in-side-out-side-in... for guitar solo by Simon Steen-Andersenscordatura’ == ¢ -n as sounds), Pr repeat same note(s). tel 4hEAbb : % tone raised/owered gp even glissando starting immediately. : fguero!: slide fingernail up or down the fretboard (acording to the direction of the line) between the two strings. ELEety : 'guero’ on string attachments / bridge. sp. : sul ponticello estremo : as sharp as possible. Pz: pizzicato, damp —_; damp strings completely to ensure that only left side of the string sounds when using ‘hammer-on! technique (in the lowest frets only a 'click/percussive d sound is intended). tap on the body of the instrument below the strings ~ when several: use more = fingers. # ‘hammer-on' (‘pull-off) : without plugging the string, but exaggerated to obtain a es certain loudness (when slurred: 'pull-off (always with right hand damping the strings) — one must clearly hear the ‘pulse’ of the figure (almost matching dynamically to the tapping on the wood). : hammer-on' both notes on same string and balancit dynamics of both sides of the string. arpeggio between tuning pegs and the ‘stops’ on the ‘head of the instrument. : 1* string plugged (with left hand) between peg and ‘stop’. fast movement of hand on the strings in the direction of the line to make ‘whistiing’ sound. 5 : minor 3” harmonics: a bit lower than a minor third and sounding 2 octaves and a (low) minor 7* above. . plugged on the 'wrong' side. ain-side-out-side-in Forvandling til sin modsstning og sA til sin modsetnings modswtning - krengende indersiden ud — ogs& i poetisk forstand. Men alt kan iagttages fra flere sider, tildeles flertydighed, og nir hver af disse tydigheder soger sin modswtning, hvad sker der forskellige aspekter ‘af musikken er pa a i forskellige retninger med forskellig hast: svaret er: et svar er ikke muligt... in-side-out-side-in.. (OO/01) er skrevet til Frederik Munk Larsen med okonomisk stotte fra Statens Kunstfond, ‘Transformation to the ‘opposite’ and then to the ‘opposite’s opposite ~ forcing the inner side to the surface - also in the poetical sense, But everything can be looked upon from different angles, be given ambiguity, and when each angle seeks its opposition - what happens then: when different aspects of the music are heading in different directions at different speed: the answer is: one answer is not possible... in-side-out-side-in... (00/01) was written for Frederik Munk Larsen. Duraton ~ 10 min. Approx. dur.: 10 min,by Simon Steen-Andersen ‘ot in-side-out-side-in.... scordatura: fe E, H, G C#, G#,D for guitar solo (written as sounds) dca.80 Furioso! Rasquedo > Ritardando-~~~--~------~szzzzzczzznnznnsne 200202 e oF eer | ——— heed dca.zod=ca.70 jp RH guero' on frets re Pizzicato wr Pf og. f P6 ¥ 4 Sp.Pz, = on. Oh SPs Sp, Pe. 2 Sp.Pz, Sp._Pz. rs 5 ? t P ae 2 8 Pz._Sp. Ord. Pz. Sp. n4 Pz. § Pz. Sp, Rea poaSD: 2. Sp. a = — 5 ? a a F ao: PS ord. Pz. Sp. Sp. Rsq. or P- Pz. Sp. Pz, sp, PE io SR, P2.sp, For aS es: epee: ee tp Sp. Sp. Pats Pz. a teen PE Pe, SP; y Phy beg, Pa Sop. ee) a fp’ eh eee Ord. Rsq, Pz, Sbe Pz, Sp. b, zs Pz. Sp. Pz. Sp, 9 © Ti F af ge 3 on pane io 3 ord. Rsq. b, Rsq. Sp. Pz, SP- Pay 4 a Loe a 7 nz SP Pz. RH. tap RH. tap Pz. Sp. (nails) = 5—_, (no nails) ca 8 te 7# f P ft ae hamneron7Fll-ot9 Rsq. Sp. fo ‘ e) —— Bsa. z, SP. Pz. og 8p, Lei as ce = ws= sempre th be right hand ‘umboail _/ se Z > —— , Rubato molto- i poco meno mosso RH.tap > 19 nails) ——s—" ad Ce eae. wg ae yaw = —s— Acceleranda -. Aes bel ee S ~ -Ritardando- - > ~~ -Piu accelerando- ify, AP A is Si ber Ye ae ——+12 © eee GS) ce . Rubato molto. ipoco meno mosso @ RH. tap ‘no nails) @ PP Ces ©,9 OOO D_ ~L2@ tee OD ben e/ Ey = 31 (staccato poss.) \yet ® T bar” Rubato molto----.---------. poco menomossq, bana ‘whistle-gliss’ "35 jor PP @ (sempre rsq_) 10s ) oe 28 ae v = =a ~ Rubai ato molto i poco meno’ mosso a RH tag a Gamo naipoco men Rubato molto tn 1s ‘whistle-gliss." Rubato molto--- ipocomenomosso Ge) te Itc a a : H.sp RE esi tap: Littap alls)” Damp PP Tempo primo-__- po on tf1, 2Og® @ @ Carhead’. Baia) PP = — = Dams —— ee ‘Damp *Damp——— ‘i Sao SSS a122mpo primo ------------: @® AAss> 5 RH. 2 wr tap) ARH (un.thumb 4 Gn) Rutemon'head: ‘Tempo primo=——-~ a E LLP (nails) ba RH.'guero SI AAG @ @@D © yo —s— 22 e 7 Damp pds, (nails) @@ ‘Tempo primo- oe @ jai an Pee @, RG r.@ SBe2 SS & Damp—* © - Ws Plugged on 3 Sea oe 3 tater OGD rms @ Damp’ Tempo primo_, => ot ‘ n@ @ ae eee cask a‘guero’ apreggio asl “@ ao 158. eae een SF Damp. er . ‘extremely slow movement of a Tempo prime, EEL nal jremed egal 6th a 5, _ tng toate treguar rise ies ‘ ‘ovement of veryslov movement of Sn tig ‘RH. mal pressed ‘against oth string aa g eS @ 8 o (ate tmovement) Swhegl.! D ooo, vit : ms Dain: ar? RAL ‘guero’ on frets ‘guero' apreggio = RH. sn sioel rie (nah) 5, LH. LH. RH. ramp RH. sempre ‘whistle-gliss.”