NEXT TO BESIDE BESIDES 1 for amplified double bass solo (or as movemet or part i ay combiatio of pieces from the NTBB series) Simo Stee-Aderse 200/200
Mute: The piece should be played with a heavy practice mute Amplificatio: The bass 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 Scordatura: 2d strig dow oe quarter of a toe th strig dow util the strig starts vibratig (percussively) agaist the wood whe played louder (usig a relative high bow pressure) mezzo forte or (The music is otated where it should be played - ot as it souds) Dyamics: Actio dyamics are writte i parethesis (fff) 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 I geeral: The piece should be played as dry as possible, ot lettig ope strigs or harmoics rig out Sigs ad abbreviatios: Bowig o the body of the istrumet If the sig is above the system it idicates the body o the treble side of the istrumet below the system idicates the bass side of the istrumet Simultaeous glissado ad arpeggio (or i geeral: chagig strig withi a glissado) The first cord idicates the relative figer positios The large ote is the first oe to be played ad the chagig strig i the idicated rhythm while performig the idicated glissado Gradual trasitio from pure toe to pure oise (o recogisable 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 click soud (o pitch) I the case of a small ote above the cross, press the idicated ote ad keep it dow for the otated legth (audible pitch) clb Col lego battuto (while dampig strig) + Left had pizzicato 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 vre det samme stykke, selvom det spilles på istrumeter med grudlggede forskellige typer af bevgelser Me hvad hvis de abstrakte kompositio rettede sig imod bevgelsere? 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 grudlggede forskellige forhold mellem bevgelse og lyd Og ville det så overhovedet vre det samme stykke? Re-cyklus e Next To Beside Besides er e åbe serie af koreografiske oversttelser 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 vre-ved-side-af) Beside Besides ideholder elemeter på mage forskellige tri af skalae mellem re klag og re bevgelse og vil således resultere i oversttelser, 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 liere bevgelser i forskellige dimesioer) For at opleve disse grader af forskelle krves aturligvis, at ma hører de forskellige versioer op imod hiade det vre sig forskudt, eller edu bedre: simultat! Cyklus e er således ikke blot e åbe rkke af variatioer, udgaver eller løsiger på forskellige oversttelsesmssige problemstilliger og agrebsvikler, me giver også mulighed for utallige kombiatioer af klagligt heterofoe, me bevgelsesmssigt uisoe esemble-kompositioer, hvor etop forskel og lighed er i fokus, hvor selve oversttelsessituatioe 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 vre lige tro mod origiale og dermed vre lige idiomatisk og tro mod det pågldede 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! 2006 Simo Stee-Aderse : wwwsimosteeadersedk / mail@simosteeadersedk
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 (200) (18') for amplified piccolo flute, piao with whammy pedal ad violi plus dampeed strig trio Beside Besides (aka NTBB 0) (200) (') for amplified cello solo Next To Beside Besides 1-9 + (200-2006) (') for ay combiatio of amplified double bass, 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 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 wwwsimosteeadersedk for a updated list) Future Geeratios Above Next To Beside Besides (2007) 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)
Next To Beside Besides 1 for amplified double bass solo (piaissimo) furioso q = 60 ( ) t (or as movemet or part i ay combiatio of pieces from the NTBB series) th strig is to be tued dow util a percussive cotious slappig of the strig agaist the wood occours whe playig ~(mf) or louder (with relative hard bowpressure) Simo Stee-Aderse 200 7 t 6 10 2 b 1 2 ( f ) b + + 19 t Œ + + + + (arco) + + + : + + 1 + + right had ppṗ + 1 right had
2 1 b 27 + 7 29 ("legato", do't lift figer) + 8 b b 8 t 8 + 9 6 Œ Ó Ó j 8 b + 8 j 6 (keep bow o wood) 6 Œ Œ Œ Œ 8 + pz 8 b + b 6 b t 2 b b b R ( f ) 8 j 9: (IV) 16 6 j j 8 2
1 t 8 b + j b + III II 16 7 j 8 r 6 2 b (I) R ( f ) b 8 8 r 8 b 60 t j kock (arco) (arco) + pizz 8 o wood clb b + + b 8 - - j 6 t 8 + b Ÿ~~~~~~ w 68 Œ w b + 6 b 71 t + b + 7: b fie: bc oct0 / ba dec0 / cph ja0 Dur: 0-00 mi