NEXT TO BESIDE BESIDES #7

Transkript

1 NEXT T BESIDE BESIDES #7 fo amplified piao solo with whammy pedal (o as movemet o pat i ay combiatio of pieces fom the NTBB seies) Simo Stee-Adese 200/2006

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3 Iside pepaatio: The 2 fist otes should be aised espectively ¼ ad ¾ of a toe by isetig a scew o a bolt betwee the two ight side stigs (the stig futhest to the left is ot soudig because of the ua coda pedal) close to the ed futhest away fom the hammes. The otes maked with cosses should be dampeed completely (o audible pitch) fx with sticky tag. utside pepaatio: The ua coda pedal should be fixed dow. The piao should be completely closed ad pefeably coated ad eve dampeed udeeath to avoid heaig the acoustic / uamplified soud. Amplificatio: The piao should be amplified as much as possible without it beig upleasat at least loud eough to give a feelig of zoomig i o the vey soft souds. The micophoes should be placed iside the closed piao. Whe played togethe with othe vesios of NTBB the amplificatio should level out the dyamic diffeeces betwee the istumets as much as possible. Whammy pedal: The amplified sigal should go though a whammy pedal, which is a glissado pedal desiged by Digitech. (A midi-pedal ad a max-patch may also be used). The whammy pedal should be set to 2 octaves up. The pedal is cotolled by the playe ad otated i a d system of 2 lies: Lowe lie heel dow, o taspositio, uppe lie toes dow /pessed fowad, tasposed 2 octaves up. Notes i betwee the 2 lies ae oly iteded as appoximate o elative positios. Dyamics: The (f) dyamic should be vey eegetic but ot too loud though. The ppp (without paethesis) should be the softest possible eve dyamic (tyig to match all the soft evets). (Cescedos ad dimiuedos should, whe possible, be pefomed expoetially (vey late cesc. with much diectio, etc.). Whe edig o statig i a accetuated poit, the poit should always be a bit loude tha the cesceded o dimiueded soud, i ode to make them melt togethe, like a zoom (evese eveb) o atual eveb of the accetuated poit.) Glissado: Most glissadoes ae two had glissadoes: left had playig the black keys ad ight had playig the white keys. The playe may eed fige gloves o pieces of cloth to avoid bus.

4 Next To Beside Besides e e-cyklus Et abstakt kocipeet musikstykke vil stadig væe det samme stykke, selvom det spilles på istumete med gudlæggede foskellige type af bevægelse. Me hvad hvis de abstakte kompositio ettede sig imod bevægelsee Hvad hvis kompositioe blev set som e koeogafi fo musike og istumet med lyd til følge Så ville det samme stykke lyde vidt foskelligt på istumete med gudlæggede foskellige fohold mellem bevægelse og lyd. g ville det så ovehovedet væe det samme stykke Re-cyklus e Next To Beside Besides e e åbe seie af koeogafiske ovesættelse af stykket Beside Besides (fo hotel-sodieet solo cello), de alleede i sig selv e et spi-off fa sekstette Besides. ( Besides va, ud ove betydige desude... og b-side, met som de ikke-eksisteede fletalsfom af at væe-ved-side-af). Beside Besides ideholde elemete på mage foskellige ti af skalae mellem e klag og e bevægelse og vil således esultee i ovesættelse, de svige mellem øagtigt eskligede passage (dé, hvo musikke e klagligt elle abstakt kocipeet) og vidt foskelligt kligede passage (dé, hvo musikke fx e baseet på glidede lieæe bevægelse i foskellige dimesioe). Fo at opleve disse gade af foskelle kæves atuligvis, at ma høe de foskellige vesioe op imod hiade det væe sig foskudt, elle edu bede: simultat! Cyklus e e således ikke blot e åbe ække af vaiatioe, udgave elle løsige på foskellige ovesættelsesmæssige poblemstillige og agebsvikle, me give også mulighed fo utallige kombiatioe af klagligt heteofoe, me bevægelsesmæssigt uisoe esemble-kompositioe, hvo etop foskel og lighed e i fokus, hvo selve ovesættelsessituatioe blive et musikalsk paamete. Alle stykke skal kue spilles alee elle i e hvilke som helst kombiatio af vesioe, samtidigt elle efte hiade som satse elle mellem ade stykke som fagmete. Hvet stykke skal væe lige to mod oigiale og demed væe lige idiomatisk og to mod det pågældede istumet! Next To Beside Besides a e-cycle A abstactly coceived piece of music will still be the same piece eve though played o istumets with essetially diffeet types of movemets. But what if the abstact compositio was diected towads the movemets What if the compositio was thought of as a choeogaphy fo musicia ad istumet with soud as a cosequece The the same piece would soud completely diffeet o istumets with diffeet elatios betwee movemet ad soud. Ad would it the be the same piece at all The e-cycle Next To Beside Besides is a ope seies of choeogaphical taslatios of the piece Beside Besides (fo solo cello), a piece that aleady i it self is a spi-off fom the esemble piece Besides. ( Besides was, beside the meaig besides... o b-sides, back-sides, meat as the oexistig plual of beig ext to). The may diffeet degees of abstactess ad coceteess betwee pue soud ad pue movemet i Beside Besides will esult i taslatios that cotai exactly equally soudig passages (whee the music is thought abstact o i soud) ad vey diffeet soudig passages (whee the music fo example is based o gadual liea movemets i diffeet dimesios). To expeiece these degees of diffeeces oe has to hea the diffeet vesios ext to each othe this could be oe afte aothe, o maybe eve bette: simultaeously! The cycle is i othe wods ot ust a ope ow of vaiatios, vesios o solutios of diffeet poblems ad methods of taslatio it also gives the oppotuity to put togethe iumeous of combiatios of heteofoically soudig, but movemet wise uiso esemble compositios, whee diffeece ad equality ae i focus whee the taslatio situatio i itself becomes a musical paamete. Evey piece ca be played aloe o i ay combiatio of vesios, simultaeously o oe afte the othe as movemets o betwee othe pieces as fagmets. Evey piece must be equally faithful to the oigial, which also meas beig equally idiomatic ad faithful to the istumet i focus! 2006 Simo Stee-Adese : / mail@simosteeadese.dk

5 Next To Beside Besides meet the family! Choeogaphic Taslatios fo amplified solo istumets o esembles + Next To Beside Besides is a seies of "choeogaphic taslatios" (taslatios of the movemets o actios, athe tha a istumetatio of the esultig souds) of the piece Beside Besides fo solo cello, which is itself a modificatio of the edig of the piece Besides fo thee amplified istumets ad thee dampeed istumets. All taslatios ca be played solo o togethe i ay combiatio simultaeously as esemble pieces. Solo vesios o combiatios ca be played aloe o afte each othe as movemets o betwee othe pieces i a cocet (o o diffeet cocets) as itoellos. The cycle will cotiue o the iteet, whee studio ecodigs of the pemieed taslatios ca be head solo o i ay combiatio, late exteded with a iteactive web-taslatio, called Above Next To Beside Besides, ad moe. The Family Besides (200) (1') fo amplified piccolo flute, piao with whammy pedal ad violi plus dampeed stig tio. Beside Besides (a.k.a. NTBB #0) (200) (') fo amplified cello solo. Next To Beside Besides # ( ) (') fo ay combiatio of amplified double bass, saxophoe, accodio, pecussio, piccolo flute, violi, piao, guita ad a silet vesio fo close-up camea +... (See fo a updated list.) Self-eflectig Next To Beside Besides Two o moe taslatios pefomed by the same playe with video; the secod taslatio played togethe with a video ecodig of the fist, the thid taslatio played togethe with a video ecodig of the secod pefomed with the video ecodig of the fist, etc. the istumets ca be added - oly citeia is that at least oe playe should pefom live evey time togethe with a video ecodig of him self pefomig a diffeet taslatio. Fo ow thee is oly mateial fo a pecussio playe to pefom combiatios of the vesios fo pecussio, piccolo ad camea with video. Seveal moe alteative vesios ae plaed fo all stigs, guita ad pecussio. (See fo a updated list.) Futue Geeatios Above Next To Beside Besides (2007) Iteactive web-piece / "Vitual Sifoietta". Meta-wok i the sese that it displays geeal ideas behid the seies. Iteactive i the sese that it s a web istumet ideal ad easy to play a taslatio of NTBB o o to impovise o o compose fo. Will iclude vaious didactic elemets as well. Aoud Next To Beside Besides Taslatio of the movemets i Next To Beside Besides to spatially staged sifoietta. Ca be pefomed by itself as a esemble piece o with ay of the solo-taslatios i fot as a solo coceto o with a combiatio of solo-taslatios i fot as a coceto gosso. The istumets ca chage positios/pats ad i this way geeate vaious diffeet vesios. Behid Self-eflectig Next To Beside Besides Cotiuatio of a pefomace of Self-eflectig NTBB ito a oom-istallatio (thee poectios of peecoded video ad oe live-poectio of the spectatos watchig the istallatio).

6 q=60 (piaissimo) fuioso b Next To Beside Besides #7 b fo amplified piao solo with whammy pedal (o as movemet o pat i ay combiatio of pieces fom the NTBB seies) utside pepaatio: fix dow the ua coda pedal, close piao completely, piao may be "coated" ad polsteed udeeath to avoid a audible acustic sigal. Iside pepaatio: see peface. epeat as fast as possible (otes dampeed completely iside the piao) : (whammy pedal heel dow - o taspositio) 7 10 # - # #. # (siletly pessed dow key) #. b #. # # # #.... #. 6 6 sempe b : b ppp #. #. (.h.) #. # match all thee souds dyamically (shot oisy (ot pecussive) soud off the stigs slighly activated by the liftig dampes) (toe, leggeissimo staccatissimo) (whammy pedal toes dow (fowad) - sigal tasposed two octaves up) (acceleatig glissado) (dampeed stig, sempe leggeissimo) b b (l.h.) b #.

7 1 ppp. #. #. #. #. ##. ppp. b b : 19 # ppp #. b b. #.. #.. - #..... #. #. #.... #. # # #.. # # (o-theatical feeze) # # ## # # # #. (aised ~1/ toe ad distoted by pepaatio) # #. # # 2

8 # Ó Ó #. (l.h.) #. #. (.h.) (l.h.) (d pedal) # # (chomatic cluste) (does ot have to be complete) ##. # -. ppp - (.h.) ##... # R.. # # # # # R -.. #.. (aised ~/ toe ad distoted by pepaatio) # #.. # -. ## # # # #. (l.h.) (.h.). (chomatic cluste) #... # (l.h.) fl. # æ s # # # æ #. # #. # -.. # - # # # #.... # #. # # # #. # # # #..

9 6 #. # 60.. # # #... # fl b #. #. Ÿ~~~~~. (2 usycoized mao 2d tills: lh: Dd-Ed, h: C-D)... b Ÿ~~~~~ sempe... # # # Ō R -. #. #.. #. #..h. kock o wood (cossig l.h.) #. # # #. #.. #. # #. # # 6 -. # # # # # #. w. 6 (siletly pess dow key util it meats "esistace") - (od.) (pess dow all the way) # # 10 # # # # # # # # # # # # # # # 7: # R fie: bc oct.0 / ba dec.0 / damst. aug. 06 Du.: mi.