NEXT TO BESIDE BESIDES #8 for amplified guitar solo (or as movemet or part i ay combiatio of pieces from the NTBB series) Simo Stee-Aderse 00/00
Preparatio: st th strig should be completely dampeed by the bridge. Scordatura: th strig should be tued dow util it has o audible pitch ad vibrates percussively agaist the fretboard whe played louder tha ~p-mp (i it should t rattle at all). th strig should be tued dow a large third (C#). Amplificatio: The guitar should be amplified as much as possible without it beig upleasat 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 betwee the istrumets as much as possible. (The music is otated where it should be played - ot as it souds.) Dyamics: Actio dyamics are writte i parethesis (ff) ad idicate the amout of eergy to be put ito a actio eve though the resultig soud is much softer. The (without parethesis) should be the softest possible eve dyamic (tryig to match all the soft evets). Crescedos ad dimiuedos should be performed expoetially (very late cresc. with much directio, etc.). Whe edig or startig i a accetuated poit, the poit should always be a bit louder tha the cresceded or dimiueded soud, i order to make them melt together, like a zoom (reverse reverb) or atural reverb of the accetuated poit. Sigs ad abbreviatios: Tapped o a dampeed strig (oly backside of strig soudig because of the dampig at the bridge). If played o the th strig: damp with right had or arm. Tapped o th strig without dampig. Plucked by right had o the left side of the stoppig r.h. figer. Noisy soud (ot impulses) by scratchig th strig with figerail at the idicated possitio (fx ~XX : at the 0th fret). + Left had pizzicato o the left side of the stoppig figer. Tremolo is always umeasured ad to be performed as dese as possible. Staccato is always as short as possible (o matter the legth of the ote).
Next To Beside Besides e re-cyklus Et abstrakt kociperet musikstykke vil stadig være det samme stykke, selvom det spilles på istrumeter med grudlæggede forskellige typer af bevægelser. Me hvad hvis de abstrakte kompositio rettede sig imod bevægelsere? Hvad hvis kompositioe blev 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 bevægelse og lyd. Og ville det så overhovedet være det samme stykke? Re-cyklus e Next To Beside Besides er e åbe 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 betydige desude... og b-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 bevægelse og vil således resultere i oversættelser, der sviger mellem øjagtigt eskligede passager (dér, hvor musikke er klagligt eller abstrakt kociperet) og vidt forskelligt kligede passager (dér, hvor musikke fx er baseret på glidede lieære bevægelser 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 bedre: simultat! Cyklus e er således ikke blot e åbe række af variatioer, udgaver eller løsiger på forskellige oversættelsesmæssige problemstilliger og agrebsvikler, me giver også mulighed for utallige kombiatioer af klagligt heterofoe, me bevægelsesmæssigt uisoe esemble-kompositioer, hvor etop forskel og lighed er i fokus, hvor selve oversættelsessituatioe bliver et musikalsk parameter. Alle stykker skal kue spilles alee eller i e hvilke som helst kombiatio 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 abstractly coceived piece of music will still be the same piece eve though played o istrumets with essetially differet types of movemets. But what if the abstract 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 betwee movemet ad soud. Ad would it the be 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 esemble piece Besides. ( Besides was, beside the meaig besides... or b-sides, back-sides, meat as the oexistig plural of beig ext to). The may differet degrees of abstractess ad cocreteess betwee pure soud ad pure movemet i Beside Besides will result i traslatios that cotai exactly equally soudig passages (where the music is thought abstract or i soud) ad very differet soudig passages (where the music for example is based 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 be oe after aother, or maybe eve better: simultaeously! The cycle is i other words ot just a ope row of variatios, versios or solutios of differet problems ad methods of traslatio it also gives the opportuity to put together iumerous of combiatios of heterofoically soudig, but movemet wise uiso esemble compositios, where differece ad equality are i focus where the traslatio situatio i itself becomes a musical parameter. Every piece ca be played aloe or i ay combiatio of versios, simultaeously or oe after the other as movemets or betwee other pieces as fragmets. Every piece must be equally faithful to the origial, which also meas beig equally idiomatic ad faithful to the istrumet i focus! 00 Simo Stee-Aderse : www.simosteeaderse.dk / mail@simosteeaderse.dk
Next To Beside Besides meet the family! Choreographic Traslatios for amplified solo istrumets or esembles + 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 be played solo or together i ay combiatio simultaeously as esemble pieces. Solo versios or combiatios ca be played aloe or after each other as movemets or betwee 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 be heard solo or i ay combiatio, later exteded with a iteractive web-traslatio, called Above Next To Beside Besides, ad more. The Family Besides (00) (8') for amplified piccolo flute, piao with whammy pedal ad violi plus dampeed strig trio. Beside Besides (a.k.a. NTBB #0) (00) (') for amplified cello solo. Next To Beside Besides #-9 +... (00-00) (') for ay combiatio of amplified double bass, saxophoe, accordio, percussio, piccolo flute, violi, piao, guitar ad a silet versio for close-up camera +... (See www.simosteeaderse.dk for a updated list.) Self-reflectig Next To Beside Besides Two or more traslatios performed by 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 be 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 combiatios of the versios for percussio, piccolo ad camera with video. Several more alterative versios are plaed for all strigs, guitar ad percussio. (See www.simosteeaderse.dk for a updated list.) Future Geeratios Above Next To Beside Besides (007) Iteractive web-piece / "Virtual Sifoietta". Meta-work i the sese that it displays geeral ideas behid the series. Iteractive i the sese that it s a web 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 be performed by itself as a esemble piece or with ay of the solo-traslatios i frot as a solo cocerto or with a combiatio 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).
(piaissimo) furioso q = 0 V Scordatura: see preface (To let the th strig vibrate freely bed away th ad th strig with l.h. i the highest possitio) Next To Beside Besides #8 for amplified (acoustic) guitar solo (or as movemet or part i ay combiatio of pieces from the NTBB series) (the dowtued th strig should vibrate as coutiously ad percussively as possible) (percussive i the vibratio agaist the fretboard, ot i the attack) V. Simo Stee-Aderse 00. #. scratch o th strig with r.h. figer ail (at the idicated poss.) - matchig dyamically the other souds. 7 (sim. bed away strigs i highest poss.) V. #. #. 0 V + + + j... #.. (sim.) I :. V. #. #.. # r.h. pot. XX (sim.).. figer) 9 ΠV # #. #. #.. (r.h. pluck behid l.h.
+ V #... #.. #. 7 V 7. #.. (keep ail o strig) gradually bed strig cotiue bed with l.h. (tapped but with r.h. ~XVI 9 ot dampeed) V 8 j 8 b. r.h. molto sul pot. V 8 Œ Ó Ó # # # # 9 r.h. bartok pizz. behid l.h. figer ~IXX V (sim.l.h. bed away strigs) 8 b J 8 j # # (hit strigswhile movig from highest to lowest poss.) (sim. bed (sim. cot. bed with l.h.) with r.h.) (bed) V (keep ail o strig) # Œ Œ Œ Œ 8 8 b + j J.. r.h. molto sul pot. (more ad more vib. alog the strig, util a V oise tremolo) l.h. r.h. 8 s.v. m.v. b j b 8 æ # ( ) (gliss.) j #. l.h. (beded, release)
(beded, release) (gliss.) V 8 b ( ) 7 8 # # b ( ) j # # # ( fff ) (sim.) (bed) (gliss.) (more ad more vib. alog the strig, util a oise tremolo) towards towards bridge fretboard V s.v. m.v. æ 8 8 gliss. 8. b j #.. bed fret guiro betwee d ad st strig 0 V j 8 # ø J # # j 8 + + b æ (st strig plucked o head) V 8 Ÿ~~~~~~ sul (bed) pot. w 8 V Œ æ sul pot æ 7 V sul pot b æ sul pot 7: r fie: bc oct.0 / ba dec.0 / rm oct.0 Dur.:.0-.00 mi.