for amplified vibraphone solo (or as movement or part in any combination of pieces from the NTBB series)

Transkript

1 NEXT TO BESIDE BESIDES #11 fo amplified vibaphoe solo (o as movemet o pat i ay combiatio of pieces fom the NTBB seies) Simo Stee-Adese 200/2007

2

3 Istumetatio: The piece should be played o a vibaphoe with a steady ad u-oisy moto/fa. The piece is played without sticks, oly the figes ad a staw ae used. Amplificatio: The actios should be amplified though a head-set micophoe wo by the playe. The actios 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. Whe played togethe with othe vesios of NTBB the amplificatio should level out the dyamic diffeeces betwee the istumets as much as possible. Dyamics: Sice the soud is beig amplified though the head-set it is ecessay to keep the head close to the souds that ae ot by atue beig poduced close to the micophoe ad eve to adjust the esultig dyamics by adjustig the distace fom the head to the soud souce. The (without paethesis) should be the softest possible eve dyamic (tyig to match all the soft evets). Cescedos ad dimiuedos should be pefomed expoetially (vey late cesc. with much diectio, etc.). Whe edig o statig with 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. I geeal: Oly the uppe 9th (Eb-F) of the vibaphoe is used. The piece is otated with a octave-tasposed tebleclef. The vibaphoe is mostly beig played by blowig o it. I ode to make the iteded souds it is ecessay to be vey close to the istumet with the mouth whe blowig at some poits actually touchig it with the lips. This makes it athe poblematic to ead the scoe while playig ad/o commuicatig visually with othe istumets, which speaks fo leaig it by had, ad maybe fo usig a click-tack whe playig with othes. Sigs: blow o a key. blow ito the tube to the ight of the key (fa-movemets ot audible). staw actio. (The staw is maily used to make gliss. acoss the keys o to stick ito the fa). fa-soud: eithe by blowig o it o by touchig it with the staw. (To blow o the fa the lips should touch the istumet ad the ai steam should be athe focused i ode to make the fa-movemets as audible as possible.) blow o the ight side edge of the key. blow o the uppe edge / lowe edge of the key i geeal: the vey uppe pat / the vey lowe pat of the key. (No aow: at the middle of the key / above the tubes) - above the system: hit the moto cove with a figeail tappig i the softe uaces ad fige-sappig i the loude uaces. - withi the system: dampeed key played with a figeail tappig i the softe uaces ad fige-sappig i the loude uaces. key played with a figeail (tappig/fige-sappig sim.) audible pitch. key played with a kuckle moe defied pitch. glissado: move i a staight lie fom the fist poit to the ext i the give time. The movemet should stat immediately. gadual tasitio. The tube ude the missig key : Fb; ext to Eb, Cb; betwee Bb ad Db.

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. e 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. Og 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 øjagtigt 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 just 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 : /

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) (18') fo amplified piccolo flute, piao with whammy pedal ad violi plus dampeed stig tio. Beside Besides (a.k.a. NTBB #0) (2004) ( 0 ) fo amplified cello solo. Next To Beside Besides # ( ) ( 0 ) fo ay combiatio of amplified double bass (2 diffeet vesios), saxophoe, accodio, pecussio (2 diffeet vesios), 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. Othe 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 costellatios cotaiig pecussio ad/o double bass. 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". eta-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 pojectios of peecoded video ad oe live-pojectio of the spectatos watchig the istallatio).

6 (piaissimo) fuioso q = 60 OTOR ON, AX SPEED BLOW o OTOR 4 µ æ 4 7 Next To Beside Besides #11 BREATH IN ("atually") ( p ) sim. µ æ æ STRAW o OTOR (the dyamic of the staw decides the geeal dyamic (fff) - it ca be adjusted a bit by chagig the distace to the head-set micophoe by movig the head a bit away) fo amplified vibaphoe solo (o as movemet o pat i ay combiatio of pieces fom the NTBB seies) µ æ µ æ æ µ æ µ æ æ µ æ æ æ µ 4 2 µ æ æ æ (ail o µ. œ.. the. "moto (blow o the cove") (side) edge of key). œ. (ail o key - audible pitch).... œ..... œ µ æ æ æ µ æ (,) µ æ 4 2 µ : 4 2 > j µ (,) µ µ 4 œ... œ æ µ. œ.. œ... œ. µ æ.. µ æ µ æ æ ( f ) œ..... œ (fige sap o "moto cove") (cescedo by movig movig close fom fa away with the head-set mic.) œ.. æ KNUCKLE œ. œ.. œ. œ.. œ. œ œ. œ... 4 œ.. œ

7 4 1 µ œ (,).. µ 4 2 (head-set mic must be close to the soud souce) 4 "feeze"..... œ >. > œ œ b j 4 2 µ µ µ µ 8 29 (lowe edge of the key) (uppe edge of the key) (dampeed) (omal) (the tube without key ext to Eb) > 8 œ "feeze"... Ó Ó J 4 2 µ µ µ µ 4 OTOR SPEED: INIU 4 OTOR AX 4 µ SPEED: ACCEL µ J > >. œ. œ. m. œ. J 9 (staw gliss. o the lowe pat of the keys, ail hit o the lowe pat of the E key, sim. the middle of the key, staw "gliss." ove the cack betwee E ad Eb, ail hit o the middle of the D# key, blow o the uppe edge of the D# key) (uppe edge of tube) > œ œ b. j J m 4 2. œ. œ. > 4 (betwee Eb ad E) 46 (gadually blow o the uppe edge of the tube to make a shape oise) (OTOR SPEED: IN.) µ µ µ m µ µ µ. > æ J µ m ( f ) 2 OTOR SPEED: ACCEL. AX

8 AX S: ACC. AX, OTOR RIT. IN SPEED: J > >. œ. œ j µ (S: IN) (S: IN) ACCEL.. m. œ. m > J >. œ. œ j µ.. m. œ. m J J J 1 (S: AX) S: 4 2 µ æ b..... µ RIT. IN J 8 µ µ µ ( > f ) 6 (hypevetalitio/ apid patig - o i ad out with the mouth oly) j the "moto cove" (S: AX) µ - b.. ọ b K 8 m m >.. > Û (tube betwee > Bb ad Db) µ b. b. J. œ.. µ µ j µ æj 60 ope (o close) (staw gliss. o the mechaics fom below the tube ext to F all the way up i 1 movemet) (blow diectly o the key) 8. œ> œ b j 4 > µ µ µ µ µ æ 4. œ> œ b æ µ µ 68 µ æ æ µ. œ> œ b µ µ µ æ æ 4 2. œ> œ b 71 µ µ. 7:4 fie: bc oct.0 / ba dec.0 / pfzh sept.07 Du.: mi.