NEXT TO BESIDE BESIDES #4

NEXT TO BESIDE BESIDES #4 aplified percussion solo (or as oveent or part in any cobination of pieces fro the NTBB series) Sion SteenAndersen 200/2006

Instruentation: Snare dru (with a piece of cloth between snare and skin. Snare off fro the beginning). Modified reibe stick: A rather long (at least 0 c.) wooden stick with regular chops (like a guiro) on one side and perfectly flat on the other side the chops gradually increasing fro the one side to the other. sticks of different kinds of wood (or other aterial) and thickness to give different sound qualities when bowed on with the flat side of the reibe stick. The sticks should also be chosen fro their ability to give an audible glissando, when bowed on or hit repeatedly oving fro one end to the other. Setup: The sticks should be fixed together in one end and spread out in the other. The iddle stick should be a bit longer than the others. The sticks should be held with the left hand at the oint and positioned on the dru soething like this (the sticks pressing (hard) against the ri and the skin to prevent the skin fro sounding too uch when hit with the r.h. stick): The oint end should be flexible in height changing to facilitate the oveents of the right hand. Mostly the sticks are resting like this, but at certain ties they are also used to hit the etal border and at one point to ake a guiro like effect on the front side of the dru. The setup is played like a cello or a double bass, holding the odified reibe stick in the right hand, using it as a bow with techniques siilar to the ones of string players. The right hand also bows on the etal border of the dru on both sides of the sticks as if a stringed instruent. Aplification: The setup should be aplified as uch as possible without it being unpleasant at least loud enough to give a feeling of zooing in on the very soft sounds. When played together with other versions of NTBB the aplification should level out the dynaic differences between the instruents as uch as possible. Dynaics: Action dynaics are written in parenthesis (fff) and indicate the aount of energy to be put into an action even though the resulting sound is uch softer. The ppp (without parenthesis) should be the softest possible even dynaic (trying to atch all the soft events). Crescendos and diinuendos should be perfored exponentially (very late cresc. with uch direction, etc.). When ending or starting in an accentuated point, the point should always be a bit louder than the crescended or diinuended sound, in order to ake the elt together, like a zoo (reverse reverb) or natural reverb of the accentuated point.

(Position on the l.h. sticks) (Where/what to bow/hit with r.h.) Signs: Bowing (sliding horizontally) with the flat side of the reibe stick. Bowing with the guiro side of the reibe stick. Upbow / downbow. (Upbow oving fro the point towards the hand, downbow vice versa). (Phrases indicate what do in ONE bow). Hit with r.h. stick. Hit and bow with r.h. stick. Hit etal border with the circled l.h. stick(s). (When loud fro the air, when soft siply by sliding the sticks a bit out of the position and back again). Gradual transition (fro flat side to guiro side of reibe stick). Staccato: Treolo: As short as possible no atter the note value. As fast or dense as possible, uneasured.

Next To Beside Besides en recyklus Et abstrakt konciperet usikstykke vil stadig være det sae stykke, selvo det spilles på instruenter ed grundlæggende forskellige typer af bevægelser. Men hvad hvis den abstrakte koposition rettede sig iod bevægelserne? Hvad hvis kopositionen blev set so en koreografi for usiker og instruent ed lyd til følge? Så ville det sae stykke lyde vidt forskelligt på instruenter ed grundlæggende forskellige forhold elle bevægelse og lyd. Og ville det så overhovedet være det sae stykke? Recyklus en Next To Beside Besides er en åben serie af koreografiske oversættelser af stykket Beside Besides (for hotelsordineret solo cello), der allerede i sig selv er et spinoff fra sekstetten Besides. ( Besides var, ud over betydningen desuden... og bsider, ent so den ikkeeksisterende flertalsfor af at værevedsidenaf). Beside Besides indeholder eleenter på ange forskellige trin af skalaen elle ren klang og ren bevægelse og vil således resultere i oversættelser, der svinger elle nøagtigt ensklingende passager (dér, hvor usikken er klangligt eller abstrakt konciperet) og vidt forskelligt klingende passager (dér, hvor usikken fx er baseret på glidende lineære bevægelser i forskellige diensioner). For at opleve disse grader af forskelle kræves naturligvis, at an hører de forskellige versioner op iod hinanden det være sig forskudt, eller endnu bedre: siultant! Cyklus en er således ikke blot en åben række af variationer, udgaver eller løsninger på forskellige oversættelsesæssige problestillinger og angrebsvinkler, en giver også ulighed for utallige kobinationer af klangligt heterofone, en bevægelsesæssigt unisone enseblekopositioner, hvor netop forskel og lighed er i fokus, hvor selve oversættelsessituationen bliver et usikalsk paraeter. Alle stykker skal kunne spilles alene eller i en hvilken so helst kobination af versioner, satidigt eller efter hinanden so satser eller elle andre stykker so fragenter. Hvert stykke skal være lige tro od originalen og dered være lige idioatisk og tro od det pågældende instruent! Next To Beside Besides a recycle An abstractly conceived piece of usic will still be the sae piece even though played on instruents with essentially different types of oveents. But what if the abstract coposition was directed towards the oveents? What if the coposition was thought of as a choreography for usician and instruent with sound as a consequence? Then the sae piece would sound copletely different on instruents with different relations between oveent and sound. And would it then be the sae piece at all? The recycle Next To Beside Besides is an open series of choreographical translations of the piece Beside Besides (for solo cello), a piece that already in it self is a spinoff fro the enseble piece Besides. ( Besides was, beside the eaning besides... or bsides, backsides, eant as the nonexisting plural of being next to). The any different degrees of abstractness and concreteness between pure sound and pure oveent in Beside Besides will result in translations that contain exactly equally sounding passages (where the usic is thought abstract or in sound) and very different sounding passages (where the usic for exaple is based on gradual linear oveents in different diensions). To experience these degrees of differences one has to hear the different versions next to each other this could be one after another, or aybe even better: siultaneously! The cycle is in other words not ust an open row of variations, versions or solutions of different probles and ethods of translation it also gives the opportunity to put together innuerous of cobinations of heterofonically sounding, but oveent wise unison enseble copositions, where difference and equality are in focus where the translation situation in itself becoes a usical paraeter. Every piece can be played alone or in any cobination of versions, siultaneously or one after the other as oveents or between other pieces as fragents. Every piece ust be equally faithful to the original, which also eans being equally idioatic and faithful to the instruent in focus! 2006 Sion SteenAndersen : www.sionsteenandersen.dk / ail@sionsteenandersen.dk

Next To Beside Besides eet the faily! Choreographic Translations for aplified solo instruents or ensebles + Next To Beside Besides is a series of "choreographic translations" (translations of the oveents or actions, rather than an instruentation of the resulting sounds) of the piece Beside Besides for solo cello, which is itself a odification of the ending of the piece Besides for three aplified instruents and three dapened instruents. All translations can be played solo or together in any cobination siultaneously as enseble pieces. Solo versions or cobinations can be played alone or after each other as oveents or between other pieces in a concert (or on different concerts) as ritornellos. The cycle will continue on the internet, where studio recordings of the preiered translations can be heard solo or in any cobination, later extended with an interactive webtranslation, called Above Next To Beside Besides, and ore. The Faily Besides (200) (18') for aplified piccolo flute, piano with whay pedal and violin plus dapened string trio. Beside Besides (a.k.a. NTBB #0) (2004) (4') for aplified cello solo. Next To Beside Besides #19 +... (2002006) (4') for any cobination of aplified double bass, saxophone, accordion, percussion, piccolo flute, violin, piano, guitar and a silent version for closeup caera +... (See www.sionsteenandersen.dk for an updated list.) Selfreflecting Next To Beside Besides Two or ore translations perfored by the sae player with video; the second translation played together with a video recording of the first, the third translation played together with a video recording of the second perfored with the video recording of the first, etc. Other instruents can be added only criteria is that at least one player should perfor live every tie together with a video recording of hi self perforing a different translation. For now there is only aterial for a percussion player to perfor cobinations of the versions for percussion, piccolo and caera with video. Several ore alternative versions are planned for all strings, guitar and percussion. (See www.sionsteenandersen.dk for an updated list.) Future Generations Above Next To Beside Besides (2007) Interactive webpiece / "Virtual Sinfonietta". Metawork in the sense that it displays general ideas behind the series. Interactive in the sense that it s a web instruent ideal and easy to play a translation of NTBB on or to iprovise on or copose for. Will include various didactic eleents as well. Around Next To Beside Besides Translation of the oveents in Next To Beside Besides to spatially staged sinfonietta. Can be perfored by itself as an enseble piece or with any of the solotranslations in front as a solo concerto or with a cobination of solotranslations in front as a concerto grosso. The instruents can change positions/parts and in this way generate various different versions. Behind Selfreflecting Next To Beside Besides Continuation of a perforance of Selfreflecting NTBB into a rooinstallation (three proections of prerecorded video and one liveproection of the spectators watching the installation).

Next To Beside Besides #4 for aplified percussion solo (pianissio) furioso q = 60 (Snare OFF) (Piece of cloth between snare and skin) 4 ("Legato") si. (or as oveent or part in any cobination of pieces fro the NTBB series) Sion SteenAndersen 2006. 4 2 ppp 4 7. 4 6 si. 4 2 10 4 2.. ppp > ( f ). ppp Slide l.h. sticks on the dru skin fro a bit away fro the ri and back in possition. 4 : 4 2 ( fff >... ) 14 4 2.. ppp.. >.. ppp 1

19 ( ) r.. 4 4 1 ppp 2 4 1 4 2.. 4 < 27 4. "freeze".... 4 7 Œ Œ Œ Œ Œ Œ prepare 4 J.. 4 4 2 > 8 4 2 8 >. > 29 ( ) 8 4 6 "freeze"... Œ Ó Ó 4 2 4 ( F ) 4. l.h. sticks still in the air sound by putting l.h. sticks back in possition 9 J J. 4 8 > 4 2 8 4 6.> fl ppp J J 4. 4 6 Œ Œ Œ Œ 8 > 8 4 2 < >... >. 2

46 4 2 8 6. æ 4 2 8 ( f )... 1 sepre. 40 sepre. 40.. J >.> 16 7 8 4 2 >.>. fl fl 6.. J. 4 2 æ. 16 6 8 8 ( f ).. < n ( fff ) 60. J Œ. 4 8 8 < rk >. Û æ n > l.h. guiro on the front side of the dru (right to left) r.h. seiding ON 6. 8 > 4 4. 4 Œ 4 4 > æ n æ. æ æ n n 68 l.h. sticks still in the air n > 4 2 >. æ æ. n 71 7:4 fine: bcn oct.0 / ba dec.0 / cph apr.06 Dur.:.04.00 in.