Night Watch

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NIGHT WATCH for violoncello and audience devices

ANDREW HANNON


Instrumentation: Violoncello Audience devices

Duration: ca. 7’30”

performance material available www.andrewhannon.com

Program Note: Night Watch explores the concept of distance in regards to proximity and intimacy. The audio part is broadcast to the audience’s smart devices via a live broadcast. The live broadcast allows each audience member to have a personal relationship with the performance and become an integral member in the music making process. The composition is divided into four sections, each related to a particular time of the night. ~Andrew Hannon

Performance Note: The performer should direct audience to the YouTube video of the audio via program notes along with a short explanation before the performance. Once audience members have adequate time to load the video, the performer should instruct the audience to set the video to full screen and cue audience when to begin video. The performer may choose to also play the video on a personal device as a monitor. There should be a natural delay resulting from when audience members press play, how quick playback begins on each device, etc. The performer should encourage this audio delay. Ideally, there would be about a 5 second window of delay among all the devices. The performer should attempt to aim for the average of this window to set the cue. It is advisable to rehearse broadcasting on as many devices as possible to create a similar environment.


Notation Explanation Place left hand on strings and lift fingers. The sound comes from lifting the left hand off the string. The resultant sound should be very delicate. Partially press pitch with left hand and pizzicato as normal with right hand. The sound should be a mixture of pitch and “thud”. Gradually move from one technique to another. Play highest pitch possible Play directly on bridge with an extremely light and fast bow. There should be no tone at all, only soft white noise. molto sul pont. – Bow stroke should be extreme sul pont. and as fast and light as possible. The resultant sound should be rich in overtones with only a slight amount of the fundamental pitch. molto sul tasto – Bow stroke should be extreme sul tasto (2–3 inches over fingerboard) with an extremely fast and light bow. con legno tratto – Bow with the stick as normal (not struck). Place bow near bridge and move very slowly. Left hand should lightly finger the pitch, similar to a harmonic but with slightly more pressure. The sound should be soft and gravely with no pitch. It should be complex and unpredictable white noise. Intermittent breaks due to pressure are ok. “Chop” – The "chop" contains two motions. The down-bow is a percussive sounding stroke in which the player "throws" the bow in a short stroke down the length of the string. The resulting up-bow simply pulls the bow off the string, which results in a short sound. There are several tutorial videos demonstrating the technique on the internet. Bow should move up and down the string as opposed to a normal bow stroke, which moves across the string. Pitches should be depressed as normal with the L.H. The resultant sound should contain little to no pitch. Arrow direction indicates bow direction on string.


NIGHT WATCH

ANDREW HANNON

I. FIRST STARS In the distance q = 60

√ ∑

?4 4

Violoncello

44– – 4— 4—

ppp

/ Cmaj7 sustained to m. 14

Audio

4

Vc.

? ‰

j ‹

Œ

≈ ‹j™

j™– 4 ≈ 44 ™™– 4 ™— —

Œ

Vc.

1

s. glis

35"

Œ

Œ

/

Œ

‰ ‹ n‹ ‹ 3

Vc.

Œ

3 j r j ™ ‰ ‹ ‰ ‹ ‹ ‰ ‹j ‰ ™ ‹r > >

C1 reversed

? j ‰ Œ ≈ ‹ ‰ ™ #œ R ‹ ‹ f Sul D

12

3

pn. C6

pn. B3

9

Vc.

Gradually apply L.H. presure until achieving a regular pizzicato by m. 10.

Sul G

Audio

Œ

Piano E4

After plucking the starting pitch, slide to the end of the fingerboard. This is a regular pizzicato.

? ≈ #œ

Ó

Place L.H. on strings and lift off. The sound comes from the lifting of the L.H. The resultant sound should be very delicate.

Partially press with L.H. and pizz as normalwith R.H. The sound should be a mixture of pitch and "thud"

6 31"

j™– 4 ≈ 44 ™™– Ó 4 ™— —

15" pizz.

ca. 15"

. gliss

55"

? œœ œ œ

‰™

con legno batt.

3

mf

rŒ œ

1

51"

con legno batt.

Œ ≈ œ œ œ ≈ œ œ ≈ >œ œ 6

pizz. gliss.

pp

-™ ‰ -j Œ -

© Andrew Hannon (ASCAP) 2016

gliss.

f

√ ‰ ™ -R - - ≈ -j™ ‰ j Œ o

Lightly touch and release the string with the R.H. over the bowing area. The stickiness from the rosin on the string should create a delicate pizzicato like sound.

ppp

>œ

1'07"

ca. 10"


2

II. ROMANTIC EVENING

Delicate and transparent q = 100 1'17"

?4 & 4

&

directly on the bridge with an extremely light and fast bow. arco Play There should be no tone at all, only soft white noise.

Violoncello

ppp

Audio

/

Alternate between directly on bridge and extreme sul pont. This should be random and intermittant. Gradually move to all extreme sul pont. by m. 25.

7™

&

Ó

Sul G to m. 59

/

Vc.

Audio

? /

Vc.

?

7™

7

7 7 7

7

7

7

7 7 7

7

7

metal ping

1'42"

7 7 7 œ œ œ 3

3

7 7 7 œ œ œ 3

3

Bow stroke should be extreme sul pont. and as fast and light as possible.The resultant sound should be rich in overtones with only a slight amount of the fundamental pitch.

molto sul pont.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pp

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ metal ping

27

?

7™

7™

&

Play as a unison double stop

?

6

6

Bubbling synth and bird sounds

1'32"

? j ‰ Œ ¿

24

¿#¿ ¿#¿ ¿ #¿ ¿ b¿n¿ b¿n¿ b¿nY

Cmaj7 chord with attack and sustain to m. 60

Sul C to m. 59

Audio

Finger pitches with L.H. while keeping the bow directly on the bridge.

Synth. G4

20

Vc.

1'27"

œ

œ

œ

œ

œ

œ

3 4œ

œ

œ

œ

œ

œ

œ #œ œ bœ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ 6

almost a glissando

29

Vc.

?4 4œ ?

œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ #œ œ bœ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

p 6

pp

4 4


31

?

Vc.

Audio

?

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o œ

metal ping

34

Vc.

?

œ œ

œ œ œ œ œ œ œ œ

slow glissando

/

?

3

1'58"

2'05"

œ œ œ œ œ œ œ œ

pp

œ

œ

œ œ œ œ œ œ œ œ

œ #œ œ bœ œ œ nœ #œ œ œ œ œ œ œ œ œ

p

6

œ

pp

œ

p

6

œ œ œ œ

pp

36

?

Vc.

? 38

?

Vc.

Audio

?

œ œ œ

œ 6

œ

œ

mp

œ œ

pp

6

œ œ nœ#œ œ#œnœ#œ œbœ nœ bœ nœ œ œ œ

œ œ œ œ œ œ œ

œ 6

œ œ œ œ œ œ œbœ nœ œ b œ œ

2'12"

2'17"

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ppp

pp

œ œ œ œ œ œ œ œ

œ

/

metal ping (reversed)

41

?

Vc.

?

œ œ œ œ œ

œ

p

6

œ œ

pp

œ œ œ œ œ #œ œ bœ œ œ nœ œ

œ œ œ

œ

p

6

œ œ œ œ

pp

œ œ œ #œ œ bœ œ œ nœ œ œ œ


4

43

?

Vc.

?

œ

œ

6

œ

œ

œ œ œ œ

mf

6

#œ œ #œ nœ bœ nœ œ œ œ nœ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ 2'34"

45

?

Vc.

Audio

molto sul pont.

mp

? bœ

œ œ œ œ œ œ œ œ

/

metal ping with effects

48

?

Audio

?

Extreme sul tasto. Place bow 2-3 inches over fingerboard. Extremely light and fast bow.

molto sul tasto

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

/

"random" organ

51

?

Vc.

gradually move to extreme sul tasto

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

2'39"

Vc.

œ œ œ œ œ œ œ œ

molto sul tasto

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

p

? œ œ œ œ œ œ œ œ œ 2'51"

54

?

Vc.

Audio

? /

gradually move to con legno tratto (i.e., bowing only with stick of bow)

2'53"

con legno tratto

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

pp

œ œ œ œ œ œ œ œ œ metal ping (heavier then before)


√ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó o ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó

57

molto rit.

?

Vc.

Audio

3'03"

/

5

ca. 10"

metal ping

III. HOUR OF THE WOLF

,

Agitated q = 72 ≥ ?4 4 )

3'23"

Violoncello

ppp

Audio

/

Place the bow near the bridge and move very slowly. Finger lightly with the L.H., as if fingering a harmonic, but with slightly more pressure. The sound should be soft and gravely with no pitch. It should be complex and unpredicable white noise. Intermittent breaks due to pressure are ok.

F1 sustained continues to m. 108

Synth. G4

Vc.

pp

Audio

/

,

, ≥ )

? ≥ )

63

&

mf

clock fades in

chatter fades in and continues to m. 115

Bow should move up and down the string as opposed to a normal bow stroke, which moves across the string. Pitches should be depressed as normal with the L.H. The resultant sound should contain little to no pitch. Arrow direction indicates bow direction on string.

68

Vc.

3'49"

3 & O

ppp

Audio

2 ‚ #‚

. . . œ. . n ˙o – # œ 2 & ≈ #œnœ #œ ≈ ‰ 4

72

con legno batt.

ppp Audio

/

2 #‚

3 2 3 2 n‚ #‚ b‚ n‚

3 #‚ ‚ ™ O

Œ

mf

"random" organ

/ 4'03"

Vc.

3 #O ™

ord.

"random" organ

con legno

33 2 batt. 4'08" 2 3 ‰ b‚ ‰ #œ. #œ. nœ. Œ 4 ‚™ 4 #‚ n‚ mf

3

3 nO

2 3 # ‚ b‚ ™ n ‚ f


6 76

Vc.

79

Vc.

Audio

? /

h h

"chop"

VV

?

ord. w/ increased bow pressure h "chop" œ œ. œ. œ # œ # œ n œ. # œ œ n œ œ. . œ œ # h # œ J J ‰ ≈nn hh V hh VV ≈ n hh VV ≈ ≈ VV V 3 3 f

p

4'31" ord.

. . 83 œ. # œ. # œ œ # œ. ? Œ pp

85

Vc.

Audio

?

3

. . œ. # œ. # œ n œ # œ.

4'39"

≈ V n hh ≈ hh V hh V V V V "chop"

mf

con legno batt.

3

>h n œ # œ. # œ n œ œ œ >œ . "chop" h œ œ ‰ ≈ nh ≈ h ‰ J h VV h VV 3 ff ord. w/ more bow pressure than before

œ. œ. n œ. œ. œ.

≈‰

n œ. #œ.

æ æ ? n h‰ ≈ h ≈‰ hr ≈ h ‰ & bœœæ~~~~~~ œææ~~ #œææ~~~ #œœæ™™ VV h hVV h hVV ~~~~~~ bœ~~~~ œ~~~ 4'51"

overpressure

"chop"

/

Vc.

n h. #h h h VV hh ‰ ‰ VV n h VV h 3

# œ. # œ. n œ. 3

‰ ‰

j œœ .

?

œ. nœ.

≈Ó 3 o

VVn hh‰ ≈ VV h≈Œ h VV h‰ h &

"chop"

clock fades in

1 ææ ~~~~~~~~~~~~~~~~~~1J ? "chop" ‰ ≈ V hh ≈ V hh ‰ & bœœ~~~~~~~~~~~~~ V V

90

hh. ™™

"random" organ

f

Audio

≈‰

/ 87

Vc.

mf

"random" organ

con legno batt.

Vc.

mf

pp

œ # œ # œ n œ. "chop" ? h VV h VV ™™ n hh VV hh f 3

81

Vc.

Ó

& O

. œ œ . #œ . ≤ h™ œ œ 3 #œ nœ œ ≥ hh hh ≈ V V V ‰ ‰ V V #h ™ V ‰ Vn hh ‰ hh V ‰ œ V V V VV V V V 3 6

"chop" contains two motions. The down-bow is a percussive sounding stroke in which the player "chop" The "throws" the bow in a short stroke down the length of the string. The resulting up-bow simply pulls the bow off the string, which results in a short sound. There are several tutorial videos demonstrating the technique on the internet. ord. 4'18"

overpressure

overpressure . # n œœ~~~~~~~~ bn œœ "chop" æ ≈ V hh ≈ VV hh ‰ ≈ VV hh ≈ æ V


>œ. 7 5'13" overpressure overpressure # œ . œ œ ™ œ # œ ~ ~ 92 # œœ~~~~~~ # œœ ™ n œœ~~~~~~~~~~~~~ œ œ#œ#œ "chop" r r ~ ? h J ‰ ≈ h≈ h‰ J‰ ææ h ‰ VV h æ VV hh ≈ VV h≈ V V h h Vh Vh æ 3 3 11 ~~~~~~~~~~~~~~~ . ~~~~~~~~~~~~~~~~ œ overpressure . n œ ~~ b œ ~ ~ ~ # œ ~~~~~~ œ 95 "chop" "chop" "chop" ~ b œ ~ ~ æ ? h≈ hr ≈ h≈ ææ J ‰ ≈ h≈ h≈ hr ‰ æJ ææ J ‰ Œ ≈ h≈‰ r ≈ VVn h h VV h æ VVn h VV h h VV h VV overpressure "chop"

Vc.

Vc.

overpressure

r r 5'31" r r r r r r ≈ hh ≈ V hh ≈ V ≈ ‰ ≈ hh ‰ ≈ V hh ≈ ≈ V V V V V

? h ‰ ≈ h ≈ Œ h VV h VV

98

Vc.

? hr ≈ h ≈ r ‰ ≈ h ≈ h ‰ ≈ r ≈ hr ≈ h ≈ Ó VV h VV h VV h VV h h VV h VV o

≥ )

100

Vc.

103

Vc.

?

mf

5'40"

pp

, ≥ )

ppp

106

Vc.

Audio

?

/

F1 fades out

,

√ ∑

6'08" ca. 11"

chatter fades out low synth enters

IV. JUST BEFORE DAWN In the distance q = 60

o & w

6'20"

Violoncello

o w

Use natral harmonics on the C string only, at the end of the fingerboard and beyond, if necessary. Use one finger for the melody, sliding between pitches. The melody need not be executed precisely. Extraneous harmonics, particularly in passing between the notated pitches, are desirable. "Dirt" in the sound is also desirable, and can be used for expressive effect.

Audio

/

G4 synth

bird sounds to end


8

o & ˙

111

Vc.

o ˙ o œ

o ˙™ &

114

Vc.

o & œ

117

Vc.

o ˙

œo

ca. 4"

6'44"

o ˙™

o œ

6'54"

ca. 5"

o ˙

o bw

o Ϫ

o ˙

6'32"

o ˙

7'06"

o w &

120

Vc.

#wo

wo

˙o

1o

7'23"

123

Vc.

&

wo

˙o

o

Ó

o œ J