Simon Steen-Andersen
Next to Beside Besides #6b (2003/06) for amplified viola solo (or as a movement or part in any combination of pieces from the NTBB series)
3
30
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 mut ed 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 simultane ously 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: https://edition-s.dk/music/simon-steen-andersen/next-to-beside-besides-6
Simon Steen-Andersen, 2017
Dur.
′
″– 4′
on body (treble
1st string lightly at a point close to the clamp and leave the finger on the string as if to take a harmonic)
B4 4 =60 (pianissimo) furiosoq (fff) 3 œ ≤ o œœ 3 œœœ Next To Beside Besides #6b for viola solo 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 F (down 3/4 of a tone) and 4th string to A/Ab (between a minor and a major third depending on the instrument - see preface for a precise description). (or as movement or part in any combination of pieces from the NTBB series) 3 œœœ 3 œœœ 3 œœœ 3 œœœ B4 2 4 3 œœœ 3 œœœ 3 œœœ 3 œœœ ppp 5 –. œ + o –. 5 O –. œ + B4 6 4 2 7 5 ≈ –. ‰. 5 O –. œ + ‰ 5 ≈ O –. ‰ OO œ + –. O (fff) 3 œ ≤ œœ 3 œœœ 3 œœœ B4 2 4 3 4 2 10 (fff) O œ ≥ ppp 3 –3 O œ O œ O œ (f) œ > –O œ O œ O œ 5 O œ ppp –. 3 œ + O –. œ + –. 3 ≈ œ + O œ + –. O œ + œ ≤ (fff) 5:3 œ + > œ.. ≥ œœœœ B4 2 14 5 ‰. ppp œ + –. ≈ O ‰ 5 ‰. –. ≈ œ + ‰ 5 O –. ‰. 5 ‰. –. ≈ 3 œ + > ‰ ––(F) –O . > ≈ ppp –. (fff) 3 œ ≤ œœ B4 3 4 1 19 (F) –œ > + 5 –O ppp œ + ‰ 5 ≈ –. œ + ‰ œ + O 3 œ + –(arco) (F) œ . 3 ‰ œ + ‰ 5 œ + –. ‰. ∏ œ + > ‰ 3 –. œ + ‰ 5 O ≈≈ –. ≈ 1 (bow close to the clamp - as much sound from the clamp vibrating against the wood as possible (legato)as little scratchy noise from the bow as possible) senza arco (tap
bow
side) senza arco sempre s.a. s.a.s.a. s.a. s.a. s.a. s.a. s.a. s.a. bow on body (bass side) s.a. s.a. s.a. s.a.
B4 1 4 2 4 3 23 (fff) œ ≥ ∏ –O . O.O 3 –. O œ + ‰ 5 O –. ‰. 5 –. O ≈ –≤ 3 –O œ O œ O œ O œ –5 –O –. ≈ B4 3 4 7 4 3 27 5 ‰. –. ≈ 3 ‰‰ œ + 5 O –. ‰.∑ B4 3 4 2 8 3 4 2 8 3 29 ∏ –> ––(F) 5 –œ ¿ . ¿¿¿¿ ∏ ("legato", don't lift finger) 3 ¿ >+ 3 O O O O # ≤ ˜ ˜ 5 O œ O œ O œ O œ O œ –O œ 3 –≥ O œ –5 –O œ O œ O œ O œ ––B8 3 4 6 4 2 4 5 34 œ + ‰‰ O ‰ŒÓÓ (F) –O > –∏ –O œ –O œ 3 O œ O œ O œ 5 O œœ O œ O œœ B4 5 8 5 4 2 8 3 4 6 39 ˙. ˙ (fff) œ ¿ ¿ ¿ > . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 3 œ + . ¿ . ppp j#œ œ œ œ œ # ˜ ˜ ˜ O ˙J O + ‰‰ B4 6 8 5 8 3 4 2 43 (keep bow on wood) –. ‰ŒŒŒŒ –(F) 5 –œ ¿ . ¿¿¿¿ ∏ 3 ¿ >+ pz. 5 œ œ O O O #˜ ˜ ˜ 3 #œ+ . j O nœ > ≥ B4 2 8 3 4 2 16 6 8 3 46 O œ –O œ –3 –≤ O œ –O œ r K O . Œ (f) –5 –O œ O œ O œ O œ ∏ J –æ 9:4 O O O O #˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ œ œ œ œ # # ˜ ˜ œ . J (fff) . J 2 s.a. s.a. s.a. s.a. s.a. s.a. s.a. s.a. l.h. pz. on the wrong side with 1st finger(tapping) l.h. pz. on the wrong side IV l.h. pz. on the wrong side s.a. s.a. (arco) (4th finger) (1st finger) (4th finger) (1st finger)
B8 3 16 7 8 3 4 2 51 (fff) œ ¿ ¿ ¿ > ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ IV 3 œ +. ¿ . ppp 3 œ œ œ œ # # ˜ ˜J œ J (fff) œ ¿ ¿ ¿ > ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 3 œ +. ¿ . ppp 3 œ œ œ œ # # ˜ ˜J œ. J (fff) œ ≥ rœ ∏ III O O # # II ˜ r K O B4 2 8 3 8 5 8 3 56 O œ r K O . Œ (f) –æ 5 –O œ O œ O œ O œ ∏ –. n –. (F) –œ ¿ . ¿ 3 ¿¿¿ (fff) œ ≤ rœ ∏ III O O ## II ˜ r K O 5 O œ ≥ –O œ –O œ 5 –O œ O œ O œ O œ B4 3 8 3 8 5 60 –n J –(F) –œ ¿ . ¿ 3 ¿¿¿ (fff) (arco) 3 ¿¿¿ (arco) 3 ¿¿¿ 3 ¿ >+ pizz. I 5 œ #œ O O #O ∏ 3 ¿ > c.l.b. ¿ . O œ + O œ . O œ + 3 O œ O œ O œ 5 –O œ O œ O œ O œ J –æ B8 5 4 4 4 5 Ÿ~~~~~~ 65 (F) 3 –œ ¿ > . + 3 O O O O # ≥ ˜ ˜ ∏ 5 O œ –O œ –O œ 5 –O œ O œ O œ O œœ > #O ˙. n w B4 5 4 4 4 3 68 Œ n w ∏ O ˙ # 3 O œ O œ O œ 5 –O œ O œ O œ O œ n –æ (F) 3 –œ ¿ > . + 3 O O O O # ≥ ˜ ˜ ppp 6 O œ –O œ O œ O œ O œ n –æ B4 2 71 (F) 3 –œ ¿ > . + 3 O O O O # ≤ ˜ ˜ ∏ 3 O œ O œ O œ 5 –O œ O œ O œ O œ n –æ (F) 3 –œ ¿ > . + 3 O O O O # ≥ ˜ ˜ ∏ 7:4 O œ –O œ O œ O œ fine: bcn oct.03 / ba dec.03 O œ / rome jan 07 –Dur.: 3.30-4.00 min. 3 knock on wood (1st finger) l.h. pz. on the wrong side with 1st finger (l.h. pz. on the wrong side) (sempre) (sempre) (1st finger) (l.h. pizz. on the wrong side of the finger)) (4th finger) (arco) (1st finger)
