NEXT TO BESIDE BESIDES #5

Transcription

1 NEXT T BESIDE BESIDES # for amplified piccolo flute solo (or as movemet or part i ay combiatio of pieces from the NTBB series Simo Stee-Aderse 200/2006

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3 Preparatio: The piece is played without mouthpiece. Amplificatio: The piccolo flute 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. For the microphoe setup oe ca for example use the kid of headset ormally used for sigers. 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 ppp (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 use of the piccolo flute i this piece has very little to do with the ormal way of playig the istrumet. It therefore hardly gives ay advatage beig a flute player, whe playig this piece. If there should be a advatage it would be a certai cotrol of the air stream ad breathig - ad the owership of a piccolo. But the piece ca ust as well be played by recorder players or eve percussio players. The otatio is basically actio otatio (i oppositio to the ormal result otatio showig or describig i some degree the resultig souds. The otatio maily goes to show where to blow (or positio the istrumet relatively to the mouth ad secodly how to blow ad if a key actios is to be performed. The souds are maily produced by blowig N the istrumet, rather tha i or through the istrumet. The distace betwee the lips ad the istrumet is mostly betwee 0.1 ad 1 cm. The mai system (the lower system shows the horizotal positio of the tube relative to the mouth (the tube movig sideways from the edge of the oe ed to the edge of the other ed. Ad it shows (as ormally the key actio ad other actios. The flute should be positioed horizotally so that the key correspodig with the ote i the three-lie system (from d to c as a ormal system but missig the two upper lies is cetred before the lips. A ote floatig above the system meas N the metal edge of the tube i the treble ed (where the mouth piece should have bee, floatig below the system meas N the metal edge i the bass ed of the tube. The secodary system (the upper system shows how to tur the tube aroud its horizotal axis. The lower lie is the positio where the air stream would hit the uderside of the keys i other words the flute is held up side dow. The upper lie is the positio where the air stream hits the edge of the mechaics o which the keys are attached i other words more or less the ormal positio of the flute. To reach the upper positio of the mechaics the tube is tured or rolled away from oe self, ad rolled back towards oe self to get back to the lower positio. The glissado lie betwee the two positios idicates this rollig movemet. (A horizotal positio idicated i the lower system by a ote or a key i combiatio with the mechaics positio (upper lie i the upper system therefore meas to blow o the mechaics at the horizotal positio that correspods with this ote or key. Suggested way of holdig the istrumet:

4 (Turig or rollig the tube away from oe self aroud its horizotal axis ad very close to the mouth. (Movig tube sideways very close to the mouth. Air oise by a rather focused air stream o edges or key holes or o the wood i betwee. (Noisier tha the very focused air stream, but ot ecessarily completely without whistletoes. Whistle toe by a very focused air stream (also depedat of distace ad air speed. (Clearer high pitch(es, but ot ecessarily completely without air oise or completely stable. Blow through the tube (from the bass ed with the mouth completely closed aroud the opeig. Fast trill o the key that is blow o. Focused air i ad out as fast as possible (with the mouth ot with the louges as i hyper vetilatig. Air i / air out. If othig else is writte always air out. Press dow a sigle key (a bit exagerated i order to make a clear soud, (If ot followed by a lift key sig, release siletly. Lift a sigle key (a bit exagerated i order to make a clear soud. Sap release a sigle key: If allready dow, by slidig off the key while pressig dow if uprepared, by passig it dowwards. I both cases the resultig soud should be louder ad clearer tha by simply liftig the key. Touge start or touge stop. Not slap touge but clearly distictable from a ormal attack. 1 Withi the system: Normally otated key ru (ot ust sigle keys. 2 Above / Below system: Hit treble / bass ed opeig with the palm of left / right had. Staccato always as short as possible o matter the ote value.

5 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. g 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 øagtigt 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 ust 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 : / mail@simosteeaderse.dk

6 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 (a.k.a. NTBB #0 (2004 (4' for amplified cello solo. Next To Beside Besides # ( (4' for ay combiatio of amplified double bass, saxophoe, accordio, percussio, piccolo flute, violi, piao, guitar ad a silet versio for close-up camera... (See 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. ther 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 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 proectios of prerecorded video ad oe live-proectio of the spectators watchig the istallatio.

7 Next To Beside Besides # for amplified piccolo flute solo (piaissimo furioso q = 60 ( & 4 4 (breathe through the flute from the "bass ed" = wrog ed sim. (or as movemet or part i ay combiatio of pieces from the NTBB series & 4 2 ppp. Simo Stee-Aderse 2006 Ọ Û. #. (r.h. thumb Ọ 7 & # Û. Ọ sim. # Û Û Û. Ọ. Û 10 & 4 2 Ÿ~~~ : ( f ppp ( f ppṗ # Ọ Û. Ọ. Ọ Û Ọ. Û Ọ... (l.h. thumb 14 & 4 2. Ọ # Û ppp... Ọ. # Û. 1.. #. Û Û. ( F (air soud a bit softer tha the key click i order for the two souds to "melt" toghether

8 19 (sim.: air soud a bit softer tha the key click i order to "melt" toghether * whistle toe iside mouth - as close as possible to the pitch of the whistle toe produced by blowig o the metal edge & #Û Û ppp Ọ Ọ * Ọ # Û. Ọ Ọ Ọ # Û Ọ... Ọ Û. ( F ( F 2 & (. 4 # Û Û. Û. Û. Ọ # Û. Û. # Û. 27 & (prepare "freeze".... Œ Œ Œ Œ Œ Œ 4. Ọ # Û. J.. & ø ø # Û ( F 29 4 (l.h. thumb. & 8 Ȯ 4 6 "freeze"... # Û Œ Ó Ó 4 2 # 4 R Û ( F (blow o key while pressed dow J J. & 4 Ÿ~~~~~~~~~~~~~~~~ # Û.. # Û. # Û ppp 9 (hit bass ed opeig with r.h. palm & 4 6. J Œ Œ Œ Œ 8. ø ø # Û # ( F. Û. 4 2 ord. key ru without l.h. thumb dow (right had takig keys from the "wrog side"

9 46. J. & Ÿ~~~~~ 8 # b. æ ( f J.. J J... J & 8. Ÿ~~~~~ 16 7 Ÿ~~~~~~~~~~~~~~~~~~~~ # Û ( fff.. # Û. J J. # Û.. # Û. J J. J 1 (hit bass ed opeig with r.h. palm.. J & Ÿ~~~~~~~~~ b æ. b.. øø 8 ( f ( F J 6. (. (blow ito thumb & 4 key hole Ÿ~~ J b. (keep ed. closed øø Ÿ~~. ( ø ( F # Û r.h. figer... æj gliss. o keys ( F hit chest with 60 6 hit treble ed opeig with l.h. palm hit bass ed opeig with r.h. palm the bass ed of the flute J. & 8 4 Ÿ~~~~~~ b. (keep key pressed dow. 4 ( F Õ J & 4 Œ 4 (release key siletly ø æ 4. b. ( F ppp 68 æ 71 J. & b æ b ( F ( F J. 7:4 fie: bc oct.0 / ba dec.0 / cph apr.06 Dur.: mi.