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Editor : Dave Flynn Engraving : Dave Flynn Limited Edition Print © 2010 Dave Flynn/Frisbee Publications, Salahoona, Spiddal, Co. Galway, Ireland. E-MAIL :
[email protected] WEB : www.daveflynn.com All rights reserved. Reproduction prohibited in whole or in part by any means without written permission.
Printed in Ireland
ISBN 978-1-4461-4712-2
Dedicated to John Feeley for recognising my compositional ability
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Page 4 of 53
About the Works
1. Four Études for Five Fingers (2005) I composed these études for Charles Postlewate to aid his pioneering work utilising the fivefinger right hand technique. Each is designed to aid the development of separate techniques using the little finger. I am very sympathetic to Charles’ ideas because I have used the little finger in my playing and in some of my other compositions. These pieces were previously published by Mel Bay in the ‘Contemporary Anthology of Solo Guitar Music for Five Fingers of the Right Hand.'There are some small changes to the études in this publication. Étude No. 1: Gimme Five is mainly concerned with the development of arpeggios utilising the little finger. The 5/8 time signature is used here because it nicely fits the five fingers in a way that will make an unusual rhythm for beginners seem quite natural. I feel that early exposure to irregular time signatures will aid the student’s development and they will come as naturally to the advanced student as the fivefinger technique. I have encountered many technically-advanced players who find irregular time signatures extremely difficult due to the lack of exposure in early training. This piece should be very atmospheric with particular attention paid to the fermatas, which should be held long enough to allow the harmonics of each chord to be clearly audible. Étude No. 2: Homage To Bucko is concerned with one of the main advantages of the five-finger technique - unbroken five-note chords. The piece should be accessible to most players, some players may wish to end the piece at bar 20 until they have developed the left hand enough to tackle some of the chords in the rest of the piece. The piece should build to a majestic climax. The last chord is sounded by a sharp upward stroke with the c finger on the first four strings while the thumb sounds the bass-note A when the c finger reaches the fourth string. This technique can originally be found in my pieces 5 to 9 and Passacaglia. Jazz harmonies highly influence this piece and I write it in homage to the renowned Irish jazz guitarist Hugh Buckley, who helped develop my interest in jazz. Étude No. 3: The Odd Reel is a stepping stone to a fluid tremolo utilising the little finger. There isn’t a continuous tremolo in the manner of Tarrega and Barrios, rather there is more of a relation to the ornament known as treble as found in the traditional music of my native Ireland. If played at a moderate pace the piece is accessible to most players, while more advanced players are encouraged to play the piece faster to develop the technique. In performance I prefer the piece to be played at a moderate tempo. Irish jigs and reels are often played at vastly differing tempos, depending on the players and regional style, so the tempo really is up to the individual. Ornaments in this piece should be played in a manner similar to Irish traditional music ornaments. I recommend listening to fiddle players like Martin Hayes and Paddy Glackin to get the general spirit of the piece and a better understanding of how to play these ornaments. Irish traditional ornaments are more like articulations to the main note than extra melodic notes. They should be played rapidly and the pitch of the notes should not be clearly heard, hence the crossed note-head notation. Étude No. 4: Static Slip Jig is based upon the traditional Irish slip jig in 9/8 time (3+3+3) and, because the 9/8 feel of a slip jig is quite different than that of a Baroque gigue, I recommend listening to recordings of slip jigs to get the right feel for this piece. This étude will help develop the dexterity of the right-hand immensely if the exact fingerings are followed, and the relationship between the thumb and all four fingers will be developed, as will the relationship of c to a, a to m and m to i. Page 5 of 53
2. Three Gymno’Paddies (2001)
These pieces have roughly the same form as Erik Satie’s Three Gymnopedies (1888). The punning title of my pieces betrays the Irish character found in the melodies. This is particularly evident in the ornamentation, which should be played in the same manner as in Étude No.3 The Odd Reel.
3. Homage Sonatina (1993-2001) The movements of this piece were originally written as separate pieces. I decided to combine them in Sonatina form when I realised they were all written in homage to composer/guitarists, namely Heitor Villa-Lobos, Andy Summers and Leo Brouwer. I - Homage to Heitor Villa-Lobos – Villa-Lobos was one of the great composers for the guitar and he was the first major 20th Century composer I seriously studied. I wrote this piece through improvisation. On completion I realised it owed a debt to Villa-Lobos, so I acknowledged this debt by naming the piece after him. Aside from this influence, there are strong jazz elements in the piece. II - Elegy For Joan (Homage to Andy Summers) – This is the first piece I wrote in a contemporary classical style, it is also the first piece I wrote in standard notation. The original title of the piece was ‘Homage to Andy Summers’. Andy Summers is best known as the guitarist in the rock group ‘The Police’. His playing had an enormous influence on me in my teenage years. He incorporated many different styles into his playing to create a truly innovative style. Some of the chords he commonly used with The Police are found in this piece, such as the first Aadd9 chord. In 2001 my mother Joan Jennings died, so I decided to rename the piece and dedicate it to her, as it was one of her favourite pieces of mine. III - Irish Seascapes With Waves (Homage To Leo Brouwer) – This piece is an obvious play on Leo Brouwer’s Cuban Landscape series. It is my tribute to Mr. Brouwer, one of the great musicians of our time. The ending contains a lot of unusual percussive effects, which are explained in the notation key at the end of the piece.
4. Passacaglia (2000) This piece is faithful to the Baroque Passacaglia form where there is a constant ostinato, mostly in the bass, but occasionally in higher registers. This is probably the darkest piece in the collection; it should be performed with a sense of evil or darkness, with great emphasis on dissonances and the special effects.
Page 6 of 53
5. Two Minimalist Pieces (2000)
In the late 1990’s I first became aware of the style of contemporary composition known as minimalism. Some of Leo Brouwer’s works are influenced by minimalism and it was through his work that I was introduced to the main American minimalist composers, John Adams, Philip Glass, Steve Reich and Terry Riley. Minimalism subsequently had a strong influence on my compositions, including the following two compositions. I. 5to9 – This piece is my most obviously minimalist piece and is strongly influenced by Steve Reich and more particularly the last movement of Harmonielehre by John Adams. After hearing this Adams piece I was blown away, it has become one of my favourite pieces of music. I decided to try to create something similar for solo guitar. It may not be on the same scale as Harmonielehre, but the ending should be treated as if it is the end of a massive orchestral work. I recommend that all my pieces are performed without the sheet music, but I particularly feel that the performer should thoroughly internalise this piece and play it with their eyes closed. I find I play it best that way. II. Rainstorm – Rainstorm is, as the title would suggest, a description in music of a rainstorm, from small drops to a full storm and then back again. Since writing the piece I found that Leo Brouwer has composed a similar piece for guitar quartet. This is a pure coincidence, as I hadn’t heard ‘Cuban Landscape with Rain’ before composing this piece!
6. Rollercoaster (1998) I wrote this piece before I was aware of the minimalist style. Indeed I remember when I started composing it I wondered to myself whether it was ok to repeat short melodic phrases like I do at the beginning of this piece. My subsequent discovery of minimalist music confirmed to me that not only was it ok, but it was a strong compositional trend of the time. I have since re-arranged ‘Rollercoaster’ for guitar quartet and as the third movement of my String Quartet No.1 ‘Fairground Attractions’. These are all the solo works I have composed for classical guitar up to 2005. The works trace my compositional development from my teenage years through my engagement with minimalist music around the year 2000 and towards the more individual style I have developed in recent years through my engagement with traditional Irish music. I hope these pieces are enjoyed by whoever studies and listens to them. Any questions about the pieces may be directed to me at this email address
[email protected] Dave Flynn
Page 7 of 53
for Charles Postlewate
Four Études for Five Fingers Étude No.1 'Gimme Five' Dave Flynn London February 2005
Moderato Molto Rubato c 1
2
3
4
4
0
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9
2
a m
i
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1
i
0 1
c 0 a 0 m 3
c 0 a 0 i m 1 2
2
0
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18
24
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1
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1 0 0
3
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m
a
c
2
1
0
0
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sim.
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2
2
4
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3 0 0
2
molto rit.
1
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0
2
4
3
**Senza arpeggio** 0 0 3 1
Page 8 of 53
0
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4
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0
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0
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51
2
1
3
0
0
0
2
4
3
3
4
0
0
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h.12 55
c/i
rit. 3
4
0
0
0
Page 9 of 53
0
3
2
0
4
0
c 0
0
2
1
3
Étude No.2
'Homage To Bucko'
Majestically
1
**Senza arpeggio sempre**
= 90-108 = 60-72
c a m i
p 2
0 0 4 3
0 0 0 1
2
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0 0 0 1
2
2
13
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0
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1
1
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17
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2
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dolce
0 3 0 0
5
Dave Flynn London, April 2005
0
pi m a
sul tasto c
c
4
3
21
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Page 10 of 53
c a m i
x4
25
0
2
29
4 3 2 0
4 3 2 0
1 0 0 0
0 0 0 0
4 3 2 1
0 0 2 1
3 1 0 2
0 2 1 3
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0 0 4 3
0
33
37
0 3 2 1
0 3 1 2
41
sempre
4 3 2 1
4 3 1 2
45
sempre 49
54
4 3 2 1
***
4 3 1 2
x3
gliss. gliss.
c 0 0 3 2
gliss.*** gliss.
p0
***Slide as soon as the chord is struck
Page 11 of 53
Étude No.3
= 96 or 126 ** With an Irish lilt 1
a
c
4 1
'The Odd Reel'
m
i
0
0
3 0
p
Dave Flynn London March 2005
1
p
2
0
3
0
1
3
4
c
0
a
i a
m
ia
m
0
6
m 0
a 0
c 3 0
1
m
i
a
m 3
0
i
1
a
m
i
m
2
0
1
1
2
7
8
m
c
a 0 i 0 p
m
c m i p
i
0
9
m
c
a 1
0 0 0
c
m
i
a
0
a 1
3
i 0
1
m
i
m
2
0
2
i 3
c 0
a m i
0 0 0
2 0 3
1
** Tempo may be either depending on players ability and/or preference Page 12 of 53
1
10
i a
c
m
i
0 0
c
11
a
m
1 2
c
12
i a
0
14
0
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i
2
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3
1 c
4
a
m
15
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i
1
0 0
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m
2
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m
c
1
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2
1. 17
2.
m i 0
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a
m
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m c
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poco rit.
0
Page 13 of 53
0
a
0 2
16
i
3
0
0
4
m
0
0
m
a
i
gl.
0
0
0 2
c
m
4
0
3 2
0
0
a
m
i
m
i
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a 3
Étude No.4 'Static Slip Jig'
In the manner of a Slip Jig 1
= 92-100 4
c
0
a 3
m 1
0
c a
0
a m
m i
Dave Flynn London March 2005
sim.
sempre
5
3
2
2
0
2
0
9
2
1 2
13
1
3 0
c4 a0 p
17
0
2
0
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3
0
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0
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21
0
25
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3
0
3
0
1
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1
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c 4 m 2 p
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a 3 m0 i p 0m
c 0 a 2 m1 i 3 i p
c a m i
4 0 0 0
0
Page 14 of 53
c m
c i
c 0 m2 i 1 p
1
p p
p
p
p
29
4
c
a 3
1
m 0
1
4/6 CIII---------¦
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a m
1
m i
4 0
1
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33
a m
4/6 CIII---------¦
1 31 0 m
m i
i
m 4 1
c
37
c a p
a
a m
m i
a
i
a
i
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4
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4
4
1
0
3
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a p
0
1
3
0
1 c 4 a 0 m 3 p
41
a
a m
m
1 31 0 m
i
i
c a m p
m 4
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1
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0 1
c a m i p
44
2
1
47
c a m i p
a 0 m 0 i 1 p
0 0 3 0
0 0 0 1
2
1 a
m
2
3 1 0
0
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x3
c
1
49
3 1 m i p
0
c
0
0
1
Page 15 of 53
0 3 0 i p
i p 0
1
c
Three Gymn O'Paddies To Erik Satie
Gymn O'Paddy No.1 Dave Flynn December 2000
Slowly, with Irish Wisdom 1 Guitar
h.12
4 1 1
4 1 1
4
3
1
3
6
4
Gtr.
3
0
0
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0
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Copyright Frisbee Publications 2000
Page 16 of 53
2 3 0
4
4
2
1 0 20 0
42
4
4 02 1
Gtr.
0
4
4 4 1 1
4 0
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47 Gtr.
2
0
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4
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h.7
Page 17 of 53
0
for Erik Satie
Gymn O'Paddy No.2 Dave Flynn 1
0
6
IV
V
IV
0
0 1 2
Guitar
0
1 3 2
3 1
0
4
0 1 2
0 0
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0
1 4
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Copyright Frisbee Publications 2001
Page 18 of 53
0
molto dolce
IV
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1
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2nd time play a.h. on first voicing only
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May 2001
Slowly, with Celtic Mysticism
1 1
This page has been left blank to allow the next piece to be read without a page turn
Page 19 of 53
á Erik Satie
Gymn O'Paddy No.3 Dave Flynn June 2001
Slowly, with Gaelic charm
V
1 0 2
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Copyright Frisbee Publications June 2001
Page 20 of 53
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dolce
Page 21 of 53
HOMAGE SONATINA I HOMAGE TO HEITOR VILLA-LOBOS
Dave Flynn
,
Mysteriously
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Page 22 of 53
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Page 23 of 53
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Page 24 of 53
# ≈ œœœœœ œœœ œœœ ≈ œœœœœ œœœ œœœ V b ww œ œ œ œ b ww> œ œ œ œ > V IV III ≈ ≈ # bœ œ œ œ œ nœ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ V b˙ œ œ b ˙˙ œ œ œ # ww œ œ œ œ ˙ > > > I # ≈ œ œ œ œ œ œ œ œ œ œ œ ≈ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ V wœ wP œ œ œ n w> w> # œ œ b œ bœ œ œ œ œ œ œ œ œ œ œ œ œ nœ V œ œ b œ n œ bœ nœ œ œ œ f Allegro # V ‰Œ . b œ n œ ‰œ . œ œ b‰œ œJ ‰Œ .b œ n œ ‰œ . œ œ b‰œ œJ ‰Œ .b œ n œ ‰œ . œ œ b‰œ œJ w w Pw 64
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Page 25 of 53
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Page 26 of 53
2
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Page 27 of 53
II Elegy for Joan (Homage to Andy Summers)
Dave Flynn 1993
Andante
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#### ˙ V œ œ œ œ œœ #### œ V œ œ œ
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19
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normal
echo ponticello
Copyright Frisbee Publications 1993
Page 28 of 53
˙. œ œ œ œœ œ œœ œ œ #### œ œ œ œ œ œ œ œ œ Vœ œ œ 22 4
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V # ˙ œ œ œ œ œ # ˙ œ œ œ œœ œ ˙ œ œ œ œ œ œ œ œ 34
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Page 29 of 53
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Page 30 of 53
VI
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Page 31 of 53
0
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Irish Seascape With Waves (Homage to Leo Brouwer) Dave Flynn January 2001
Allegro Moderato 1
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25
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accel.
Page 32 of 53
2 1 4
Allegro Vivo
II
Copyright Frisbee Publications 2001
1
1
VII j æ œœ c ‰ 00 œœ œœ œœ œæœ œ œ œ œœ œœ 6 34 œœ 10œ œœ œ œœ œ œœœ 0
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VII j‹ Å Åj VIj j ‹IXj Å Åj IV ‹VIIÅ VI ‹IX] IV ‹VIIÅ VI ‹IX] j j # # # # ‹‹ ÅÅ ÅÅ n ‹‹ ÅÅ ÅÅ # # ‹‹ ÅÅ ÅÅ n # ‹‹ ÅÅ ÅÅ # # ‹‹ ÅÅ n ‹‹ ÅÅ# # ‹‹ ÅÅ n ‹‹ ]] # # ‹‹ ÅÅ n ‹‹ ÅÅ# # ‹‹ ÅÅ n ‹‹ ]] V ‹‹ ÅÅ ÅÅ ‹‹ ÅÅ ÅÅ # # ‹‹ ÅÅ ÅÅ ‹‹ ÅÅ ÅÅ ‹‹ ÅÅ ‹‹ ÅÅ# # ‹‹ ÅÅ ‹‹ ]] ‹‹ ÅÅ ‹‹ ÅÅ# # ‹‹ ÅÅ ‹‹ ]] #‹ Å Å #‹ Å Å # ‹ Å # ‹ Å #‹ Å #‹ Å IV
53
IX
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57
VII
VI
jœ øj – 58 œ ø J œœ øø œ ø ß J
j— øj —— øø —— øø
Page 33 of 53
jœ øj – œœ øø J œœ øø ß J
j— øj —— øø —— øø
jœ øj – œœ øø J œœ øø ß J
j— øj —— øø —— øø
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61
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gliss.
69
3
3
——j —— —
j øø øøø j— øj —— øø —— øø
3
r.h.
73
I
l.h.
j øø øøø
**NOTATION GUIDE 74
V
#
› › › › › ›
#
muffle strings against fretboard with lefthand at approximately tenth fret
strum the strings behind the nut
77
V
#
#
j – – J
j — — — — — —
hit guitar on wood below the high E string
hit guitar on wood above the low E String
‹
‹
‹
V
#
#Å # # Å Å Å Å #Å
j #‹ # ‹‹ ‹ ‹ #‹ slap chord onto the fretboard with left hand first finger
tap notes with left hand finger
80
Tamboura: Hit open strings with right hand near the bridge
‰ n‹
‹
r.h. ‹ #‹
l.h.
while holding onto the chord with left hand, strum directly behind the fretted chord with the right hand
tap bass notes with left hand and tap treble notes with right hand
Page 34 of 53
PASSACAGLIA for Solo Guitar THE PIECE SHOULD BE PLAYED WITH AN OMINOUS QUALITY THROUGHOUT (EXCEPT WHERE INDICATED) DYNAMIC MARKINGS ARE INTENDED TO AID THE PERFORMER IN CREATING THE MOOD OF THE PIECE BUT THE PIECE IS OPEN FOR INTERPRETATION, SO THE PERFORMER MAY CHOOSE ALTERNATIVE DYNAMICS, IF THEY FEEL THEY CAN ENHANCE THE PIECE IN DOING SO. BELOW ARE EXPLANATIONS OF NUMBERED PASSAGES; 1. IN BAR 11 THE NOTES SHOULD BE ALLOWED RING LIKE BELLS (A LA CAMPANAS).
2. THE CHORDS IN BAR 13 SHOULD ALL BE PLUCKED, i.e. PLAYED PORTAMENTO NOT GLISSANDO. 3. BAR 19 SHOULD BE PLAYED WITH HUMOUR, SEE THE NOTATION GUIDE FOR AN EXPLANATION OF THE GLISSANDI.
4. AT THIS POINT IN BAR 22 THE NOTES SHOULD BE SLURRED AS SMOOTHLY AND EVENLY AS POSSIBLE WITH ONLY THE FIRST NOTE OF EACH TUPLET PLUCKED. 5. BAR 24 REQUIRES A SPECIAL TECHNIQUE WHEREBY THE PERFORMER RAPIDLY ARPEGGIATES ALL NOTES WITH THE FINGER INDICATED i.e. c or i, EXCEPT THE ACCENTED BASS NOTES WHICH SHOULD BE FIRMLY PLAYED BY THE THUMB. WHEN EXECUTED PROPERLY THE c or i FINGER SHOULD REACH THE LAST NOTE OF ITS ARPEGGIO AT THE SAME TIME AS THE THUMB PLUCKS THE BASS NOTE. IF THE PERFORMER HAS A BAD c FINGER (i.e. IT IS TO SHORT OR HAS NO NAIL) THEN IT IS PERMISSIBLE TO USE a. IT IS VITAL TO THE UNIQUE SOUND OF THIS BAR TO FOLLOW THE TONAL QUALITIES EXACTLY, i.e. GOING GRADUALLY FROM PONTICELLO TO TASTO AND BACK. NOTATION GUIDE:
1
œ & œœ
¥
po r t Pluck the notes of the first chord then slide up to the next chord which should in turn be plucked when reached
4
&
8
˙˙æ ˙˙ ˙ ˙ æ
œœœ & œ œ
#œ rasgeuado tremelo, strum the notes as fast as possible
œœœ œ œ
¥3
harm.7
a.h. 13
œœ œ
artificial harmonic sounding an octave higher than wrtten
œ
gl.
slide the note down the fretboard
œœœ œ œ
œœœ œ œ
ponticello
|
natural harmonic played at the seventh fret of the third string
j œ U
gl.
œ œ œ œ œ
p
œ œ œ œœ
Iœ
slide up to the note from a random rapid arpeggios in the direction note below of the arrow using the finger i
slide the note up the fretboard
œ œ œ œ œ
tasto
gradually move the right hand, from the bridge, over the soundhole to the fretboard
Page 35 of 53
j œœœ L œ œ c
œ œ œ œ œ
œ œ œ œ œ
6 to D
V 94 1
GRAVE
Ú
DAVE FLYNN
65-70
˙ ˙
œ œ œ
œ œ ˙ œ ˙
œ œ ˙ œ #˙ 3
March 2000
4
1
0
˙ œ #˙ œ ˙ œ P j j j œ .œ œ œj# œ . . œ œ œ j œ œ œ #œ œ . n œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ . œ œ V œ œ ˙ œ #˙ ˙ œ #˙ œ ˙ œ ˙
Guitar
2
2
3
4
0
0
2
0
4
1
espr.
2
3
3
1
1
0
4
1
0
Gtr.
PASSACAGLIA
4
4
3
4
3
4
0
2
4
4
1
6
0
3
3
4 0
poco ponticello
1
3
1
3
2
3
0
3
0
2
1
2
2 0 4
3
1
4
2
1
1
II
III
œ œ œ œ # œ œ n œ œ œ œ# œ œ n œ# œ n œ n œ œ œ œ œ # œ œ n œ œ œ œ# œ œ œ œ œ œ œ œ # œ œ V˙ œ œ #˙ œ ˙ 2
5
1
Gtr.
4
2
1
3
2
1
1
4
2
2
2
1
1
4
legato
1
2
1
0
3
3
4
3
1
œ œ # œ n œ # œ n œj œ # œj n œ V # œ n œ # œ n œ œ˙ # œ n œ # œ œœ œ œ œ #˙ ˙ 2
3
4
6
Gtr.
4
3
2
1
3
4
4
0
4
3
3
0
2
1
3
0
2
0
1
1
poco rit.
V -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 # œœ œ œ œ œ #˙ œ ˙ P F 7
Gtr.
4
4
0
1
0
4
5
1
4
1
3
1
2
2
0
4
3
2
0
3
3
a tempo
4
0
0
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 œ œ V œ ˙ œ œ #˙ œ ˙ F jœ œ # œ . œj œ œ . œj œ œ˙ œ œ œ œ # œ n œ œ œ œ ##˙˙ # œ n œœ œ œ˙ . œ œ # œ n œ œ V œ‰ . œœ œ œ œœ # œ # n œœ ˙ œ œ œ Jœ ˙ œ œ œ ˙ œ #˙ œ #˙ ˙ ˙ 3
8
Gtr.
1
2
4
1
3
3
2
6
1
V
IV
9
Gtr.
0
3 2
1
2 1
0 0
3
3
VII
V
1 3
4 2 1
1
1
4
1
3 4 2
4
0
3
III
3
1
2
VII
VI
3
2
1
4
4
4
2
3 1
1
1
1
1 1
4
1 2 1
2
4
4
4
poco rit.
cresc.
Page 36 of 53
4 0
1
a la campanas
2
2
œœœœœœœ œœœœœœ œœœœœ œ œ # œ œ œ œ œ œ #œ œ n œ œ# œ n œ# œ œ œ œ V ˙ œ œ #˙ œ ˙ 3
11
Gtr.
3
3 4
4
4
5
1
3
0
1
1
4
3
0
0
4
4
0
1
4
1
2
0
3
0
1
0
3
3
4
2
3
0
4
0
a tempo
poco cresc.
œ œ œ œ œ œ œ œ œ œ œ œ # œœ œœ œ œ œœ œœ œ œ # # œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œœ V # œœ˙ œ œ #˙ œ ˙ ƒj j œ. j œ j œ . . # œ œ œ œ œ œ. ‰ œ œ. # œ ˙ œ # n œœ .. œ # œœ # œ n œ œ #œ V˙ œ œ #˙ ˙ƒ ˙ œœ # œ œ n œ œ #˙ œ O œœœœœ œ œ œ V≈ # œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ # œ œ œ œ ƒ Fœ œ 12
Gtr.
4
2
3 2
4
4
1 4
2 3
2 4
0
2 4
3
3
4
2
ponticello
1
0
3
3
con moto
4
1 0
0 1
molto cresc.
2
vib.
13
Gtr.
1 4 2
1 3 1
. port
t. po r
V
5
5
0
1
0
3
0
2
1
0
0
3
a.h.18 2 a.h.16 1
harm.7 3
VO
a.h.17 a.h.19
O #O 1
2
O O
O
0
4
3
1
j j j # O O O #O O O O O # O # Oj O O O O h.4
h.4
h.12
h.5
h.5
a.h. ---------------------------------------
h.4
h.7
1
1
4
4
2
0
3
1
3
4
5
1
1
4
3
1
4
5
4
4
1
0
0
0
3
IX
3
4
17
3 1
III
3
3
4 3 1
____
3
3
4 2 1 1 2 4 34
VI
____________________
3
2
4 2 3
0 0
4 4 4 1 1 1
1 4 3 1 1 1
4 3 1 1 2
4
4 3 1 1
2
gl. 1
0
gliss
0
gl. 4
gl.
1
U
1
1
**
in bass notes only
Page 37 of 53
4
4
4
1
pizz.
* rasgueados to be played as quickly as possible
3
3
2
3
_______________________
3
18 1
3
0
1
1
3
3
4 4 2 4 4 4 2 1 2 4 2 4 2 1 2
1 4 1 2 1 2
4
14 4 3 3 1
2
________________________________
3
3
3
3
3
3
3
1
2
3
0
1
Gtr.
4
2
‰ œ œ # œ œ nœ œ œ # œ œ nœ œ œ #œ œ n œ ˙ œ œ # ˙ œ ˙ >> >> > > > >> > > > > >> œœœœœœ œœœ œ œ œ œ œ œ œœœœœœœœœœœ œ œ œ œ œ # œ œ œ œ œ œ œ # œ œ œ œ œn œ œ œ œ #œ nœ #œ# œ œ œ œ V ˙ œ œ œ #˙ ˙ æ˙ œæ # ˙æ˙ # œœæ # # ˙˙æ œœ ‰ œj jœ ‰ œ. j # œ ‰œ œ œ œ ‰ œ œœ œ œ œ œ œ œ œ ˙. œ œ œ. V ˙ œœœ ## # ˙˙˙ # œœ # ˙˙˙ œœœ ˙. œ . œ. # ˙.. . . ˙ œ ˙˙ œ # ˙ æœ æ œ . # ˙ œ . ˙ æ æ æ Ï P 4
0
Gtr.
1
4
3
1
2
4
3
0
3
h.7
15
________
1
1
4
4
4
VII
1
2
4
3 1
0
p o rt.
1
vib.
4
h.12
14
0
4
vib.
4 3
1
1
5
tasto
Gtr.
4 3 2
2
0
Gtr.
vib.
4 3 2
U
1 2
3
1
gl.
1
3
0 gl.
1
3
gl.
gl.
** gliss up to the note from a random note below
VII
˙ œ œ # œ # œœ 3 œ #˙ œ ˙ œ œ œ œ œ 4 V œ œ # œ œ œ œ #œ œ œ œ œ œ œ œ n œ œ œ œ œ œ # œ #œ nœ # œ nœ # œ œœ IV
2
20
1
1 2
3
0
3
1
12
2
4
3
3
pizz. in bass
2
0
3
3
2
1
1
3
0
3
1
3
3
1
2
3
6 3
___________________
III
3
œ #œ œ œ #œ œ œ œ #œ n œ œ œ œ œ nœ œ œ # œ 3 V4 œ F˙ V #œ œ # œ œ # œ œ # œ œ # œ œ œ #œ œ nœ #œ œ œ n œ #œ œ œ nœ œ nœ œ œ n œ œ nœ œ #˙ 3
21
Gtr.
1
2
1
0
0
2
4
4
4
_____
1
2
2
2
Gtr.
___________________
1
3
3
3
3
2
1
1
3
2
3
2
1
1
4
3
2
2
3
1
1
4
1
2
1
non pizz.
4
VI
2
__________________________________________________
3
7
6
22
Gtr.
4
3
2
1
4
3
2
1
2
1
4
3
2
1
4
3
2
3
4
1
3
1 ___ 1
2
0
0
molto legato
V # ˙œœœ œœœ # œœœ œœœ # œœœ œœœ # œœœ œœœ # œœœœ œœœ # œœœ œœœ 23
Gtr.
2
1
1
4
3
r
r
4 0
3œ
r
nœ
r
nœ
r
nœ
94
r
nœ
nœ
0
1
ponticello
5
œ œœ œœ œœ œœ œœ # œœ œœ œœ œœ # œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœ œ 9 V 4 œ œ œ œ œœ œœ # # œœ œœ œ œœ œ œ # n œ œ œœ œ œ œ #œ œ > > ƒ > > > > > > > > > > > > > > > > | | | œ # œ œ œ œœ œ œ œ # œ V œ œ œ œ œ œ œ # œœ œ œ œ n œ n œ œ œ œ˙ # œ œ œ œ œ œ œ œœ # œœ œœ œœ œ œ #˙ f˙ j jO j O j O #O O ˙ œ œ ‰ jO O O œœ .. œ # ˙ œ . œ ·· ·# œ #œ œ jO O O O O Œ œ ˙ Œ œ # œ œ œœœ O Vœ O ‰ ˙ œ J œ œ ˙ # ˙ œ ˙ P III
5
24
Gtr.
4 i 0 3 K
c
K
p
0 0 0
c
i
c
K
K
K
p
p
p
p
K
p
p
3
4
3
c
i
i
K
K
K
2
p
K
p
1 4 3
6
3
K
4 3
p
0
i
c
K
K
3
dolce
1
p
p
3
3
3
4
3
0 0
0
3
4
1
0
subito ponticello
0
3
2
K
p
Tranquillo 4
4
3 1
3 1
2
h.12
1
4
1 1
0
1
K
p
2
0
0
K
p
___________
0
0
c
3
0
4
2
c
normal
4
0
i
p
3
1
0
0
0 02
p
0 0
26
c
2 0K
2
3
a.h.19 ____________
a. h.12
0
p
0
0
2
i
c
ponticello
3
1
0 4 0 1 1 1
3
3
3
Gtr.
c
K
2
3
25 1
Gtr.
i
tasto
ponticello
Maestoso
1 4 3 1 1 1
0
Page 38 of 53
4 4
3
4
4
3
1
0
2
0
tasto
6
2
4
5
3
5
4
j œ j œ œ œ V˙ œ ˙ ‰ œœj # œ # n œœ n # œ # n œœ .. œ #œ n œ #œ V˙ œ ˙
Gtr.
4 2
1
29
2 3 1
2
1 0
0
V ˙˙ ˙˙ F 32
Gtr.
2
0 0 0
2
œ #˙
0
4
œ
1
4 1 1 1
0 1 1 1
œœ œ
2 4 3 0
˙# ˙ ˙
2 4 3 1
œœ œ
0 1 0
œnn œ # œj # n œœj n # œ # n œœ n œ # œ n œ # œ n œ # œ #œ œ ˙ # n #˙ ____________________________
3 4
3
0 1 2
1 3
1
0
1
5
2
0 0 2
0
4
˙˙ ..
œ
0 0
˙˙
a tempo
œœ # ˙ œœ ## ˙˙
jœ œ
œ
3
0
3
4
V ww .. ˙ p
œ
4
6
30
Gtr.
4
3
0
0
œ œj œj n œ ˙ œ
3
4
0
Gtr.
œj # œ #˙
3
5
28
˙˙ ˙˙ ˙ f
J
1 1 2 0 0 0
J
œœ œœ œ
1 4 3 1 1 1
# ## ˙˙˙˙ ## ˙˙
J
1 4 3 1 1 1
1 1
##œœœœ œ
J
4 3 1 1 2
rit.
œœ ## ˙˙ P
## ˙˙˙ # ˙˙ 4 3 1 1
4 3 1 1
2
2
J
1 0
4 4
# œœ œœ œ J
3
4
œœ # ˙˙
1
4
2
# œœ
##˙˙ .. ∑ Œ ww .. œ #Œ ˙œ ˙˙˙ . œ ˙ u ƒP π gliss.
4 3 2
J0
0 0
1
1
2
4
morendo
Page 39 of 53
1
TWO MINIMALIST PIECES I Dave Flynn April 2000
Page 40 of 53
Page 41 of 53
Page 42 of 53
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This page is left blank so the next piece can be read without page turns
Page 45 of 53
II
RAINSTORM Dave Flynn March 2000
Freely a.h.
1
Guitar
¥ 2 V4
√
0
π
U¥ ¥ 44 ¥ ¥ 64 . ¥ ¥ ¥ ¥ b ¥ ¥ . 44 ¥ ¥ ¥ ¥ 48
U ¥
------------------------------------------------------------------------------------------------------------------------------------2 3 3 4 1 1 1 4 3 1 1
cresc.
œœ 48 . œ œ . 58 . œ œ œ œ . 68 œ œ œ œ œ . 78 . œ œ œ œ œ œ . .œ œ œœ œœ œ . 58 œ œ œ P Allegro Moderato
0
VII
5
Guit.
2
0
0
x4
0
III
2
x4
x4
4
3
x4
3 0 1
gl. j
3 0 1
(œ )
3 1 0 2
III
0
VI 4
x3
0 1
0
3
2
4
dolce
poco ponticello
Guit.
58 œ œ œ œ œ 88 . œ œ œ œ œ œ # œ . . œ œ œ œ œNœ . œNœ œ œ œ œ œNœ œ œ b œ œ œ 98 œ bœ œ œ #œ #œ
Guit.
98 . œœ . # œ œœœ œ œœ œœœ œ . œœ œœ
10
1 4
0
4
0
x4 1
1
2 1
1 1 4
x2
0
3
2
0
1 0 0 2 3
normal III
15
x4
0
1 1 1
IV
cresc. poco a poco
x2
x2
0
0
0
n. œœ . # œœ œœ œœ . œœ .œ œ œ œ œœ œ œ œ
x2
2
œœ œ
V
n. b œœœ .. œœ œœœ œœ . 10 bœ œ œ œ œ œ œ œ œ 8 x2
2
œœ . . # # œœ .. œœ .. œœ œœ . #œ œ œ œ œ œ # œ œœœ œ œ
26
x2
III
XI
Guit.
x2
x4
VII
. œœ .. # œ œœ .. œ œ œœ
III
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108 . # œœœ .. œœœ .. œœœ œœœ . f œœœ œœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ 11 # œ œ œ œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ œ œ . # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . # œ œ œ œ œ œ œ œ œ œ . . # # œ œ œ œ œ œ œ œ œœ œœ . 8 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ Ï x2
23
Guit.
x4
. œœ .. # # œœ œœ œœ . . ## œœœ ... # œœ œœœ œœ . œœœ œœœœœ œœœœœœœœœ
0 19 0 0
Guit.
œ œ œ œ . œ œ œ . # œ œ œ œœ œ . #œ œ œ œ II
VII
x2
VII
x2
x2
Copyright Frisbee Publications March 2000
Page 46 of 53
x2
: # œ œ œ œ œ œ 11 . . . # œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ V 8 L# œww œ œ œ œ œ œ œ ß w F normal x3
ponticello c
29
Guit.
0
0
4
4 0 x2
œ#œ œ .
decresc. poco a poco
p
# 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 . 2
3
0
1
4
2
0
0
3
4
1
0
2
x2
3
0
1
4
0 0
x2
32
Guit.
II
x2
4
4
IX h.12
.
35
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¥
#œ
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p
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# œœ
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4 4
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œ x4 œ œ œ
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# œœ
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œ
58 . œ x6
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# œœ
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# œœ
Page 47 of 53
.
48 . œ
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# œœ
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x4
U¥ # ¥
√ --------------------------------------------------------------
¥ #¥ ¥ #¥ ¥ ¥
a.h.
π
rit.
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ROLLERCOASTER (let notes ring as much as possible throughout the piece, with respect to harmonic change) Dave Flynn
Allegro Moderato III
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normal
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h.7
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Copyright Frisbee Publications 1998
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Page 48 of 53
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VII IV j j ‰ ‰ œ ‰ ‰ œ ‰ œ œ œ œ V œ. œ œ œ. œ #œ . œ XI IX X ‰ œ ‰œ œj . # ‰œ . œ # œ ‰œ œj . # œ œ # œ V œ. œ f V œ #œ n œ œ #œ œ ‰ œ œ # œ n œ V #œ œ bœ . œ. #œ nœ #œ . nœ œ P f ‰ œ ‰ œj ‰ œ ‰ œj III‰ ‰ V b œ .b œ œ bœ. œ œ bœ. œ bœ œ 29
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V œ œ , œ œ œ œ œ . # œœœ œœœ œœœ œœœ œœœ . # œœ œœ œœ œœ œœ Ï ‰ œj ‰ œ œ ‰ œj œ bœ. œ
subito
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VII VIII j ‰ œ ‰ # œ ‰ œj œ . œ #œ œ
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cresc. poco a poco
Page 49 of 53
1 0 4 3
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O O x2 x2 j O O O O O O ¥ . ‰ O # O ¥ ‰ ‰ O # O ¥‰ . . ‰ ¥ ‰ ‰ ¥. ¥ ‰ . ‰ ¥ ‰ V ¥ ¥ ¥. ¥. ¥. ¥. j jx2 j j x2 O O O O # O # O # O # O O O O O O O V . ¥‰ . ¥‰ ¥‰ . ¥‰ . . ‰ O O4 O2 3 ‰ O O O 1 . . ‰¥ . ¥‰ ‰¥ . ¥‰ . · 3 ·J · ·J Uj j j j #‹ ‰ ‹ j O O ‹ j‹ ‰ # ‹ ‰ ‹ ‰ ‹ ‹ ‰ ‰‹ . ‹ ‹ O O x2 ** O O V . ‰¥ . ¥ ‰ ‰ ¥ . ¥‰ . ‰ ‹ ‹ ‰‹ ‹ . ‹ ‹ ‹ . ‹ h.12 -----------------------------
h.7 ----------------------------------------------------------------
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h.7 -----------------------------------------------------
h.12 h.7 h.12 h.12
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‹. F 3
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**Dampen the strings with the left hand so as not to fret a note or sound a harmonic and gradually move from approximately the 12th fret to the bridge, all pitches are approximate.
Page 50 of 53
Page 51 of 53
Dave Flynn (b. 1977)
Dublin born composer Dave Flynn’s work encompasses most musical styles including classical, jazz, rock and traditional Irish music. His music has been performed by renowned musicians including Martin Hayes and Dennis Cahill, the New Juilliard Ensemble, the Prague Chamber Orchestra, Ioana Petcu-Colan, John Feeley, the Smith Quartet, the ConTempo Quartet and the Dublin Guitar Quartet in concerts and festivals including Huddersfield Contemporary Music Festival, Summergarden in New York, Prague Premieres, the Masters of Tradition Festival and the City of London Festival Photo : Fran Flynn Dave’s numerous awards include the 2004 Huddersfield Contemporary Music Festival Composers Award, the 2002 IMRO Award at the Feis Ceoil and grants from the Arts Council of Ireland, IMRO, the Bliss Trust, Galway County Council and Culture Ireland. Initially self-taught, Dave began formal studies at the DIT Conservatory of Music in 1999, studying guitar with John Feeley. In 2004 he obtained his MMus in composition with Malcolm Singer at the Guildhall School of Music and Drama. He recently completed a Research Doctorate through the DIT in 2010. In 2009 an edition of the acclaimed show ‘New Sounds’ was dedicated to his music and broadcast internationally by New York’s WNYC radio. Also in 2009 his guitar pieces ‘Four Études for Five Fingers’ were published worldwide by Mel Bay Publications. In 2009 his ‘String Quartet No.2 – The Cranning’ was given its US Premiere by the New Juilliard Ensemble at the Summergarden Festival in the Museum of Modern Art, New York. In 2010 ‘Music for the Departed’, a groundbreaking piece for Irish fiddle, guitar and violin, was given its US Premiere by Martin Hayes, Dennis Cahill and Gregory Harrington at the Irish Arts Center in New York. His fiddle concerto ‘Aontacht’, commissioned by RTÉ in 2007, will be premiered by Martin Hayes and the RTÉ Concert Orchestra in the near future. Dave is a former founding member of the Dublin Guitar Quartet and he instigated the foundation of the Irish Composers’ Collective. He remains active as a performer and recently released his second album, ‘Contemporary Traditional Irish Guitar’ to great acclaim through Frisbee Records.
www.daveflynn.com
www.myspace.com/daveflynncomposer
Page 52 of 53
Compositions by Dave Flynn published by Frisbee Publications For more information contact
[email protected]
Toccata for Obama
2009
vn, gui or sax, gui or flute. gui
4'
Aontacht
2008
traditional Irish Musician [variable], 2222 4330 hrp timp 2 perc str
30’
Against Morton Feldman
2007
4 gui
2'
Errigal Suite
2007
Trad Irish musician [variable] 2 gui
15'
String Quartet No. 3 'An Caoineadh' (The Keening)
2007
2 vn va vc
15'
Tar Éis an Caoineadh
2007
vn
10'
Taibhreamh Ó Ríada
2007
ssa, 2 flute+tin whistle acc hrp 2 fiddle
10'
Music for the Departed
2006
fiddle vn gui
22'
Omós do Frankie Kennedy
2006
fl gui
10'
Tar éis an Cran
2005
vn kbd
6'
Four Études
2005
gui
10'
String Quartet No. 2 'The Cranning'
2004 rev. 2009
2 vn va vc
15'
Between the Jigs and the Reels
2004
vn pf
8'
Manipulations
2004
hn perc [woodblock, glock] vib vn vc db
10'
Slip
2004
2 vn va vc
6'
Full Circle
2003-2004
high voice, pf
12'
tWO nONSENSE sONGS
2003-2004
S-solo, pf
6'
tWO nONSENSE sONGS
2003-2004
Mez-solo
6'
Paddy's Rambles through Africa and The Balkans
2003 rev. 2006
6362 2 asax tsax barsax 4331 5 timp 5 perc 20' hrp pf str
7-11
2003
pf [4 hands]
7'
Polymetric Cycles
2003
picc fl ob cl bcl asax egui vib pf vn vc db
8'
String Quartet No. 1 'Fairground Attractions'
2003
2 vn va vc
15'
Echoes of Bamako
2003
str
6'
Quirk No.2 'Shadowplay'
2002 rev. 2005
fl gui
7'
Electric Guichair
2002
tape
7'
Kora
2002
4 gui
7'
I have always known
2002
S-solo, pf
3'
Mesh
2001
str [4.4.4.2.2]
10'
12 Tone BACH
2001
pf
7'
Three Gymn O'Paddies
2000-2001
gui
9'
Quirk No.1 'Show me those jazz hands'
2000 rev. 2002
vn vc
3'
Chimurenga
2000
4 gui
4'
5to9
2000
gui
6'
Passacaglia
2000
gui
5'
Rainstorm
2000
gui
4'
Rollercoaster
1998
gui
3'
Homage Sonatina
1993-2001
gui
6'
