Complete Guitar Works Vol 1 by Dave Flynn
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8/9/2019 Complete Guitar Works Vol 1 by Dave Flynn
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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 : dave@daveflynn.com 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
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Dedicated to John Feeley for recognising my compositional ability
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About the Works
1. Four Études for Five Fingers (2005)
I composed these études for Charles Postlewate to aid his pioneering work utilising the five-finger right hand technique. Each is designed to aid the development of separate techniquesusing the little finger. I am very sympathetic to Charles’ ideas because I have used the littlefinger in my playing and in some of my other compositions. These pieces were previouslypublished by Mel Bay in the ‘Contemporary Anthology of Solo Guitar Music for Five
Étude No. 1: Gimme Five is mainly concerned with the development of arpeggios
the five fingers in a way that will make an unusual rhythm for beginners seem quitenatural. I feel that early exposure to irregular time signatures will aid the student’sdevelopment and they will come as naturally to the advanced student as the five-finger technique. I have encountered many technically-advanced players who findirregular time signatures extremely difficult due to the lack of exposure in earlytraining. This piece should be very atmospheric with particular attention paid to thefermatas, which should be held long enough to allow the harmonics of each chord tobe clearly audible.
Étude No. 2: Homage To Bucko is concerned with one of the main advantages of thefive-finger technique - unbroken five-note chords. The piece should be accessible to
have developed the left hand enough to tackle some of the chords in the rest of thepiece. The piece should build to a majestic climax. The last chord is sounded by asharp 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 canoriginally be found in my pieces 5 to 9 and Passacaglia. Jazz harmonies highlyinfluence this piece and I write it in homage to the renowned Irish jazz guitarist HughBuckley, who helped develop my interest in jazz.
Étude No. 3: The Odd Reel is a stepping stone to a fluid tremolo utilising the littlefinger. There isn’t a continuous tremolo in the manner of Tarrega and Barrios, ratherthere is more of a relation to the ornament known as treble as found in the traditionalmusic of my native Ireland. If played at a moderate pace the piece is accessible tomost players, while more advanced players are encouraged to play the piece faster todevelop 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 onthe players and regional style, so the tempo really is up to the individual. Ornamentsin this piece should be played in a manner similar to Irish traditional musicornaments. I recommend listening to fiddle players like Martin Hayes and PaddyGlackin to get the general spirit of the piece and a better understanding of how to playthese ornaments. Irish traditional ornaments are more like articulations to the mainnote than extra melodic notes. They should be played rapidly and the pitch of thenotes 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 thispiece. This étude will help develop the dexterity of the right-hand immensely if theexact fingerings are followed, and the relationship between the thumb and all fourfingers will be developed, as will the relationship of c to a, a to m and m to i.
Page 5 of 53
Fingers of the Right Hand.' There are some small changes to the études in this publication.
utilising the little finger. The 5/8 time signature is used here because it nicely fits
most players, some players may wish to end the piece at bar 20 until they
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2. Three Gymno’Paddies (2001)
These pieces have roughly the same form as Erik Satie’s Three Gymnopedies (1888). Thepunning title of my pieces betrays the Irish character found in the melodies. This isparticularly evident in the ornamentation, which should be played in the same manner asin Étude No.3 The Odd Reel.
3. Homage Sonatina (1993-2001)
The movements of this piece were originally written as separate pieces. I decided tocombine them in Sonatina form when I realised they were all written in homage tocomposer/guitarists, namely Heitor Villa-Lobos, Andy Summers and Leo Brouwer.
I - Homage to Heitor Villa-Lobos – Villa-Lobos was one of the great composers forthe guitar and he was the first major 20 th Century composer I seriously studied. Iwrote this piece through improvisation. On completion I realised it owed a debt toVilla-Lobos, so I acknowledged this debt by naming the piece after him. Aside fromthis 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 acontemporary classical style, it is also the first piece I wrote in standard notation. Theoriginal 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 enormousinfluence on me in my teenage years. He incorporated many different styles into hisplaying to create a truly innovative style. Some of the chords he commonly used withThe Police are found in this piece, such as the first Aadd9 chord. In 2001 my motherJoan Jennings died, so I decided to rename the piece and dedicate it to her, as it wasone of her favourite pieces of mine.
III - Irish Seascapes With Waves (Homage To Leo Brouwer) – This piece is anobvious 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 unusualpercussive 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 inthe collection; it should be performed with a sense of evil or darkness, with great emphasison dissonances and the special effects.
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5. Two Minimalist Pieces (2000)
In the late 1990’s I first became aware of the style of contemporary composition known asminimalism. Some of Leo Brouwer’s works are influenced by minimalism and it was throughhis 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 influenceon my compositions, including the following two compositions.
I. 5to9 – This piece is my most obviously minimalist piece and is strongly influenced bySteve Reich and more particularly the last movement of Harmonielehre by JohnAdams. After hearing this Adams piece I was blown away, it has become one of myfavourite pieces of music. I decided to try to create something similar for solo guitar. Itmay not be on the same scale as Harmonielehre, but the ending should be treated as if itis the end of a massive orchestral work. I recommend that all my pieces are performedwithout the sheet music, but I particularly feel that the performer should thoroughlyinternalise 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 arainstorm, from small drops to a full storm and then back again. Since writing the pieceI found that Leo Brouwer has composed a similar piece for guitar quartet. This is a purecoincidence, as I hadn’t heard ‘Cuban Landscape with Rain’ before composing thispiece!
6. Rollercoaster (1998)
I wrote this piece before I was aware of the minimalist style. Indeed I remember when Istarted composing it I wondered to myself whether it was ok to repeat short melodic phraseslike I do at the beginning of this piece. My subsequent discovery of minimalist musicconfirmed to me that not only was it ok, but it was a strong compositional trend of the time. Ihave since re-arranged ‘Rollercoaster’ for guitar quartet and as the third movement of myString Quartet No.1 ‘Fairground Attractions’.
These are all the solo works I have composed for classical guitar up to 2005. The works tracemy compositional development from my teenage years through my engagement withminimalist music around the year 2000 and towards the more individual style I havedeveloped in recent years through my engagement with traditional Irish music. I hope thesepieces are enjoyed by whoever studies and listens to them. Any questions about the piecesmay be directed to me at this email address
dave@daveflynn.com
Dave Flynn
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Moderato Molto Rubato
9
rit.
13
sim.
A temporit.
18
A tempo
rit.
24
molto rit.
A tempo
29
0
1c
2 3 4
4
Four Études for Five Fingers
London February 2005
Étude No.1
for Charles Postlewate
'Gimme Five'
0
2
i
1
m
3
i
10
am
2
icam
0
30
2
i
cam
00
1
i
2 1
m c
a00 3 1
00 2 3
00
i
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0
a
0
c
i
m
a
c 2 30 0 2 3
0 0
23 4 0
23 4 0
3 2 4 0
1
cami
021
4
**Senza arpeggio**003
1
0032
0032
Dave Flynn
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sim.
34
rit.
38
A tempo43
rit.47
A tempo51
rit.55
3i
m1
2a
c4 1 2 0 2 3 4 0 2 3 4 0
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p
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p
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h.12
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dolce
= 90-108
= 60-721
5
9
13
17
subito subito
21
Majestically
**Senza arpeggio sempre**
p 2
cami
0001
2
043
0
a 0
2
0003
2
0030 a 0
Étude No.2
London, April 2005
'Homage To Bucko'
2
0300
2
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2
0043
2
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0003
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00
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ami c 0
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0 p i m a c sul tasto4
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ami
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Dave Flynn
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25
29
33
37
sempre
41
sempre
45
49
54
0000
2
1000 0
0
2
43
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0
12
43
0021
13
02
102
3 0100
0043
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0
3
123
0
12
34
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***Slide as soon as the chord is struck
21
34
*** 4
312 gliss.
gliss.
x3
***
g l i s s .
g l i s s . 0
c
0 3
p
2
0
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= 96
or 126 **
With an Irish lilt
1
2
3
4
6
7
8
9
** Tempo may be either depending on players ability and/or preference
4
1 p
c0
0 p
a m i
3
1
0
Étude No.3 'The Odd Reel'
London March 2005
1
3 0
0
c 0
a m i a
0
m i a
1
m i
2
0
m
1 0
c
3
0
a
0
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3
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02
1
000
Dave Flynn
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sempre
= 92-1001
5
9
13
17
21
25
4
c
In the manner of a Slip Jig
0 3
a
0 1
m0
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London March 2005
Étude No.4'Static Slip Jig'
2
3
2 2 00
2
1
1
2
0
3
0
0 2
ca p
04
0
am p
03
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421
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ai p
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31 i
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cm p
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cam p
0
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1
ami p
0
42
cmi p
120
2
3
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412
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ami p
321
1
cmi p
20
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ami p
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13
20
i
cami 0
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0 cm
ci
p p p p p
Dave Flynn
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sempre
29
33
37
41
44
47
49
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1 3a
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1
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1
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4
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a a m m i
1
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3 1 0i m
4
cam p
1
0
40
am p
cami p
0003
1
1
cami p
0030
2
ami p
1
00
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0001
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m a
1
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Guitar
1
Gtr.
6
Gtr.
12
Gtr.
18
Gtr.
24
Gtr.
30
Gtr.
36
h.12
To Erik Satie
Gymn O'Paddy No.1
Dave Flynn
Slowly, with Irish Wisdom
December 2000
1
4
1
4
1
1
1 3
43
4
Three Gymn O'Paddies
3
0 3
0
0 3
2
1
2 02
3 1 3
0 4
1
1
1
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4 34
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1
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II
0
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2
1
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2 1 40
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3 1
0
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1
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1
41
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1
1
3
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34
0
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1
2
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1
Copyright Frisbee Publications 2000
1
3
00
3
0
0
0
2
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Gtr.
42
Gtr.
47
4 4
0 2
1
0
44
1
4
1
4 1
3
40
2 0 4
1
1
3
0
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3
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h.7 3
1
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Guitar
1
Guitar
6
Guitar
12
Guitar
17
Guitar
22
Guitar
28
Guitar
1. 2.
33
Dave Flynn
Slowly, with Celtic Mysticism
2nd time play a.h. on
first voicing only
May 2001
0
2
1
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1
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3
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1
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IV IV VI
IV IV II
Gymn O'Paddy No.2
for Erik Satie
0
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1
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molto dolce
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1 1
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Copyright Frisbee Publications 2001
1
32
4
1 1
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1
6
12
18
24
30
36
Slowly, with Gaelic charm
Dave Flynn
June 2001
0
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II
Gymn O'Paddy No.3
á Erik Satie
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Copyright Frisbee Publications June 2001
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40
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HOMAGE SONATINA
Dave Flynn1997
HOMAGE TO HEITOR VILLA-LOBOS
I
Page 22 of 53
Copyright Frisbee Publications 1997
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V IV III
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VIII VII X
resonate the guitar
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Dave Flynn
II
Elegy for Joan
(Homage to Andy Summers)
Copyright Frisbee Publications 1993
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VI II VII VI V II III II
I II IIIII III II VII
January 2001
III
(Homage to Leo Brouwer)
Dave Flynn
Copyright Frisbee Publications 2001
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Page 33 of 53
‹ ‹ ‹ ‹
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**NOTATION GUIDE
strum the strings behind the nutmuffle strings against fretboard
with lefthand at approximately
tenth fret
Tamboura: Hit open strings with
right hand near the bridge
hit guitar on wood below the high
E string
hit guitar on wood above the lowE String
tap notes with left hand finger slap chord onto the fretboard with
left hand first finger
while holding onto the chord withleft hand, strum directly behind the
fretted chord with the right hand
r.h.
l.h.tap bass notes with left hand
and tap treble notes with right hand
I
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&
1
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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 PIECEBUT THE PIECE IS OPEN FOR INTERPRETATION, SO THE PERFORMER MAY CHOOSE ALTERNATIVE DYNAMICS,IF THEY FEEL THEY CAN ENHANCE THE PIECE IN DOING SO.
2. THE CHORDS IN BAR 13 SHOULD ALL BE PLUCKED, i.e. PLAYED PORTAMENTO NOT GLISSANDO.
4. AT THIS POINT IN BAR 22 THE NOTES SHOULD BE SLURRED AS SMOOTHLY AND EVENLY AS POSSIBLE WITH ONLY THE
5. BAR 24 REQUIRES A SPECIAL TECHNIQUE WHEREBY THE PERFORMER RAPIDLY ARPEGGIATES ALL NOTES WITH THE
FINGER INDICATED i.e. c or i,
WHEN EXECUTED PROPERLY THE c or i 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 GRADUALLYFROM PONTICELLO TO TASTO AND BACK.
NOTATION GUIDE:
p o r tPluck the notes of the first chord then slide
up to the next chord which should in turn be
plucked when reached
a.h. 13
artificial harmonic sounding an
octave higher than wrtten
harm.7
rasgeuado tremelo, strum the notes
as fast as possible
gl.
slide the note down
the fretboard
gl.
slide the note up
the fretboard
slide up to the note
from a random
note below
c
of the arrow using the finger
p
ponticello tasto
gradually move the right hand, from the bridge, over
the soundhole to the fretboard
PASSACAGLIA for Solo Guitar
BELOW ARE EXPLANATIONS OF NUMBERED PASSAGES;
EXCEPT THE ACCENTED BASS NOTES WHICH SHOULD BE FIRMLY PLAYED BY THE THUMB.
FINGER SHOULD REACH THE LAST NOTE OF ITS ARPEGGIO AT THE SAME TIME
Page 35 of 53
3. BAR 19 SHOULD BE PLAYED WITH HUMOUR, SEE THE NOTATION GUIDE FOR AN EXPLANATION OF THE GLISSANDI.
1. IN BAR 11 THE NOTES SHOULD BE ALLOWED RING LIKE BELLS (A LA CAMPANAS ).
FIRST NOTE OF EACH TUPLET PLUCKED.
natural harmonic played at the seventh fret
of the third string
rapid arpeggios in the direction
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V 4
9
Guitar
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PASSACAGLIA
poco
65-70
III II
4 302 1 4 3
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1
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1
3 3
0
10
3
0
1
12
4
DAVE FLYNN
March 2000
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V
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18 ˙ ˙ ˙ ˙
˙
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æ ˙ ˙ ˙
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#
#
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#
æ œ œ œ œ
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æ ˙ ˙ ˙ ˙
#
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æ
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j
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1
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2
14
32
01
3
42
3
1 0
4
0
0
4
32
24
1
3
0
1
24
2
13
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1
34
2 port.
1
34
2 01
4
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4
3
1
4
01
0
4
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4
1 2 0 3 0 3 0 3
1
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V VII ________
1
31 3 4 1 2
41
harm.7
0
03 1
a.h.18
4
0
12 0
a.h.16 a.h.17 a.h.19
4 1
1
4
1 3 0
4 2 14
---------------------------------------
2
1 3
0 1 4 0
4 3 14
3 1 1 2 4 2 1 4 3 4 1 4 3 1
III ____
1 1
4 3 4 1 4 1 2 1 2 4 2 4
VI ____________________
0
2 1 2 4 2 4 4 4 2 1 2 4 2
3
IX ________________________________
41
23
0
0
* rasgueados to be played as quickly as possible
4441
1
1
14
311
1
4311
2
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in bass notes only
gl.
** gliss up to thenote from a randomnote below
**
0
0
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1
1
1
4
1
1
4 4
_______________________
43
1
1 3
3
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0
a la campanas
1
3
2
p
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V 4
3 Gtr.
pizz.
2 1
6
22
2
32
20
œ
œ œ
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œ # œ œ
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œ
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#
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V 4
3 Gtr.
1 1
F
21
3
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3
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3
œ # œ œ
3
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3
œ œ œ
3
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V Gtr.
pizz.
molto legato
22
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œ # œ œ # œ œ # œ œ œ # œ œ n œ # œ
7
œ
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6
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V 4 9
Gtr.
5 ponticello
23r
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r
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r
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r
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r
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V 4 9
Gtr.
6
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24œ œ
œ
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>
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K
> |
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>
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>
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>
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>
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>
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>
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>
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2
3
3
4
2 3
4
a.h.19
ponticello tasto ponticello
ƒ
f
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25œ
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3
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3
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3
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3
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h.12
6P
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26‰ j O O O
j O O
j O O O
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5
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in bass
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00
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0
IV
1
3
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4
0 1 2 3 3 0
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1
2 1
2 1
3
2
3
___________________VII
_____
1 2 3
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12 1 4
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1
___________________
1 2 3 4
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4 1 2 3 4 3 2 1 4 32 1 1___
VI __________________________________________________
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1
1
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3
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3
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2
30
0
0
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1
30
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01
3
2
00 3
4
0
a. ____________
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00
0 0
0
___________
0
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4
0
31
431
1
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0
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4
2
34
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non
0
4
5
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V
Gtr.
6
528j
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œ
j
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j
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5
4
3
rit.
3
4
43
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j
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p a tempo
30
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P
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F
32
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3
40
0
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010
1
34
0 1
13
012
1
____________________________
1
0
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1
1
44 0
1
4
2
1
2
00
0
4
1
1
1
011
1 0
3
42
1
243
0
20
3
1
21
0
00
1
1
1
134
1
1
1
34
1
43
2
11
43
1
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4
3
11
2
234
0
0
0 1 1 2 4
0
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Page 39 of 53
# ˙ # ˙ # ˙
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April 2000
Dave Flynn
TWO MINIMALIST PIECES
I
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V 4
2
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-------------------------------------------------------------------------------------------------------------------------------------
( )
Freely
Allegro Moderato
0
0 0 00 2
4
IIIVII
3 10
03 10
VI
0 04 1
3 2
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00
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2
4
3
1
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IV VII V
2
III VII
XI III VII
2
March 2000
3 13 4
11
RAINSTORM
II
a.h.
Dave Flynn
Copyright Frisbee Publications March 2000
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V 8
1 1 ..
.
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ß
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ponticello
29
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V 4
4
4 2 .
... 8
3 ..
.
. 8 4
Allegro
P tasto
1
w w w w
w
#
#
U
I
ponticello
w w w w
w
#
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I
x4
normal
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.
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ROLLERCOASTER
Moderato
13040
13 0
0 0
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4
3
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0
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2
3
4
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0
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3
0
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1
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1
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4
44
2
0 0
0
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1
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0
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IIII
III
III
III
IV
1998
(let notes ring as much as possible throughout the piece, with respect to harmonic change)
Dave Flynn
Copyright Frisbee Publications 1998
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V
29 ‰
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II VII IV V VII VIII
IX X XI
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VI VIII VI
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I
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V
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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.
3
4 2 1 0 1
0
4 1 3 2 0
2
1 3 4 1 4
2
1 3 1 4 4
2
3 1 4 4 1
2
3 4 1 1 11 4
2
4 3 1 3 4 1 4 3
1
1
4
3
4
1
1
21
3
4
3 2 4 3 2 2 2 2
1 1 14 3 2 4 3
2
0 41
2 0
3 2 1 0 4
3
4
3
2
1
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2 2 2
4 3 2 1 0
43 2 1
0 0
0
0
03
3 3
3
3
3 3
3 3
3
3
3 3
3 3
3
3
3
4
4 1 4
1 4
3
33
3
3
II III V VI
VII VIII IX XI
**
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Dave Flynn(b. 1977)
Dublin born composer Dave Flynn’s work encompassesmost musical styles including classical, jazz, rock andtraditional Irish music. His music has been performed byrenowned musicians including Martin Hayes and DennisCahill, the New Juilliard Ensemble, the Prague ChamberOrchestra, Ioana Petcu-Colan, John Feeley, the SmithQuartet, the ConTempo Quartet and the Dublin GuitarQuartet in concerts and festivals including HuddersfieldContemporary Music Festival, Summergarden in NewYork, Prague Premieres, the Masters of Tradition Festivaland the City of London Festival
Photo : Fran Flynn
Dave’s numerous awards include the 2004 Huddersfield Contemporary MusicFestival Composers Award, the 2002 IMRO Award at the Feis Ceoil andgrants from the Arts Council of Ireland, IMRO, the Bliss Trust, GalwayCounty Council and Culture Ireland. Initially self-taught, Dave began formalstudies at the DIT Conservatory of Music in 1999, studying guitar with JohnFeeley. In 2004 he obtained his MMus in composition with Malcolm Singer at
Doctorate through the DIT in 2010.
In 2009 an edition of the acclaimed show ‘New Sounds’ was dedicated to hismusic and broadcast internationally by New York’s WNYC radio. Also in2009 his guitar pieces ‘Four Études for Five Fingers’ were publishedworldwide by Mel Bay Publications.
In 2009 his ‘String Quartet No.2 – The Cranning’ was given its US Premiereby the New Juilliard Ensemble at the Summergarden Festival in the Museumof Modern Art, New York. In 2010 ‘Music for the Departed’, agroundbreaking piece for Irish fiddle, guitar and violin, was given its US
Premiere by Martin Hayes, Dennis Cahill and Gregory Harrington at the IrishArts Center in New York. His fiddle concerto ‘Aontacht’, commissioned byRTÉ in 2007, will be premiered by Martin Hayes and the RTÉ ConcertOrchestra in the near future.
Dave is a former founding member of the Dublin Guitar Quartet and heinstigated the foundation of the Irish Composers’ Collective. He remainsactive as a performer and recently released his second album, ‘ContemporaryTraditional Irish Guitar’ to great acclaim through Frisbee Records.
www.daveflynn.com www.myspace.com/daveflynncomposer
the Guildhall School of Music and Drama. He recently completed a Research
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Compositions by Dave Flynn published by Frisbee Publications
For more information contact dave@daveflynn.com
Toccata for Obama 2009 vn, gui or sax, gui or flute. gui 4'
Aontacht 2008 traditional Irish Musician [variable], 22224330 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' (TheKeening)
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'
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 TheBalkans
2003 rev. 2006 6362 2 asax tsax barsax 4331 5 timp 5 perchrp pf str
20'
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 'FairgroundAttractions'
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'
Four Études 2005 gui 10'
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