Clap Bang | John Conahan | MusicSpoke

clap/bang - for SATB Chorus & Piano -

ORIGINAL CONCEPT & MUSIC BY

JOHN CONAHAN

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2 My deep gratitude to Kurt for his insight and his exemplary artistry. – John INTRODUCTION TO

clap/bang

by Kurt Knecht

Let’s get this part out of the way first. If you are looking for an exciting piece that is different and within the grasp of almost any ensemble, this is it. Choirs will love performing it. Audiences will love listening to it.

Whenever a composer writes a piece like “Clap/Bang,” it is an act of courage.

There is a tip of the hat to Steve Reich’s “Clapping Music,” but it’s more exciting and guttural and frenetic. It is violent and primitive and fun to give yourself over to the rhythm. It’s the magical feeling that you can get as a performer where you not sure if you are making the rhythm or if it is sweeping you along. Most of the time, it just feels like you jumped on an already moving vehicle, and you want to lose yourself in the cathartic dithyramb.

The courageous part of John Conahan’s “Clap/Bang” is the musical fortitude that it requires to write such a contrasting section in the middle. The center section is so contrasting, it’s unnerving. The choir is singing mostly unisons and occasionally sliding around while the piano plays a painfully simple texture. It’s all white notes. It almost has a pop sensibility to it.

I know a little of John’s music, and he sometimes writes on a tightrope that’s stretched over a pool of sentimentality. He tantalizes the audience making them think he will fall and take them into the waters of self-indulgent emotion without substance. When I first listened to “Clap/Bang”, I thought, “He’s finally fallen off the wire with this middle section.”

The second time I listened, however, I experienced something completely different. After all that Bacchanalian energy crashed into the piano chord, the simplicity of the section made me feel a certain sadness. Don’t misunderstand me. The section is peaceful more than it is sad, but soon the rhythm and all the grunting came back and drove me to the end.

It’s easy to read this as a sort of “calm within the storm” kind of analogue, but I’m not sure that’s quite right. (You could give a very convincing performance with that reading though!) There is something that is more longing and tender and vulnerable about that middle section than simple “peace.” It’s like some wonderful solitude has clawed its way to the surface through the incessant noise of life. We experience it in its simplicity and serendipity only to watch it sink beneath the surface again.

It’s the sort of experience that leaves me wondering, “Did that really just happen? Did I imagine that moment of tenderness in the midst of all this chaos? Is that something that I can live into?” That compositional contrast is also the kind courage that makes the piece much more profound than Reich’s “Clapping Music” can ever be.

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3

clap/bang

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4

clap/bang PERFORMANCE NOTES for singers & pianist SINGERS are asked to create sound by singing, speaking, clapping with hands, and stepping in place with feet.

CLAPPING Clapping requires a number of dynamics within the sections.

Singers should do their best to represent accents and dynamic shifts as they can.

SINGING The sung passage should be performed with staggered breathing throughout.

SPEAKING The spoken passages are loud in dynamic and should be performed in an exclamatory manner with enthusiasm.

STOMPING Singers should do their best to represent dynamic and tempo shifts in unison.

IPA Lyrics for this piece are written in International Phonetics for clarity. [æ] = the “a” of hat [hɛ] = the “hea” of head [hæ] = the “ha” of hat [ho] = the “ho” of hose [u] = the “oo” of hoop This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

5 PIANIST is asked to play traditionally as well with large bass drum mallets on the low strings of the piano, and slapping the fallboard against the stretcher.

To Mallets: Two long-head, soft bass drum mallets are required. Performer should use the mallets to quickly roll (as a drum-roll) a large group of the lowest strings of the piano (see picture below). In regard to the mallets themselves, long, soft heads are preferred. Do not move up and down (in pitch), but rather stay on the lowest group of strings that you can cover with the mallets. The effect should be a low, thunder-like rumble (not individual pitches, but rather a group of pitches sounding simultaneously).

∙ for mallet playing· Piano Extended Technique: On page 7, the pianist will follow the “Piano Ext.” staff. Play all notation by slapping the fallboard against the stretcher of the piano cabinet (very much like opening the fallboard in order to play the keyboard, except using the sound of the fallboard against the stretcher as a strong percussive sound).

OPTION If your piano is not a Grand or Baby Grand (Upright, Electronic), you may opt to use an orchestral bass drum for the mallet section (mm. 58, 76-77). If you employ this option, also use it for the extended technique section (mm. 94 – 102), playing notation as written.

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6

clap/bang JOHN CONAHAN

for SATB Choir & Piano c l a p / b a n g received its premiere in Alice Tully Hall at Lincoln Center

q = c. 160

> > > > > > > 4 ‚j ‰ ‰ ‚j ‚ ‚ ‚j ‰ ‚ ‚ ‚ ‚ ‰ ‚j ‚ ‚ ‚ ‚ ‰ ‚j ‰ ‚j ‚ ‚ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ /4

Tutti Clap

p

5

>j >j > >j > > j j j >j ‰ > ‰ >j ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ Œ / ‚

9

>j > >j j j j >j > j > >j j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰

Tutti Clap

Tutti Clap

mp

>j > >j >j >j > > > j j j >j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ Œ

13

Tutti Clap

>j > >j j j j >j A j > j > >j j ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ / ‚ mf >j >j >j >j j j j j j j j >j j j j j / ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚

17

S/A Clap

T/B Clap

mp

>j > >j >j >j > j > > j >j j ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ / ‚ >j >j >j j j j j j j j >j ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ ‰ ‰ ‰ ‰ / ‚ ‚ ‚ ‚

21

S/A Clap

T/B Clap

‰ ‰ >j ‚ ‰

B > > > > > ° / ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j 25

S Clap

p

j‰ ‰ ‚ A Clap / p >j ‰ ‰ T Clap / ‚ mf >j ‰ ‰ B Clap ¢ / ‚

j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ ‰ >j > > > > ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ >j > >j j j j > j > >j j j ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ >j > >j j j j > j > >j j j ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰

mf This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. © JOHN CONAHAN

www.johnconahan.com www.youtube.com/johnconahanmusic

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j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ >j ‰ ‰ ‰ >j ‰ ‰ >j ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ / ‚ ‚ ‚ ‚

29

° S Clap

p

‰ ‚j ‰ ‚j ‰ A Clap / >j ‰ ‰ ‚j ‚ T Clap / ‚ >j ‰ ‰ ‚j ‚ B Clap ¢ / ‚

j j j j j j j j j j ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ >j > > j > p > j >j ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‚

‚

‚

‚

>j > > j > p > j >j ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‚

‚

‚

‚

p

>j >j >j >j >j j j j j j j j j j j j ° ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ S Clap / ‚ mp >j > > > > j j j j j j j j j j j j ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ A Clap / >j > >j j j j >j mp j > j > >j j ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ T Clap / ‚ mf >j > >j j j j >j > j > >j j j ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ B Clap ¢ / ‚ 33

mf

S Clap

> > > 37 ° / ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‰ ‰ ‚j ‰ ‰ ‚j ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ p

j‰ j‰ j‰ j ‰ ‚ ‚ ‚ ‚ A Clap / >j >j j ‰ ‰ ‚ ‚‚ ‚ ‰ T Clap / ‚ mf >j >j j ‰ ‰ ‚ ‚‚ ‚ ‰ B Clap ¢ / ‚

‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‰ ‚j ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ > > j > p > j >j ‚‚ ‚ ‚‰ ‚ ‚‚ ‚ ‚‰ ‚ ‚‰ ‚ ‚ ‚

‚

‚

‚

> > j > p > j >j ‚‚ ‚ ‚‰ ‚ ‚‚ ‚ ‚‰ ‚ ‚‰ ‚ ‚ ‚

‚

‚

‚

mf p This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

8 p >j C j >j > > j > >j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

41

Tutti Clap

f

>j >j > > > j j j >j ‰ > ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ / ‚

45

Tutti Clap

∑ mf

Tutti Vocalize

∑

∑

Y

∑

port.

/

hmm...

p >j > >j > j > >j j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

49

Tutti Clap

f

>j > >j > j > > j >j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

53

Tutti Clap

mf port.

Tutti Vocalize

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Tutti Clap

D q = c. 50 - 60 57 >j Œ Ó / ‚ ‰

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& ¿J ‰ Œ

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T/B vocalize

ff ? ¿J ‰ Œ [hæ]!

√ w w

w w

w w

w w

w w

w w

w w

[u]

p

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√ w w [u]

w w w

√ ∑

∏∏∏∏∏∏∏∏∏

S/A vocalize

w w w ww w

m.d.

poco rit.

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& œ œ m.s. (very quick roll)

ff mp Pno. (mallets) mf

√ ?

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{

l.v.

p

f

∑

9 62

S/A vocalize

& w w

w w

w w

w ˙

port.

w w

w w

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T/B vocalize

w ? w

w w

w w

w w

w w

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w w

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w w ∑ œ œ œ œœœ w

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w ww

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∑

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68

S/A vocalize

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w w

w w

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w w

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mf tutti

T/B vocalize

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Tutti Clap

/ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ mp cresc. mf cresc. port.

S/A vocalize

∑

∑

& Y [æ] mf cresc.

port.

?

T/B vocalize

∑

∑

Y [æ]

w w ∑

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Pno.

w w ? w

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ff

Π*

10 q = c.160 - 170 clapping

>j >j > >j j j > j > >j j j / ‚ff ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‰ >¿ J Ó Œ ¿J ‰ ∑ ∑ & ‰ Œ Ó

78

S/A Clap

S/A vocalize

[hæ]!

[hæ]!

clapping

T/B Clap

T/B vocalize

>j >j > >j j j > j > >j j j ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‰ / ff‚ >¿ ? J ‰ Œ Ó ∑ ∑ Ó Œ ¿ ‰ J [hæ]!

S/A Clap

>j > >j >j >j > j > > j >j j ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‰ ‰ ‰ / ‚

S/A vocalize

>¿ ‰ J

82

ff

& Œ

∑

¿ ‰ Ó J

∑

Ó

Œ

[hæ]!

T/B Clap

[hæ]!

>j > >j >j >j > j > > j >j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‰ ‰ mf

T/B vocalize

? Œ

∑

¿ ‰ Ó J

∑

Ó

‰ ¿ Œ J

[hæ]!

[hæ]!

>j > >j j j >j > j > >j j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‰ ‰

86

S/A Clap

f S/A vocalize

T/B Clap

& Ó

Œ

>¿ ‰ Œ ™ J

>¿ Ó J

[hæ]!

[hæ]!

∑

Ó

Œ

[hæ]!

j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ >j ‰ j ‰ j ‰ j ‰ j ‰ ‰ >j ‰ >j ‰ >j ‰ >j ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ / ‚ ‚ ‚ ‚ mp

T/B vocalize

¿ ‰ J

? ¿ ‰ Œ J

Ó

¿ ‰ Œ J

Ó

∑

[hæ]! for performance. Please [hæ]! visit MusicSpoke.com to purchase performance copies.

This score is not licensed

∑

11

>j >j > >j > j > >j > j >j j / ‚‰ ‰ ‚ ‚‚ ‚‰ ‚‚ ‚ ‚‰ ‚‚ ‚ ‚ ‚‰ ‚‚ ‰ ‚ ‚ ‰ ‚‚ ‚‚ ‰ ‰ ‰ >¿ > Ó ∑ ∑ Œ ¿ ‰ Œ ¿ & Ó J

90

S/A Clap

S/A vocalize

[hæ]!

T/B Clap

T/B vocalize

j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ >j ‰ ‰ ‰ >j ‰ ‰ >j ‰ ‰ >j ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ / ‚ ‚ ‚ ‚ ? ¿ ‰ Œ J

Ó

¿ ‰ Œ J

[hæ]!

T/B Clap

Ó

Ó

∑

Œ

[hæ]!

>j >j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰ ff >j >j j / ‚ ‰ ‰ ‚ ‚ ‚ ‚ ‰

94

S/A Clap

[hɛ] [hæ]!

¿ ‰ J [hæ]!

>j j j j > > j > >j j ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰ >j j j j > > j > >j j ‚ ‚ ‚ ‚ ‰ ‚ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‚ ‚ ‚ ‰ ‚ ‰ ‚ ‰ ‚ ‰

ff

Piano Ext.

>j Œ / ‚ ‰

Œ

>j >j >j ‚ ‰ ‚ ‰ ‰ ‚ Ó

>j >j ‰ ‚ ‰ ‚ Ó

>j ‚ ‰ Œ

Ó

f

>j > j j >j > j Œ ‰ ‰ ‰ ‰ ‰ Ó ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ / >ff mf cresc. ¿ . t J‰Œ Ó r o p ∑ ∑ & Y

98

S/A Clap

S/A vocalize

[ho]

T/B Clap

[hæ]!

>j > j j >j ‰ > j‰ Œ ‰ ‰ ‰ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ Ó / >ff ¿ J‰Œ Ó

mf cresc. port.

?

T/B vocalize

∑

∑ Y [ho]

>j / ‚‰Œ

Œ

[hæ]!

>j >j >j ‚‰ ‚‰‰‚Ó

Piano Ext. is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

This score

∑

>j ‚‰Œ Ó

∑

ff

° (let ring)