Simon Steen-Andersen: Next to Beside Besides #9 (2003/07)

Simon Steen-Andersen Next to Beside Besides #9 (2003/07) for amplified double bass 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 #9 (2003/07) for amplified double bass 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

PERFORMANCE NOTES Mute and preparation: The piece should be played with a heavy practice mute.

A piece of cloth should damp all the strings next to the bridge. A special (cheap) bow should probably be used.

sideward movement going from the instrument-body on the one side, over the strings to the body on the other side. The left hand position is more or less fixed vertically around the top of the body.

Amplification: The bass 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.

Right hand/bow: The bow is notated as the upper part. The bow is never actually bowing. Its position is notated by a tone and a string number (where the string is not obvious – or in the beginning where the optimal position for the jumping bow and the buzzing sound is wanted). A squared note head indicates to touch the string(s) with the hairs, a normal note head means touch string(s) with the wood (col legno) – “silently” if nothing is indicated, hitting or jumping if indicated with a ´. Glissando lines mean move up or down along the string (without any sideward movement). The hairs are basically used to damp the strings but the position still determines a kind of pitch or colour when pizz’ed with left hand, and a light noisy sound comes when the hairs are moved along the strings. The wood is either used as a “slide” (when plucked with left hand), or to hit the strings (either single notes or jumping – jeté).

Scordatura: 2nd string may be tuned down one quarter of a tone if played with NTBB #1. 4th string down about one octave (or like NTBB #1 if played together).

The music is notated where it should be played – not as it sounds.

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 (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.

In general: The piece should be played as “dry” as possible, not letting any open strings ring out.

Notation and concept: In this piece the bow and the actions of the left hand are notated separately. The whole concept of the NTBB- series is that the sideward (horizontal) movement and the (vertical) movement away from the player are treated independently and translated to different instruments. In NTBB #1 the right hand and the bow makes the sideward movements and the left hand makes the movement away from the player – moving up and down the fingerboard. The idea of NTBB #9 is that the hands are switched: The right hand/the bow makes the movement up and down the fingerboard either with the wood or with the hairs, and the left hand makes the

The bows vertical area goes from “1st position” at the middle of the strings (at the first octave), to the very highest position just next to the cloth at the bridge. The highest note (indicated by the arrow) should be the same through the whole piece.

Left hand: The left hand is notated as the lower part. The basic position of the left hand is just below the middle of the strings (around the top of the instrument-body, just next to the bow’s lowest position). From there the left hand is either plucking the open strings (stopped or dampened by the bow), hitting or tapping the strings or tapping or rubbing the body on either side of the strings – moving sideward but always staying more or less at the same vertical position (finger board position). Slurred fast arpeggios could be performed in one movement, sliding across the strings instead of plucking each string. A small note above the open string indicates an exact plucking position (used when plucking above the bow).

Next To Beside Besides #9 for amplified double bass solo

(or as movement or part in any combination of pieces from the NTBB series)

q = 60 (pianissimo) furioso

- 4th string should be tuned down ~1 oct.

- All strings should be dampened near the bridge with a piece of cloth.

- The piece should be played with a heavy practice mute.

leave bow (wood) on the string so that a buzzing sound apears when the string is plucked sim. sim. c.l.b.s. buzz

Simon Steen-Andersen 2007

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(press wood against the 4th string to make (II III IV) it buzz when plucked)

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fine: bcn oct.03 / ba dec.03 / pfzh aug. 07

Dur.: 3.30-4.00 min.