BESIDE BESIDES (or Next To Beside Besides #0 )

Transkript

1 BESIDE BESIDES (or Next To Beside Besides #0 ) for (amplified) cello solo (or as movemet or part i ay comiatio of pieces from the NTBB series) Simo Stee-Aderse 200/200

2 Mute: The piece should e played with a metal practise mute Scordatura: 2 d strig dow oe quarter of a toe 4 th strig dow etwee a large sixth ad a octave util the strig starts viratig (percussively) agaist the fretoard whe played mf or louder (ad with a relative high ow pressure) O some istrumets the viratig percussive soud comes rather easy, o others it s almost impossile to make work I that case oe ca ed the strig outside the fretoard for a more secure viratig soud This ca also e doe gradually at the places where crescedig ad dimiuedig (The music is otated where it should e played - ot as it souds) Dyamics: Actio dyamics are writte i parethesis (fff) ad idicate the amout of eergy to e put ito a actio eve though the resultig soud is much softer The (without parethesis) should e the softest possile eve dyamic (tryig to match all the soft evets) Crescedos ad dimiuedos should e performed expoetially (very late cresc with much directio, etc) Whe edig or startig i a accetuated poit, the poit should always e a it louder tha the cresceded or dimiueded soud i order to make the two souds melt together, like a zoom (reverse rever) or atural rever of the accetuated poit I geeral: The piece should e played as dry as possile, ot lettig ope strigs or harmoics rig out Amplificatio: The cello may e amplified if amplified it should e as much as possile without it eig upleasat ad at least loud eough to give a feelig of zoomig i o the very soft souds Whe played together with other versios of NTBB the amplificatio should level out the dyamic differeces etwee the istrumets as much as possile Sigs ad areviatios: Bowig o the ody of the istrumet If the sig is aove the system it idicates the ody o the trele side of the istrumet elow the system idicates the ass side of the istrumet Whe goig legato from strig to ody, use the same tiltig techique as whe chagig ack ad forth etwee two strigs i oe ow Simultaeous glissado ad arpeggio (or i geeral: chagig strig withi a glissado) The first cord idicates the relative figer positios (almost always mior 6ths o top of each other - chose for easiess) The large ote is the first oe to e played ad the chagig strig i the idicated rhythm while performig the idicated glissado Gradual trasitio from pure toe to pure oise (o recogisale pitch) Hit idicated strig(s) with left had for percussive soud Press the fourth strig with left had to touch the wood shortly for a dry delicate click soud (o pitch) I the case of a small ote aove the cross, press the idicated ote ad keep it dow for the otated legth (audile pitch) cl Col lego attuto (while dampig strig) Left had pizzicato Tremolo is always umeasured ad to e performed as dese as possile Staccato is always as short as possile (o matter the legth of the ote)

3 Beside Besides fragmet for cello solo Beside Besides har egetlig e lægere forhistorie i form af et stykke musik, Besides, for tre kraftigt forstærkede og tre kraftigt dæmpede istrumeter Både i de samlede form og som fragmet drejer det sig om et desperat forsøg på e y start Nogle få elemeter samler sig lagsomt i retig af oget, der måske kue live til e musik Udover at etyde desude og -sider eller agsider, er Besides de ikkeeksisterede flertalsform af at være ved side af: ved-side-af'er Beside Besides is actually the edig of a loger piece, BESIDES, for three amplified ad three damped istrumets I the gloal form as wells as i the form of a fragmet this piece is amog other thigs a search for a ew egiig A few elemets are cotractig ad slowly movig towards somethig that might ecome a music Beside Besides ad -sides or acksides, BESIDES is the oexistig plural form of eig ext to

4 Next To Beside Besides e re-cyklus Et astrakt kociperet musikstykke vil stadig være det samme stykke, selvom det spilles på istrumeter med grudlæggede forskellige typer af evægelser Me hvad hvis de astrakte kompositio rettede sig imod evægelsere Hvad hvis kompositioe lev set som e koreografi for musiker og istrumet med lyd til følge Så ville det samme stykke lyde vidt forskelligt på istrumeter med grudlæggede forskellige forhold mellem evægelse og lyd Og ville det så overhovedet være det samme stykke Re-cyklus e Next To Beside Besides er e åe serie af koreografiske oversættelser af stykket Beside Besides (for hotel-sordieret solo cello), der allerede i sig selv er et spi-off fra sekstette Besides ( Besides var, ud over etydige desude og -sider, met som de ikke-eksisterede flertalsform af at være-ved-side-af) Beside Besides ideholder elemeter på mage forskellige tri af skalae mellem re klag og re evægelse og vil således resultere i oversættelser, der sviger mellem øjagtigt eskligede passager (dér, hvor musikke er klagligt eller astrakt kociperet) og vidt forskelligt kligede passager (dér, hvor musikke fx er aseret på glidede lieære evægelser i forskellige dimesioer) For at opleve disse grader af forskelle kræves aturligvis, at ma hører de forskellige versioer op imod hiade det være sig forskudt, eller edu edre: simultat! Cyklus e er således ikke lot e åe række af variatioer, udgaver eller løsiger på forskellige oversættelsesmæssige prolemstilliger og agresvikler, me giver også mulighed for utallige komiatioer af klagligt heterofoe, me evægelsesmæssigt uisoe esemle-kompositioer, hvor etop forskel og lighed er i fokus, hvor selve oversættelsessituatioe liver et musikalsk parameter Alle stykker skal kue spilles alee eller i e hvilke som helst komiatio af versioer, samtidigt eller efter hiade som satser eller mellem adre stykker som fragmeter Hvert stykke skal være lige tro mod origiale og dermed være lige idiomatisk og tro mod det pågældede istrumet! Next To Beside Besides a re-cycle A astractly coceived piece of music will still e the same piece eve though played o istrumets with essetially differet types of movemets But what if the astract compositio was directed towards the movemets What if the compositio was thought of as a choreography for musicia ad istrumet with soud as a cosequece The the same piece would soud completely differet o istrumets with differet relatios etwee movemet ad soud Ad would it the e the same piece at all The re-cycle Next To Beside Besides is a ope series of choreographical traslatios of the piece Beside Besides (for solo cello), a piece that already i it self is a spi-off from the esemle piece Besides ( Besides was, eside the meaig esides or -sides, ack-sides, meat as the oexistig plural of eig ext to) The may differet degrees of astractess ad cocreteess etwee pure soud ad pure movemet i Beside Besides will result i traslatios that cotai exactly equally soudig passages (where the music is thought astract or i soud) ad very differet soudig passages (where the music for example is ased o gradual liear movemets i differet dimesios) To experiece these degrees of differeces oe has to hear the differet versios ext to each other this could e oe after aother, or maye eve etter: simultaeously! The cycle is i other words ot just a ope row of variatios, versios or solutios of differet prolems ad methods of traslatio it also gives the opportuity to put together iumerous of comiatios of heterofoically soudig, ut movemet wise uiso esemle compositios, where differece ad equality are i focus where the traslatio situatio i itself ecomes a musical parameter Every piece ca e played aloe or i ay comiatio of versios, simultaeously or oe after the other as movemets or etwee other pieces as fragmets Every piece must e equally faithful to the origial, which also meas eig equally idiomatic ad faithful to the istrumet i focus! 2006 Simo Stee-Aderse : wwwsimosteeadersedk / mail@simosteeadersedk

5 Next To Beside Besides meet the family! Choreographic Traslatios for amplified solo istrumets or esemles Next To Beside Besides is a series of "choreographic traslatios" (traslatios of the movemets or actios, rather tha a istrumetatio of the resultig souds) of the piece Beside Besides for solo cello, which is itself a modificatio of the edig of the piece Besides for three amplified istrumets ad three dampeed istrumets All traslatios ca e played solo or together i ay comiatio simultaeously as esemle pieces Solo versios or comiatios ca e played aloe or after each other as movemets or etwee other pieces i a cocert (or o differet cocerts) as ritorellos The cycle will cotiue o the iteret, where studio recordigs of the premiered traslatios ca e heard solo or i ay comiatio, later exteded with a iteractive we-traslatio, called Aove Next To Beside Besides, ad more The Family Besides (200) (18') for amplified piccolo flute, piao with whammy pedal ad violi plus dampeed strig trio Beside Besides (aka NTBB #0) (2004) (4') for amplified cello solo Next To Beside Besides #1-9 ( ) (4') for ay comiatio of amplified doule ass, saxophoe, accordio, percussio, piccolo flute, violi, piao, guitar ad a silet versio for close-up camera (See wwwsimosteeadersedk for a updated list) Self-reflectig Next To Beside Besides Two or more traslatios performed y the same player with video; the secod traslatio played together with a video recordig of the first, the third traslatio played together with a video recordig of the secod performed with the video recordig of the first, etc Other istrumets ca e added - oly criteria is that at least oe player should perform live every time together with a video recordig of him self performig a differet traslatio For ow there is oly material for a percussio player to perform comiatios of the versios for percussio, piccolo ad camera with video Several more alterative versios are plaed for all strigs, guitar ad percussio (See wwwsimosteeadersedk for a updated list) Future Geeratios Aove Next To Beside Besides (2007) Iteractive we-piece / "Virtual Sifoietta" Meta-work i the sese that it displays geeral ideas ehid the series Iteractive i the sese that it s a we istrumet ideal ad easy to play a traslatio of NTBB o or to improvise o or compose for Will iclude various didactic elemets as well Aroud Next To Beside Besides Traslatio of the movemets i Next To Beside Besides to spatially staged sifoietta Ca e performed y itself as a esemle piece or with ay of the solo-traslatios i frot as a solo cocerto or with a comiatio of solo-traslatios i frot as a cocerto grosso The istrumets ca chage positios/parts ad i this way geerate various differet versios Behid Self-reflectig Next To Beside Besides Cotiuatio of a performace of Self-reflectig NTBB ito a room-istallatio (three projectios of prerecorded video ad oe live-projectio of the spectators watchig the istallatio)

6 Beside Besides (or Next To Beside Besides #0) fragmet for cello solo Simo Stee-Aderse 200 (piaissimo) furioso q = 60 metal practise mute 4 7 4th strig is to e tued aout a large sixth dow so that a percussive cotious slappig of the strig agaist the wood occours whe playig ~(mf) or louder (with relative hard owpressure) r : ( f ) ( F J ) ppṗ (right had) (arco) J (right had) 1

7 Œ Ó Ó 4 2 j B J j (keep ow o wood) 6 Œ Œ Œ Œ 8 pz 8 4 J 2 ( F ) R ( f ) 8 j æ # 9:4 # B 4 2 (IV) 16 6 j 8 j 2

8 1 8 B J j B j r J # 6 2 æ R ( f ) 8 8 r 8 # 60 j 4 (arco) (arco) pizz 8 kock o wood cl j æ 6 8 Ÿ~~~~~~ 4 w 4 68 Œ w 4 æ 4 6 æ 71 æ 4 2 7:4 fie: c oct0 / a dec0 Dur: mi