Simon Steen-Andersen Next to Beside Besides #3 (2003/05) for amplified accordion solo

Simon Steen-Andersen Next to Beside Besides #3 (2003/05) for amplified accordion 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 #3 (2003/05) for amplified accordion 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

ration: move thePreparation: front cover. Insert 3 pieces of paper (printer, A4) as shown on the picture: 1. Remove front cover.

Insert 3the pieces of paper (printer, A4) asthe shown onfolded the picture: The Cut the st (lowest notes)the folded 3 times, 2nd folded 2 times, 3rd 1 time.

1st (lowest notes) folded 3 times, thecovered.

2nd folded 2 times, the 3rd folded 1 time. Cut the last aper so that no damper is only half paper so that no damper is only half covered. pe down the air button. The tape should have a “roughish” surface for making a noisy when scratched on with a nail (preferably velcro tape). The result (when played with 2. Tape down the air button. The tape should have a “roughish” surface for making a noisy nergy) should be scratched an airy muffled homogenous “quarter sound – awith bit different sound when on with a nail (preferably velcro tape). Thetonal” result (when played w in and out.

If single notes out try tapping “quarter the dampers of –these notes. The max energy) should be anstick airy muffled homogenous tonal” sound a bit different bellow in andon out.aIf Pigini single notes stick out try tapping notes. like The the described ration was tested (Super Bayan).

(If the thedampers result ofisthese nothing preparation was tested on a Pigini (Super Bayan).

(If the result is nothing like the described (no sound, too hard to move, too loud or too well tempered), try a different paper ess.) sound (no sound, too hard to move, too loud or too well tempered), try a different paper thickness.)

Amplification: The accordion 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.

fication:Dynamics: dynamics are written in and indicate the amount of energy to be put ccordionAction should be amplified asparenthesis much as(fff) possible without it being unpleasant – at into an action even though the resulting sound is much softer. The (fff) should be as loud oud enough to give a feeling of zooming in on the very soft sounds. as possible (“tutta la fuerza”), the ppp (without parenthesis) should be the softest possible played together with other versions of NTBB the amplification should level out the even dynamic (trying to match all the soft events). mic differences between the instruments as much as possible.

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 mics: always be a bit louder than the crescended or diminuended sound, in order to make them “melt together”, likein a zoom (reverse reverb) “natural” reverbthe of the accentuated point. dynamics are written parenthesis (fff) or and indicate amount of energy

to be put n action even though the resulting sound is much softer. The (fff) should be as loud as Staccato: ble (“tuttaAslashort fuerza”), the ppp (without parenthesis) should be the softest possible as possible no matter the note value. dynamic (trying to match all the soft events). endos and diminuendos should be performed “exponentially” (very late cresc. with Tremolo: As fast or dense as ending possible, unmeasured. direction, etc.).

When or starting in an accentuated point, the point should s be a bit louder than the crescended or diminuended sound, in order to make them ogether”, like a zoom (reverse reverb) or “natural” reverb of the accentuated point.

ato:

SIGNS AND ABBREVIATIONS: Signs: Signs: Signs:

Bellow movement, movement, bellow bellowtremolo. tremolo.Arrow Arrowleft: left:opening openingbellow. bellow.Arrow Arrowright: right: closing Bellow bellow.movement, Bellow open and bellow be seen asseen twoArrow “fixed” stations, Bellow bellow tremolo.

Arrowshould left: opening bellow. right: closing bellow.

Bellow open and closed bellow closed should be as two “fixed” visually Bellow movement, bellow tremolo.

Arrow left: right: closing bellow.

Bellow open bellow closed should be seenArrow as two “fixed” stations, visually recognizable the one or opening the otherbellow. extreme position (even recognizable as the one or and theas other extreme position (even though the bellow closing bellow.

Bellow open andbe bellow closed should be seenmovements as two “fixed” stations, visually recognizable as the one or the other extreme position (even though the bellow open can’t very extreme…).

All bellow are open can’t be very extreme...). All bellow movements are either “within” an extreme stations, visually recognizable as very theorone or the other extreme position (even though the bellow open can’t be extreme…).

All bellow are either “within” an extreme position moving the one tomovements the other. position or moving from the one to extreme…). the other.from When playing within open or closed the though the bellow open can’t very bellow are either an extreme position or the moving fromAll the one tomovements the other.

When“within” playing within open orbeclosed movements should only be “local”. movements should only be “local”. either “within” an extreme position or moving from the one to the other.

When playing within open or closed the movements should only be “local”.

When playing within open or closed the movements should only be “local”.

Air sound sound only only (by (by playing playing so so soft soft that thatno notones tonessound soundininppp). ppp).

Air Air sound only (by playing so soft that no tones sound in ppp).

Air sound only (by playing so soft that no tones sound in ppp).

Highest possible pitch (only used in left hand).

Highest possible pitch (only used in left hand).

Highest possible pitch (only used in left hand).

Highest possible pitch (only used in left hand).

Percussive sound: snap any key cover button buttonwhen whenindicated). indicated).

Percussive key (or (or the the front cover Percussive sound: snap any key (or the front cover button when indicated).

Percussive sound: snap any key (or the front cover button when indicated).

Percussive sound: slap keys with several fingers or hand.

Percussive sound: slap keys with several fingers or hand.

Percussivesound: sound:slap slapkeys keyswith withseveral severalfingers fingersororhand. hand.

Percussive Noisy/scratchy sound. Left hand: scratch the tape or velcro covering the air Noisy/scratchy sound.

Left scratch the ororvelcro covering button. Right hand: scratch one of the “marked” keys.

(When playedthe on an Noisy/scratchy sound.

Lefthand: hand: scratch thetape tape velcro covering theair air button.

Noisy/scratchy sound.

Left hand: scratch theon tape or velcro covering the air button.

Right hand: scratch one of the “marked” keys.

(When played on an instrument without “marked” keys: scratch a piece of tape or velcro).

Right hand: scratch one of the “marked” keys. (When played on an instrument without button.

Rightwithout hand: scratch one of the “marked” keys. on an instrument “marked” keys: scratch on piece (When of tapeplayed or velcro). “marked” without keys: scratch on akeys: piecescratch of tapeon oraavelcro). instrument “marked” piece of tape or velcro).

“Leg attack” (bandoneon style): Lift the heels and let them drop rather hard.

“Legattack” attack”(bandoneon (bandoneonstyle): style):Lift Liftthe theheels heelsand andletletthem themdrop drop rather hard.

“Leg rather hard.

“Leg attack” (bandoneon style): Lift the heels and let them drop rather hard.

Change right right hand hand register. register. The The dd below below the the system system is is the the first first register from Change from the top. The Change right hand register.

The d below the system is the first register from the top.

The a above the system is the 12th register (. :).

The ones in a aboveright the hand system is the 12th register (.the :). system The ones in between are registers 2-11 but Change register.

The is firstones register the top. The above the system isbelow the 12th (. the :).relatively.

The in from between area registers 2-11 but donly have toregister be treated only have to be treated relatively. the The above the system is the 12th (. :).relatively.

The ones in bottom between are 2-11 but only have toregister be treated (Intop. case of aaregisters different order or system pick the register closest to the (In case of a different order or system pick the register closest to thebottom bottom with between are registers 2-11 but only have to be treated relatively.

(In case of a different order or systemfrom pickthe the1st register closest to the with a sound recognizable different (top) register (when playing (In case of a different order or system pick the register closest to the bottom a sound recognizable different from the 1st (top) register (when playing the cluster with soundwithout recognizable different fromasthe (top) register playing the a cluster touching any keys) the1st high a and play (when the movements with a sound recognizable different from the 1st (top) register (when playing the cluster without touching any keys) asa the high play the movements in between relatively no matter the actual number ofand registers). without touching any keys) as the high and playathe movements in between relatively the cluster without touching any the keys) as the high aofand play the movements in between relatively no matter actual number registers). no matter the actual number of registers). in between relatively no matter the actual number of registers).

Register glissando. Use a piece of cloth or a finger glove to avoid burns and Register glissando.

Usesmoother. a piece cloth or or aa finger finger glove glove to to avoid avoid burns burns and and to make the Register Use a piece of of cloth to make glissando. the glissando Register glissando.

Use a piece of cloth or a finger glove to avoid burns and glissando smoother. to make the glissando smoother. to make the glissando smoother.

Next To Beside Besides #3 for accordion solo (or as movement or part in any combination of pieces from the NTBB series)

Preparation:see preface

(pianissimo) furioso

q = 60 "1st r.h. register" 4 &4 ( fff ) bellow closed open closed open sim.

3 3 4 &4

Simon Steen-Andersen 2005

3

3

3

3

("tutta la fuerza" even though the result isn't very loud)

4

& &

42 ¿ ∏ —. .

–.

–. –. — 42

(bellow closed)

3 3

3 3

(snap any key)

5

(air sound) (highest tone)

6 4 ¿ ¿ ( fff ) —. –.

3 3 3 46

8

& &≈

11

¿

–.

5

‰

¿

(nail scratch on one of the (open) marked keys)

& (f) (closed)

&æ

¿–

∏

. æ 5

–¿ .. æ

43 ¿ ¿ ¿ —. –. —. –. —. —. –. —. ≈ 43 3

3

(scrath)

1

5

¿

–.

≈ ‰.

5

5

42

.

–. —

(bellow open)

24 æ

(bellow trem.)

∏ –¿æ

3

(nail scratch on tape covering air button)

keyboard slap (not much louder than the bellow dynamic)

æ

‰

¿¿¿ ≈ ‰ Œ ¿ ( fff ) 5:3

Œ

J

(f)

42 42

(snap key with the same pitch as the l.h. tone)

& 42

14

(bellow closed)

∏ —. .

– 2 . ‰ ≈ &4

¿ ‰

5

‰.

¿

.

–. — ≈ ‰

5

–.

≈

5

‰.

–.

‰.

5

≈

¿ —.

‰

– –

>¿

(F)

3

≈

∏ –.

(same tone as l.h.)

18

(bellow open)

& ( fff )

&

3

Œ

(same tone as l.h.)

¿–. (open) & ≈ ‰

‰

∏

5

3

Œ

& æ –¿ –¿ æ æ 3 (scratch)

¿

–.

≈ 43 ‰ .

–.

5

≈‰ ‰

5

‰

—.

¿

—. – —.

(3F )

‰

—.

‰

3

—. –.

5

(bellow closed)

42 ¿

∏–.

42

¿

—.

3

–.

5

43 43

‰.

∏

¿– ¿ æ

(scratch)

¿. ¿ ¿ .

–. —

RÔ

5

43

.

–. —

≈

1 4 ¿ . ( fff ) –. —

–.

1 ‰ ≈≈ ≈ 4

‰

26

¿

.

– —

(F)

& 43 ¿ ∏ —. & 43

22

¿ —–.

≈ ‰

3

¿ ‰

–.

5

‰.

–.

5

≈

74 ‰.

43

74

43

(silently)

(bellow closed)

5

˘ 5 (reg. gliss) ¿ – ø 3 ≈ ‰ ‰ 42 ø ø ø ø ø ø ø 8ø ∏ 3+ (F) ˘ . (bellow open)

24 Œ 3 ≈ ≈ -–¿ -–¿ -–¿ –¿ 8 (r.h. register buttons)

>¿– 3 &4æ ∏ & 43

29

(scratch)

¿– æ

¿– æ

42 42

5

3 ("leg attack")

2

(scratch)

3

5

¿– 2 &4æ

33

(scratch)

& 42

(bellow closed)

-¿ –

(bellow closed) 37 (scratch)

& ∏

38 38

—.

‰ ‰

æ

3

‰Œ

¿–.

6 & 4 ≈‰ Œ

Œ

Œ

24 æ ¿– æ

Œ

æ

(bellow closed)

3

(scratch)

42 ø ≈ ‰

3

(slap keys)

43

46

5

ø ø ø 5 ‰ ø ≈ ≈ ≈ J &8 ø ∏ ( fff ) + . . .

>¿¿ ¿¿ ¿¿ ¿¿ 5 ¿ ¿ ¿ ¿ ≈ &8 ¿¿¿¿≈ æ

40

& 46

Ó

Ó 45

54 æ

& 42 Œ

ø

≈‰

æ

æ

æ

(f) . ≈ –¿ æ

æ

38

˘¿ – øøø ø ø ø øøø J 3 5 ∏+ (F) ˘ . .

58 Œ ≈ ≈ ≈J 85

3

® –¿.‰

5

¿– æ Œ 85 (bellow open) ( fff )

æ 85

38 ¿

46 ‰

46

38 ø ø ‰ ø J 3 +. . > 38 æJ æ

42

(open)

≈ ‰

3

38 ¿– 24 ø ø ø ø ø ø ø ø æJ ø ∏ 3 5 (open) (closed) (closed)

38 ‰ 24 æ (scratch)

æ 2 & 4 æ –¿ æ –¿ –¿ æ –¿ Œ æ æ æ æ (scratch)

(snap any key)

Œ

3

46

24 ¿– æ (F) > 24 ¿ ≈ ‰

46 ¿

(scratch)

-¿ –

&

¿– æ

3

42 6 16 6 16

5

2 3 3 ø ø ø 3 ø 6 3 7 ≈ ø ø ø ø ø ≈ ø ø ≈ ø ≈ 16 & 16 ø ø ø ø ø 8 ø ≈ ø ø ≈ ø 3 ( fff ) ∏ ∏ ( fff ) + + (open) (open) (closed) . . . . . . .

>¿¿ ¿¿ ¿¿ ¿¿ >¿¿ ¿¿ ¿¿ ¿¿ 6 3 7 æ ¿¿ ¿¿ ¿¿ ¿¿ ≈ ¿ ¿ ¿ ¿ J æ ≈ ≈ & 16 8 ¿¿¿¿≈ 16

50

3

3

3

5:3 øøøø 7 ø øøøøø & 16 ∏3 .

7 & 16 J æJ æJ

54

(closed)

38 ø øøøø ø J ∏ ( fff )

38 æ J

42 ø ≈ ‰

3

24 æ Œ

(open)

¿– .. æJ

85 (F)

43 ø ø ø ø ø ‰ ø ø ø ‰ ( F ) ( fff ) 3

34 Œ æ ‰ æ

ø ø ø 38

Œ (f) . ≈ –¿ æ

(scratch)

& 85 ø ø ø ø ø ø ø ø ø ø øJ ∏ ( fff ) (F)

5 &8 ‰ ‰ æ J

58

3

38 ≈ ‰ ø

3

¿– æ

‰

(scratch)

38 - –¿ –¿ –¿ (open)

5 (scratch)

(closed)

5

~~~~~~ ¿ >¿ ø ø ø ø 3 ‰ ‰ ‰ ‰ J &8 3 ∏ 3 + + ˘ . . . . +. (open) ‰ ‰ J & 38 –¿ 3 3 3

¿– æJ

(scratch)

& 44 ø ø Œ Œ Œ > & 44 æ æ æ æ

æ æ æ æ

n

45

‰

(closed)

85

(closed)

5

3

‰

38

85 ø ø ø ø ≈ Œ ∏ (F) + ˘ . (open)

58 ≈ ≈ -–¿ -–¿ –¿

44

3

æ æ æ æ

45 Œ

38

n

3

5 (scratch)

66

® –¿.‰

5

3

n

snap guiro on bellow from front left to right cover button

62

¿– æJ

38 ¿– .. æJ ∏

(scratch)

5 (scratch)

44 ‰ Œ ø ∏

44 æ æ

Œ

44

5

¿– æ

(scratch)

–¿ Œ (open)

n

(closed)

43 43

5 (scratch)

& 43 ø ø ø ø ≈ ‰ ∏ (F) + ˘ .

3 -–¿ &4 ≈ ≈

70

3

(open)

3

3 (scratch)

¿– æ

(scratch)

Œ

(closed)

¿– æ

(scratch)

ø ø ø ø ≈ ‰ ∏ (F) + ˘ . ≈ ≈ –¿ Œ 3

n

(open)

3

3

4

5 (scratch)

(closed)

-¿ – 24 ø ø ≈ ‰ ø ø (F) + ∏ ˘ .

-–¿ 42 ≈ ≈ R

(scratch)

3

n

(open)

3

Dur.:

(closed)

7:4 (scratch) fine: bcn oct.03 / ba dec.03 3.30-4.00 min. / cph sept.05