4 and The amplified signal should go through a “whammy 3⁄4 of a tone by inserting a screw or a bolt between the pedal”, which is a “glissando” pedal designed by two right side strings (the string furthest to the left is “Digitech”. (A MIDI-pedal and a Max-patch may also be used). The whammy pedal should be set to “2 octaves e preparation:not sounding because of the una corda pedal) close to 2 first notes should be raised respectively ¼ and the ¾ ofhammers. a tone by inserting a screw or a bolt between the pedal is controlled by the player and notated the end furthest away from The notes up”. The ight side strings (the string furthest to the left is not sounding because of the una corda pedal) close to marked with crosses should be dampened completely in a 3rd system of 2 lines: Lower line – heel down, no nd furthest away from the hammers. (no audible pitch) – e.g. with “sticky tack”. transposition, upper line – toes down /pressed forward, notes marked with crosses should be dampened completely (no audible pitch) – fx with “sticky tag”. transposed 2 octaves up. Notes in between the 2 lines are only intended as approximate or relative positions.

Dynamics: The ( ) dynamic should be very energetic but not too loud though. The (without parenthesis) should be the softest possible even dynamic (trying to match all the ide preparation: “una corda” pedal should be fixed down. The piano should be completely closed and preferably “coated” Outside preparation: soft events). (Crescendos and diminuendos should, when even dampened underneath to avoid hearing the acoustic / unamplified sound. The “una corda” pedal should be fixed down. The piano possible, be performed “exponentially” (very late cresc. ification: should be completely closed and preferably “coated” with much direction, etc.). When ending or starting in piano should be amplified as much as possible without it being unpleasant – at least loud enough to give a dampened an accentuated point, the point should always be a bit ng of zooming and in on even the very soft sounds.underneath to avoid hearing the microphones should be placed inside the closed acoustic/unamplified sound.piano. louder than the crescended or diminuended sound, in n played together with other versions of NTBB the amplification should level out the dynamic differences order to make them “melt together”, like a zoom (reverse een the instruments as much as possible. Amplification: reverb) or “natural” reverb of the accentuated point.) mmy pedal: The piano should be amplified as much as possible amplified signal should go through a “whammy pedal”, which is a “glissando” pedal designed by tech”. (A midi-pedal anditabeing max-patch may also be used). The whammy pedaltoshould be set to “2 octaves without unpleasant – at least loud enough Glissando: The pedal is controlled by the player and notated in a 3rd system of 2 lines: Lower line – heel down, no give a feeling of zooming in on the very soft sounds. Most glissandos are two hand glissandos: left hand position, upper line – toes down /pressed forward, transposed 2 octaves up. Notes in between the 2 lines nly intended as approximate or relative positions. The microphones should be placed inside the closed playing the black keys and right hand playing the white piano. When played together with other versions of keys. The player may need finger gloves or pieces of mics: f) dynamic should be very but notshould too loudlevel though. (without parenthesis) cloth should to be avoid the NTBB the energetic amplification outThe theppp dynamic burns. st possible even dynamic (trying to match all the soft events). differences between the instruments as much as cendos and diminuendos should, when possible, be performed “exponentially” (very late cresc. with much possible. tion, etc.). When ending or starting in an accentuated point, the point should always be a bit louder than

rescended or diminuended sound, in order to make them “melt together”, like a zoom (reverse reverb) or ural” reverb of the accentuated point.)

ando: glissandoes are two hand glissandoes: left hand playing the black keys and right hand playing the white The player may need finger gloves or pieces of cloth to avoid burns.

ppp

Next To Beside Besides #7 for amplified piano solo with whammy pedal

(or as movement or part in any combination of pieces from the NTBB series) Outside preparation: fix down the una corda pedal, close piano completely, piano may be "coated" and polstered underneath to avoid an audible acustic signal. Inside preparation: see preface.

q =60 (pianissimo) furioso Kr repeat as fast as possible (notes dampened completely inside the piano) œ œ b œ bœ : 4 RÔ &4 (f) & 44 ã

(whammy pedal heel down - no transposition)

& & ˜

?≈ ã

∆ <

# œ.

‰.

> 2 & 4 #œ ‰ #œ ∏ ? 42 # O O ∆

∆ <

(silently pressed down key)

# œ. 5

j œœ

#œ ≈ .

‰

bœ œ œ # #œœ

(f) j Œ * 3

∆

‰

#œ #œ . ∏ 5 ‰ j ∆. ˜

œ. #œ.

œ. ˜

∆*

(short noisy (not percussive) sound off the strings slighly activated by the lifting dampers)

(tone, leggerissimo staccatissimo)

42 match all 5 three sounds ppp dynamically # œ . ? 2 4 ∆ *< ˜ ˜

ã ˜

∆

(dampened string, sempre leggerissimo)

#œ.

∆

œ.

(whammy pedal toes down (forward) - signal transposed two octaves up)

rK sempre œ bœ : œ bœ RÔ 46 (f) 6 4 ˜

42 2 4 ˜

rK œ bœ : œ bœ RÔ ® 43 (f) n 3 3 (l.h.) (r.h.) . # œ œ ≈œ œ œ n œ # œ œ œ n œ b #œ˘œœ®≈ ‰ Œ 34 . . . . . . . Kr ∆ ∆ ∆ * *< *< *< ˜ ˜ ˜ ˜ ˜ ˜

(accelerating glissando)

˜ 42 Œ ˜

& 42 ppp 5 ? 42 ‰ . # œ. ≈ # œ. ‰ ∆ *< ˜ ˜ ˜. ã

Kr œ œ b œ bœ: ÔR P ppp ( f ) 5 3 > # œ #œ œ. ≈ ‰. ≈ . ‰ ∆ ∆* ∆ ∆* < ˜ ˜ ˜ ˜ ˜

‰. ˜

∆ *<

#œ ≈.

‰

# œ. ˜

∆ *<

‰.

43 ∏ 34 # œ.

P ppp 5 P 5 3 > #œ œ #œ œ œ # œ. œ. ? # œ. ‰ ≈ .‰ . . . ∆ ∆* ∆ ∆ .. *< > ˜ ˜ ˜ ˜ ã Kr bœ œ 23 œ bœ RÔ & 41 42 ∏ 3 (f) œ. . œ. œ. #œ. ?1 2 # œ. ‰ 4 4 ∆ ∆ *< *< ˜ ˜ ã ˜ & 43 27

? 3 ‰. 4 ã & 43

# œ. # œ. ≈‰ ‰ 3

∆

? 43 ã

∏ ∆ > ˜

∆ ˜

∆ ∆ ˜

∆

# œ. ˜

∆

‰.

œ. ≈

∆

˜.

‰

œœ

#œ ∆

œ. # œ. ‰ ≈ ≈ ≈ 41 ∆ ∆ *< *< ˜ ˜ 3

#œ # œ. ∆

# œ.

∆

˜.

43 ≈ 43 ∆ *<

7 4

3 4

> 5 # # œœ. œœœ.œœœ.œœœ.œœœ.œœ>-

42 P 42

œ ‰ . ‰. ∆ *< ˜ 5

(non-theatrical freeze)

‰.

# œ.

O O

∏3

# œœ

˜ J

˜ j

38 2 4 œ œ # œ œ œ # œ œ #œ #œ œ #œœ 3

(raised ~1/4 tone and distorted by preparation)

˜.

∆

˜ #œ

42 ∆ ˜

œ ∆

38 38

& 38 # œ ‰ ‰ 46 ‰ Œ Ó # œ. . 34

? 38 ã

˜.

? 45

∆ ˜

∆

j ˜

(r.h.)

j ˜

& 46 43

? 46

∆

‰ Œ

(3rd pedal)

ã & 42 46

œ # œ #œ œ œ œ œ

?2 4 ∆ ‰ Œ * ˜

œœœ.œœœ.œœœ.œœœ.

& 38 51

(f)

? 38 ‰ # Or j ã ˜

#œ nœ .

(l.h.) (r.h.)

˜ ˜. # œ #œ

≈

œ # œœ œ. #œ. œ. # œ ∏ 3 O O- ≈ ‰ ˜.

# œ œ œ#œœ P... œœ (l.h.) ﬂ˜ ˜. ˜

r œ

˜ J

∏

∆

‰# Or j ˜

#˙

˜ J

∏

‰ ‰

˜ J

‰ ‰

# œ-

œ . #œ .

. J

‰

j œ. ## œœœœ

38 # O O ‰ ∆j j ˜ ˜ 6 16

#œ . #œ .

6 16

˜ #œ

46 46

#œ #œ œ æ

˜.

7 œ #œ ≈ 16 # œœ œ. #œ. œ. #œ ∏ 3 7 O O- ≈ ‰ 16

# œ.

#œ œ n s n 38 æ 42 J #œ ∏ 3 3 2 8 4

‰

j ˜ ˜

(f)

(raised ~3/4 tone and distorted by preparation)

j œœ

. . . . œ # œ œœœœœœœœœœœœ

> 5 > 3 ## œœœ œœœ œœœ œœœ œœœ œ ‰ œ n œ 58 . . # O. . . -O O . . # œ. œ. œ 38 R . P

∆ ∆

(chromatic cluster)

r #O

œ # œ #œ œ #œ œ œ #œ ‰ œ œ ‰ #O O O #O O O 3

j 58 ≈ # # œœ- œ. #œ œ. œ (f) ppp 3 r ‰ 85 j O O O- ≈ ‰ *

∆

(chromatic cluster) (does not have to be complete)

(l.h.) ˘ n œœœ œœœ œœœ œœœ 3

#œ .

(l.h.)

& 45 Oj ‰ Œ

(r.h.)

42 P 42 ∆

˜ ˜ ˜ ˜ ˜ ˜

#œ .

> #œ

42 42

38 3 8

˜. 38 38

# œ # œ œ # œœ J ∏ (f) ˜

˜ J

42 42

& 42 Œ

# œ œ œ #œœ P...

. ? 42 # œ n œ

r œ

˜ ˜.

ã 60

œœ ﬂ˜ ˜. ˜

#œ

#œ #œ n

∆

ã ˜.

œœœœ.

43 P 43

œœœœ.

˜.

(f)

‚

& 45 Œ 68

5 &4 Œ

‰

œœ>-œœ œ. œ 3 # œ 3 &4 #œ #œ œœ 3 ∏ P & 43 70

& O

˜ ˜ J

œ-

˜ J

j j ˜ ˜

˜.

5 4

P ˜

œ. # œœ 3

˜ 44

>-œ œ # œ œ#œ œ œ œ nœ œ œœœ ®

r.h. knock on wood

(ord.)

˜.

#œ œ œ œ # œœ

l.h.) 3 œ. # œ. #œ. (crossing .

#>œ#œ œ œ œ ˙ . 4 4

(press down all the way)

˜ J

>œœ

38 #œ

#œ #œ j 38 ‰ 5 œ 8 . œ #œ#œ. # œ œ œ #œ œ # #œœ ¿ # œ. œœ. œ . œœ.œ P 3 > ∏ 38 O O- ‰ ‰ 85

˜.

(silently press down key until it meats "resistance")

sempre

œœ>-œœ œ. # œœ 5 j 5 &8 # œ# œ œ œ œ# œœ P 3 ∏ & 85 ˜

Ÿ~~~~~ j . . . . . œ œ œ n œœœ œœœ œœœ bœœ n œœœœ œœœœ œœœœ

Ÿ~~~~~ . . j

∏

(2 unsyncronized major 2nd trills: lh: Dd-Ed, rh: C-D)

œœœœ. œœœœ. œœœœ bœœ

. . . . . nn œœœœ œœœœ œœœœœœœœœœœœ # œ # œ œ # œœ 85 J 3 P ∏ (f) 85

#œ .

4 4

˙ ∏

# œ œ œ# œœ ∏

˜ J ˜ 4

# œ œ# œ œ

œ œ œ nœ œ ®

# œœ

˜ 3

# œœ

˜ œ # œ œ# œ œ œ œ nœ œ ® 10

3 4

7:4 œœ>-œœ œ. œ #œ # œ 2 4 #œ#œ œœ R 3 P ∏ 42 3

˜ J ˜

fine: bcn oct.03 / ba dec.03 / darmst. aug. 06 Dur.: 3.30-4.00 min.