Simon Steen-Andersen – Next to Beside Besides #4

Simon Steen-Andersen Next to Beside Besides #4 (2003/06) for amplified percussion solo (or as a movement or part in any combination of pieces from the NTBB series) Dur. 3′30″–4′

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Simon Steen-Andersen Next to Beside Besides #4 (2003/06) for amplified percussion 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

INSTRUMENTATION:

Snarebetween drum (withsnare a piece of cloth snare andthe skin.

Snare off from the beginning). aofpiece cloth and skin.between Snare from beginning). clothofbetween snare and skin.

Snare off fromoff the beginning).

Modified “reibe” stick: cm.)

A rather long (atstick least with 50 cm.) wooden stick with regular chops (like a stick: A long rather (at50least regular rather (atlong least cm.)50 woodenwooden stick with regular chops chops guiro) on one side and perfectly flat on the chops other side – the chops gradually increasing from the e side and perfectly flat on the other side – the gradually and perfectly flat on the other side – the chops gradually onethe side to the other. one to other. de to side the other.

3of “sticks” of(or different kinds of wood (or other material) thickness to give 3 different sound rent of kinds wood other material) and thickness giveand 3 different nds wood (or other material) and thickness to give to 3 different qualities when “bowed” on with the flatstick. side ofThe the reibe stick.

The sticks en “bowed” on with the flat side of the reibe sticks should also should also be chosen wed” on with the flat side of the reibe stick. The sticks should also from their ability to give an audiblewhen “glissando”, whenon “bowed” on or hit repeatedly moving from ir ability to give an audible “glissando”, “bowed” or hit y to give an audible “glissando”, when “bowed” on or hit one end to the other. from one to the other. ne end to end the other.

SETUP: ld betogether fixedThe together in one end and out in the other.

Theout middle should be fixed spread together in one endThe and spread in the other. The middle stick xed in3 “sticks” one end and spread out in the other. middle tr longer than the others.

The sticks should be held with the left hand atthe left hand at the joint should be a bit longer than the others.

The sticks should be held with than the others. The sticks should be held with the left hand at oned on the drum something like this (the sticks pressing (hard) against and positioned on the drum something like this (the sticks pressing (hard) against the rim and n the drum something like this (the sticks pressing (hard) against nvent to prevent skin from sounding toosounding muchhit when hit thethe skin tosounding prevent thetoo skin from too much when hit r.h. withstick): the r.h. stick): the skin from much when with thewith r.h.the stick):

d be flexible in – height – changing to facilitate the movements of the right exible in height changing to facilitate the movements of the right icks are resting like this, but at certain times they are also used tothe hit movements the The joint end should be flexible in height – changing to facilitate of the right e resting like this, but at certain times they are also used to hit the toint onetopoint to make a guiro like effect on the front side of the drum. hand.

Mostlylike the effect sticks are likeside this, but at certain make a guiro on resting the front of the drum.times they are also used to hit the metal border and at one point to make a guiro like effect on the front side of the drum.

ed like aor cello or a double bass, holding the modified reibeinstick in a cello a double bass, holding the modified reibe stick ing it as a bow with techniques similar to the ones of players.

The setup is played similar like a cello a double holdingstring the modified reibe stick in the right hand, s a bow with techniques toorthe onesbass, of string players. so “bows” on the metal border of the drum on both sides of the using it as a bow with techniques similar to the ones of string players.

The right hand also “bows” ws” on the metal border of the drum on both sides of the tringed instrument. on the metal border of the drum on both sides of the sticks – as if a 5 stringed instrument. d instrument.

AMPLIFICATION:

e amplified assetup much as possible without itunpleasant being unpleasant –it at least The should be amplified as much as possible being unpleasant – at least loud ified as much as possible without it being –without at least eing a feeling of zooming in on the very soft sounds.

When played together enough feelingsoft of zooming on the played very softtogether sounds. When played together with of zooming intoongive thea very sounds.inWhen of NTBB the amplification should level out the dynamic differences other versions of NTBB the amplification should level out BB the amplification should level out the dynamic differencesthe dynamic differences between the ments asas much as possible. instruments as much as possible. as much possible.

DYNAMICS:

fff

ppp

e written inAction parenthesis and indicate the amount energy tothe beamount put of energy to be put dynamics are written in parenthesis )of and en in parenthesis (fff) and(fff) indicate the amount of( energy toindicate be put though the resulting sound is much softer.

The ppp (without into an actioniseven though theThe resulting is much softer. The (without parenthesis) h the resulting sound much softer. pppsound (without d be the softest possible even dynamic (trying to match all the soft should be the softest possible even dynamic (trying to match all the soft events). e softest possible even dynamic (trying to match all the soft Crescendos and diminuendos should be performed “exponentially” (very late cresc. with much

minuendos should be performed “exponentially” (very late with cresc. direction, etc.).

When ending or starting in an accentuated point,with the point should always be a bit ndos should be performed “exponentially” (very late cresc. .).

When ending or starting in an accentuated point, the point should louder than the crescended or diminuended sound, in order to make them “melt together”, like a n ending or starting in an accentuated point, the point should der than the crescended or diminuended sound, in order to make them zoom (reverse reverb) or “natural” reverb of the accentuated point. n the crescended or diminuended sound, in order to make them zoom (reverse or “natural” of the accentuated ma(reverse reverb)reverb) or “natural” reverb reverb of the accentuated point. point.

(Position on the l.h. sticks) (Position on the (Position on l.h. sticks) l.h.the sticks) (Where/what to bow/hit with r.h.)

(Where/what to bow/hit with bow/hit with r.h.) r.h.)

Signs:

SIGNS

Signs:

“Bowing” (sliding horizontally) with the flat side the side reibe of stick.

“Bowing” (sliding horizontally) with theofflat the reibe stick.

“Bowing” (sliding with the flat side of the reibe stick.

“Bowing” with horizontally) the guiro of the reibe stick.

“Bowing” with theside guiro side of the reibe stick.

“Bowing” with /the guiro side(Up-bow of the reibe stick.

“Up-bow” “down-bow”. moving from the “point” towards thetowards the hand, “Up-bow” / “down-bow”. (Up-bow moving from the “point” hand,down-bow down-bow vice versa).

(Phrases indicate what do in ONE bow). vice versa). (Phrases indicate what do in ONE bow).

“Up-bow” / “down-bow”. (Up-bow moving from the “point” towards the hand, down-bow vice stick. versa). (Phrases indicate what do in ONE bow).

Hit with Hit r.h. with r.h. stick.

Hit with r.h. bow stick. r.h. stick.

Hit and Hit andwith bow with r.h. stick.

Hit and bow with r.h. stick.

Hit metal borderborder with thewith circled stick(s). “loud” from the air, when Hit metal thel.h. circled l.h.(When stick(s).

(When “loud” from the air, when soft simply by sliding the sticks a bit out of andposition back again). soft simply by sliding the sticks a the bit position out of the and back again).

Hit metal border with the circled l.h. stick(s). (When “loud” from the air, when soft simply by sliding the sticks a bit out of the position and back again).

Gradual transition (from sideside to guiro side of reibe stick).

Gradual transition (from flat side flat to guiro of reibe stick).

Gradual transition (from flat side to guiro side of reibe stick).

Staccato: As short as possible no matter the note value.

Staccato As short as possible no matter the note value.

As fast dense asno possible, Staccato: Tremolo As short as or possible matterunmeasured. the note value.

Tremolo: As fast or dense as possible, unmeasured.

Tremolo:

As fast or dense as possible, unmeasured.

Next To Beside Besides #4 for amplified percussion solo

ã

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

(pianissimo) furioso q = 60

Simon Steen-Andersen 2006

(Snare OFF) (Piece of cloth between snare and skin)

≤ ≥ ≤ ≥ ÷ 44 – –3 – – m m m m ( fff ) ("Legato")

ã

sim.

–

3

–

–

–

–

3

–

–

–

3

–

4

÷–

–

–

3

ã

–

–

–

3

–

‰

˜.

¿ 42 ¯– ppp 5 5

–

–

–

¯– ¿

–¯ ¿

–

–

¯ ≈¿ –‰

¿

¿ ¿ –˜˜ ¿˜˜ 6 ≤ ≥3 ≤ ≥ sim.3 3 ˜˜ 4 – – – – – – – – – m m m m ( fff )

3

–

–

3

–

3

–

–

3

5

7

¯– ÷ ≈ ‰.

¿ ¯– ¿ ‰

5

5

5

42

Slide l.h. sticks on the drum skin from a bit away from the rim and back in possition.

ã

˜ ≥m 2 ÷ 4 – – .. ( fff )

˜ –-

10

ã

14

‰.

3

ppp ˜

¯– ¿ 2 ¿ . ÷4‰ ≈ ‰ 5 ppp 5

–- – – 3

˜

˜

˜ ≤ 3 –.

– – –- – 5 ppp

m>– (f)

¯– . ‰ ≈¿ 5

‰

≥ ¯– ¯– ¿ ¯– ¿ ≤ ¿ ≤ ≥5:3 ≤ ≥ ¿ ¿ ≈¿ ¿ ¿ ˜˜˜ 43 ¿ –- –. m– ..m– m– m– m– 3 m> 3 ( fff ) ¿ ¯– ‰ .

5

1

‰.

5

¯– ¿ ≈ ¿

> ¿ ‰ ≤ ≥3 ≈ - ˜ ¯ ‰ – – –. ≈ – m– m– ( fff ) 3 ( F ) ppp

≤ m–

42

(˜)

ã

19

r ¿ ÷ –˜ (F)

¯ ¯ - m–.

– ¿ – – ¿ ¿ ¿ ¿ ¿ ‰. ≈ ‰ ‰ ‰

¿¿ –˜ ‰ 5 ppp

ã

(F)

3

5

3

3 ¿¿ 4

5

≥ ÷ 41 – m ( fff )

¿ . ¿ –¯ ¿ ¿ ‰

¿ 42 ˜– < ∏

ã

¿ –¯ ‰ .

3

–¯ ¿ ≈ ≤ –-

5

‰ ˜

23

–

5

–¯ ¿ ‰ ¿ ≈ ≈ –¯ ≈ 1 4 3

––– 3

5

≥–-

–

¿ –¯ ≈ 3 4

5

3

27

÷ 43 ‰ .

5

–¯ ≈ ‰ ‰ ¿ ¿ –¯ ‰"freeze"...

74 Π.

3

ã

5

–

–

. ã ˜ (˜) ˜ ˜ ˜ ˜ ˜ "freeze"... ÷ 38 ¿ ‰ ‰ 46 ¿ ‰ Œ Ó Ó

34

ã

˜ ÷ 45 ≥–

39

ã

43

˜

˜

˜ ≤ –

– ˜

÷ 46 – ‰ Œ <

˜ ≥ –˜

Œ

l.h. sticks still in the air

˜ ≤ – ˜

Œ

Œ

Œ

Œ

Œ

5

˜ ≥ 24 ¿˜ – ( F- )

sound by putting l.h. sticks back in possition

˜

–

˜

˜ ≤ –-

2

‰ ‰ ˜

˜

˜

–

˜.

38 ¿˜ ‰ J

43

38

–

˜ ˜ 3 ≤ 5 – –– – – – – – – –– – ∏

j ˜ ˜ ˜ ˜ ˜ J J > 58 >¿˜˜˜ ¿˜˜˜ ¿˜˜˜ ¿˜˜˜ m–. ¿˜˜˜ ¿ ¿ ¿ ≥–- – – – 42 J – – m ppp 3 3 fl ( fff ) ˜

Œ

˜ ˜. ˜. ˜ J ≥ -–≤ – 38 – – – – – – – – – – – – – – 42 – 3

3 ˜ > 24 ¿ ¿ ¿5¿ ¿ >¿- ¿˜ –.

(F) ∏ 3

29

≤> 3 ÷4– ∏

Œ

prepare

‰

j ˜ . ˜ ˜ > 5 >≥ - . m m ¿ . ¯ > m ¿ ¿ – – –– 2 85 –¿ ¿ ¿ ¿ ¿ ¿- ˜ – – . ¿ ¿ 38 4 .

3 (F) 3 ∏ 3

45

46

ã

j ˜m ˜ – –- . – – – 3 j – 8 –æ (f) ∏

˜

˜ ˜ -≤ – – –– – – 2 – – ÷4

46

3

j sempre m. 40 㘠˜ >¿˜ ¿˜ ¿˜ ¿˜m>–. ¿˜ ¿ ¿ ¿ ÷ ˜˜– ˜˜ ˜˜ ˜˜

3 mfl ( fff )

51

˜ -≤ ÷ 42 –

≥–– – j ≤j –- – ∏3

ã ˜.

3 4 –¿ ¿ < (F)

j –-

÷– -

˜ J 3 3 3 >- ¿ m.

3

¿ ¿ ¿m– ¿ ¿ ¿–m ¿ ¿ ¿ 8 ¿ ˜ – 3 ( fff )

n

˜

˜

60

3

j ˜ ã ˜ ˜. ˜ ˜ > 3≥ – – – ÷ 85 -–¿ ¿˜ – – – – – – – – 44 – – – - - .

5 ∏ (F) ã

68

˜

˜ ≤ –-

÷ 45 Œ

n

˜

–

˜

–

˜

–

j ˜ 㘠˜ ˜ > 3 ≤ ≥ ¿ ÷ -¿ ˜ – – – – – – – – – æ –.

–(F) ∏3

71

–

˜

44 – ∏

3

–-æ

n

˜

l.h. sticks still in the air

‰

j ˜¿

rK ¿

Œ

˜

– ˜

j . ≤j –- .

˜

3

˜ J

˜ 38 ≥ m– ( fff )

– – 42 -∏

˜. ≥- – – – 3 – –8 – – – – –– ∏ 5

¿˜˜ ˜

˜ ≥ –-

–

j ˜ ¿

j ˜ ˜.

–¯ ¿ ≥–- – – – – – j – –æ 3

5 8

˜

3

¿ ˜

3

˜

˜

–

–

˜

–

n

45

j ˜ ˜ ˜ ˜ > 3≥ – ¿ 43 -–¿ ˜ –- – – – – – –æ –æ .

- n (F) ∏5 3

n

˜ > 42 -–¿ .

(F)

m( fff )

˜ J

3

≥–– – – – – –æ –æ - -

–

≤j –.

3 j 8–.

-

–

3

Û > ∏

˜.

l.h. guiro on the r.h. seiding ON front side of the drum (right to left)

3

65

˜

j sempre m. 40 ˜ ˜ ˜ >¿˜ ¿˜ ¿˜ ¿˜m>–. ¿˜ ¿ ¿ ¿ 7 ≥–j ˜˜– ˜˜ ˜˜ ˜˜ 16 – – –3 ∏3 mfl ( fff ) j ˜ ˜ . ˜ ≤ 58 ¿ ¿ ¿ ¿3 ¿ ≤ –< – –- . m ( fff ) (F) n

˜.

j ˜ ˜ . m– –-æ. – – – 6 – 16 – . ∏ (f)

ã

56

˜ 6 ≥– 2 – –- – – – – 4 ˜

j ˜ ˜ ≥ – 3 –- – – – – – – ∏ 7:4

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