31
FRISBEE PUBLICATIONS String Quartet No.3 The Keening (An Caoineadh) Dave Flynn (2007)

String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

  • Upload
    dodung

  • View
    218

  • Download
    3

Embed Size (px)

Citation preview

Page 1: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

FRISBEE PUBLICATIONS

String Quartet No.3

The Keening

(An Caoineadh)

Dave Flynn

(2007)

Page 2: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

2

String Quartet No.3 "An Caoineadh" - (The Keening)

Performance and Programme Notes

For this piece the performers are requested to sit as follows

Viola CelloViolin I Violin II

This piece requires some controlled improvisation from two tables, The Table of Drones and The Table of Murmurs. These tables are found at the end of this score.

There are some things which are relevant to the whole piece.

1. It would be ideal if this piece was played from memory without the score as this will help communication between the performers and improve the chances of the improvisational sections being successful.

I do recognise that it is not always possible to learn an entire piece by heart, but at the very least I would ask that 'The Murmuring Lament' in Movement I is learnt off by heart by each performer and I would strongly advise performers

to close their eyes whilst playing it. Also the tables of murmurs and drones should be learnt of to enable an enhanced sense of spontaneity during the improvised sections.

2. Technical details

There are a few things which will help create the most desirable sound for the piece.

(a) Performers should generally keep the bow on the string at all times. Most of the techniques in the piece are derived from Irish fiddle techniques and Irish

fiddlers tend to keep the bow on the string

(b) Vibrato should generally not be used. It may be used occasionally in a very subtle way, with the finger rather than the wrist. Vibrato should be considered a form of ornament

rather than a constant feature of the music.

(c) Rubato should be restricted to long notes. I want the piece to be generally free rhythmically but shorter rhythms should be played accurately, without rubato. Movement III should be entirely free from rubato,

it should be rhythmically relentless except at the very end where rhythmic freedom is given.

(d) Generally the tone should not be too refined or sweet, by using heavy bow pressure the players are more likely to achieve the kind of tone I’d prefer.

This piece was partly inspired by Breandán Ó Madagain's book 'Caointe agus Seancheolta Eile - Keening and other Old Irish Musics.' In this book he describes the ancient Irish singing style called 'Caoineadh' or in English 'Keening'. The English term is derived from the Irish and has been used to describe mournful cries of people all over the world. However according to Ó Madagain's description there is a lot more to keening than the piercing cries it is often associated with. In his book he describes three main stages to the Keen and I have taken these descriptions as inspiration for the three movements of the string quartet.

I. Ag Monabhar/Murmuring

"The mourner commences by some deep murmuring, repeating over and over the name of the deceased, such as 'Thomas, Thomas, my sorrow and my loss"

II. Reacaireacht/Dirge

"The lone keener (more usually a woman) sang her verse to old reacaireacht music, chant like, many syllables on the same note, with little ornamentation and ending on a falling cadence"

III. Gol/Cry

"The gol...was the third stage of the round of keening - probably the culmination.....The music of the gol, in contrast to that of the preceding verse, was explosive and highly ornamented".

Page 3: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Violin I

Vln. I

3

Vln. I

5

Vln. I

1/4 Tone Sharp 3/4 Tones Sharp 1/4 Tone Flat 3/4 Tones Flat

6

�� ��

�� �� ��

��

1. CutsThese are the simplest Irish ornamentations, they are rapid articulations of the principal notes.The grace note should not have a clearly audible pitch and should come just before the beat.

It is important to note that all ornamentations, grace notes etc. in Irish traditional music are articulations of principal notes.Therefore the grace notes should not be clearly audible, rather they should be articulated as quickly as possible on the beat.All such grace notes are marked as demisemiquaver muted notes to emphasise this point.

a.) b.) c.) d.)

� ��

String Quartet No.3 Notation Guide

�a.) Standard Roll

2. Rolls

This roll is commonly used in the space of a triplet

� � b.) Sliding Roll

�� c.) 6/8 version c.) 6/8 version

� ��

� �

3. Rapid RollThis notation is also used in the score to indicate a form of roll where the principalnote, in this case G, is heard 3 times however the ornamenting notes are played sorapidly that it sounds like one G note with slight hiccups! It does not have the same dotted rhythm as the previous rolls.

4. MicrotonesThere is a lot of use of microtones in the piece. Microtones are commonly used in Irish traditional music. *All microtones should be a little sharper than indicated, in other words when a note has a quarter-tone sharp sign it should actually be a little sharper than that.

*

��� �� � ��

�� � ���� � �

���� ���� � ���� ���

��� � ���� ���� � ���� ���

��� �

� � ��

� � � ��

3

Page 4: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

7

Vln. I

8

Vln. I

notation sounds like

9

Vln. I

10

5. The following passage appears in Movement I. Here the grace notes on beat 1 are clearly heard, but still quickly played before the beat. The glissando is a very gradual one and the microtones given are just rough guides to the actual pitches that will occur.

gliss. gliss.

6. Flattened unison double stopThe microtonal notation is used here to indicate that a note slightly flatter than Eis played at the same time as an open string E. The actual pitch would be a bit sharper than the 3/4sharp sign given. This is a commonly used colouring effect in Irish traditional music.

7. String pressure note bend This is a glissando created on open strings, for example by gradually putting pressure on the string at F# after bowing the open E string you get a gliss from E to F�

*gliss.

�8. This notation is found in movement I. The arrow indicates that the bow sounds the D string slightly before the low G, producing a very slightly broken rhythm.

� � � �

���

� � � � � �

�� � �� ��

4

Page 5: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

Slowly, Freely and Mournfully� = 50 approx.**Sempre non vibrato, molto legato**

1

� �

Copyright © Frisbee Publications 2007

Vln. I

Vln. II

Vla.

Vc.

��

Vc.

1

Vc.

5

Vc.

8

�Performers improvise from the table of murmurs for approximately 1 minute (Enter approx 4 secs after violin II)

�����������������

I. Murmuring/Ag Monabhar Dave FlynnAn Spidéal agus Bantry

2007

STRING QUARTET NO.3 'AN CAOINEADH'

(The Keening)

�(Enter approx 6 secs after viola)

������������������������������������

� (Enter approx 8 secs after cello)

�����������������������������������������������������������

��������������������������������������������������������������������������������

�������������������������������������������������������������

(The Murmuring Lament)

�������������������������������������

�����������������

�Spontaneously vary the texture between nat., sul pont. and sul tasto

�* = String pressure gliss

� gliss.* �gliss. gliss. gliss.

� � gliss.*

��

gliss. gliss.�

��

� ��� �� �� � �� ���� � ���

��� �� ��� � � � � �� � �� ��

� � � ����

�� ���

� � � �� � �� �� � � � �

5

Page 6: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vc.

11

Vc.

14

Vc.

17

Copyright © Frisbee Publications 2007

Vla.

Vc.

��

A19

Vla.

Vc.

23

Vla.

Vc.

27

Vla.

Vc.

31

��

�� �� ��

�� ��

� �

* = String pressure gliss

*gliss. gliss.

� �gliss. �

Spontaneously vary the texture between nat., sul pont. and sul tasto

�**Cello Plays from the Table of Drones

* = String pressure gliss

� * � gliss. gliss. gliss.

� � gliss.*�

gliss.

��

�� � � � � � �� � �� �� � ��

� � �� � � � �

��� � � � � �� �� �� � � � �

�� � �� � � �

�� � � � � � ��

� ��� �� �� � �� ���� � � ��

� � � �

��� �� ��� � � � � �� � �� ��

� � � �

� � � ��� �

�� ��� �� � �

� � � �

�� � �� �� � � � � �� � � � �

� � �

6

Page 7: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vla.

Vc.

34

Vla.

Vc.

36

Vla.

Vc.

39

Copyright © Frisbee Publications 2007

Vln. I

Vln. II

Vla.

Vc.

��

B41

��

��

��

����

�� �� ���� �� ��

�� ���� ��

� gliss.

* = String pressure gliss

*gliss. gliss.

� gliss. �

� �

�Spontaneously vary the texture between nat., sul pont. and sul tasto

�** Cello and Viola Play from their Tables of Drones

��� �� �� � �� � � �� � � � �

� �

�� �� � � � � � �� �� ��� � � �

� � �

� � � ��� � ����

� � � � ��

� � �

� ����� �����

�� � ��

�� �� �� ��

� � � �

� � � �

7

Page 8: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

45

Vln. I

Vln. II

Vla.

Vc.

49

Vln. I

Vln. II

Vla.

Vc.

52

�* = String pressure gliss

gliss.* gliss. gliss.

� � gliss. � gliss. gliss.

��

� � * gliss.

�Rock the finger slightly back and forth to drop the pitch slightly and bring it back again � gliss.

��

� � gliss. gliss.

� � gliss. gliss.

��

�� ��� � �� � � � � � � ��� ���

�� ���� � ��� ��� ��

� � � �

� � � �

� � � ����

�� ���

� ��� �� ��� ��� �� ��� � ��� �� ��� ��� �� ��� �� ����

� � �

� � �

� � � �� � �� �� � � � �

� ��� ��� �� � ��� �� ��� ��� �� ��� � ��� �� ��� ��� �� ���

� � �

� � �

8

Page 9: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

55

Vln. I

Vln. II

Vla.

Vc.

58

Vln. I

Vln. II

Vla.

Vc.

61

��

����

��

�� �� ��

�� �� ��

�� �� ��

�� �� ��

�� ��

�� ��

�� ��

�� ��

� �gliss.

� � gliss.

� *

�gliss. gliss. gliss.

�*� gliss. gliss. gliss.

� �

� ��

� �

�� � � � � � ��� �� �� � ��

� � �� ��� � � � �

� � � � ��� �� ��� �� �� ��� ��� � �� � � � ��� �� ��� �� �� ���

� � �

� � �

�� � �� � � � � �� �� �

� � � � �

� � �� �� �� � � � ��� �� ��� �� �� ���

� � �

� � �

�� � �� � � �

�� ��� � � � � �� ��

� �� � �� � �� ��� �� ��� ��� �� ��� � ��� �� ��� ��� �� ��� �� ��

� � � �

� � � �

9

Page 10: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

��

This movement should not be in exact metred time, there should a pulseless timelessness� = 40 Very Freely, Viola dictates tempo

1

��

��

��

Vln. I

Vln. II

Vla.

Vc.

7

Vln. I

Vln. II

Vla.

Vc.

13

�With a heavy bow, bright tone and no vibrato throughout

II. Dirge/Reacaireacht

�With a heavy bow, bright tone and no vibrato throughout

Vary the tone between nat. sul tasto and poco sul pont.Play with no vibrato generally, occassionally add a verysubtle vibrato to long notes.

n.h.Sul D�

n.h. Sul G � �

�With a heavy bow, bright tone and no vibrato throughout�

�� �

n.h. Sul A ��

��

� � � � � �

� � � � � �

� � � �� � � �� � �� � � � � �� � ��� � � �� �� � � � � �� � ��� � �� � �

� � � � � �

� � � � � �

� � � � �� ��

�� � � � �� � � � � � � � � � � � � �� � � � � � � � � �� � � � �� �� �� � � � � �

� � � � � �

� �� ��� ��� �� ��

�� �� �� �� �� ��� � � �� � � � � ��� � � �� �� � � � � �� ��� � � � � � � � � � � � � � � � �� � �

� � � �� �� ��

10

Page 11: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

C19

Vln. I

Vln. II

Vla.

Vc.

24

Vln. I

Vln. II

Vla.

Vc.

29

Vln. I

Vln. II

Vla.

Vc.

34

�� ��

� �

�� � !

�� � �

� � �

�� �

� � � � �

�� � ��

�� �� �� �� �� � � � � � � � � � � � � � � � � � � � � � �� ��� � �� � � � � � � � ��� � � �

�� �� �� �� ��

�� �� ��

��� � � �� ��� � � � � � � � � � � � � � � � � � � � � � � �� �� � � �� � � � � �

�� �� �� �� ��

�� �� ��� �� ��

�� �� �� ��� �� � � �� ��� �� � � � � � � � � �� � �� �� � � � � �� � �� � � � � � � � � �� � � �

�� �� �� �� �

�� �� � ���

�� �� �� �� � � �� � � � � � � � � �� � � � � � �� � � � � � � � � �

��� �� � ���� �� � � � �

�� �� �� ��� ��

11

Page 12: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

39

Vln. I

Vln. II

Vla.

Vc.

43

Vln. I

Vln. II

Vla.

Vc.

��

D48

��

��

Vln. I

Vln. II

Vla.

Vc.

52

�� �

�! ! ! �

� �

�� � ! �

� �

�� ��

� � � �

�� �� �� ��

� �� �� �� � � � � � � � � � � � � � � � � � � � � � � � � �� � � � � � �� � � � �

� � � �

�� �� �� �� ���

�� �� � �� � � � � � � �� � � � ��� ��� � � � � � � � � � � �� �� �

��� � � � � � �� � � � � �

� � � � �

�� � ��

�� �� �� �� � � � � � � ���� � � � � � �� � � � � � � � � � �� � � � ����� � � � � � � � �

� �� �� ��

�� �� ��

�� ��� �� � �� � � � �� � � � �� � � � � �� � � � � �� � � � � � � � � � �� � �� � �� � �� �

�� �� ��

12

Page 13: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

55

Vln. I

Vln. II

Vla.

Vc.

59

Vln. I

Vln. II

Vla.

Vc.

62

�� !

� � �

��

! ! !�

Accent the noteswhen coming off the string. Keep the same bow direction while doingthe accent.

!��

Pause for 3 seconds thensuddenly go into the next movement

� !��

�� � ! ! !� �

� �

� �!�

��� �� ��� ��

�� �� �� �� � � � � � � � � � � � �� � � � � � � � � � � � � �� � �� � � � �� � � �

�� �� �� ��

�� �� �

� ��

� � �� � � � �� � � �� � � � � � � � � � � � � �

�� �� ��

�� �� �� �� �

�� �� �� �

� � � �� � �� � � � � � �� � � � � � �� � � � �� � � � �

�� �� �� �� �

13

Page 14: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

���

� = 140

1

���

Vln. I

Vln. II

Vla.

Vc.

3

Vln. I

Vln. II

Vla.

Vc.

���

4

� ���

�� "#�

�� "#�

�� "#�

�� "#�

"#� ��

"#� ��

"#� ��

"#� ��

�� "#�

�� "#��� "#�

�� "#�

�� �

� �

III. Cry/Gol

� ��

� �

� �

�Sul A Sul D

� �

��

��

��� ������� � � ��� ���

���� � ��� � �� � � � ��� �

���� ���

���� � ��� �� � � � ��� �

$$�

� �� �� ��

�� � �� � �� � � � �� � ��

�� � �� � �� � � � �� � ��

� �

� �� � � � �

��� ������� � ��� � �� � � � ��� �

��� ������� � ��� �� � � � ��� �

$$

� �� ��

14

Page 15: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

5

Vln. I

Vln. II

Vla.

Vc.

6

Vln. I

Vln. II

Vla.

Vc.

7

"#� %�

"#� %�"#� %�

"#� %�

%� ��

%� ��%� ��%� ��

�� %�

�� %�

�� %�

�� %�

�Sul A Sul D

� �

�� � �

� � �

�� �

� �

��

�� �

� �

�� �

� �

�� �

�� � �� � �� � � � �� � ��

�� � �� � �� � � � �� � ��

� �� � � � �

��� ���� � � ��� ���� � ��� ���� � �

��� ���� � � �� � � � ��� ���� � �

$$��

� �� �� � �� � ��

��� ������ � � ��� ���

��� �

��� ������ � � ��� ���

��� �

� �� � ��

� �� � �� � �� � ��

15

Page 16: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

8

Vln. I

Vln. II

Vla.

Vc.

9

Vln. I

Vln. II

Vla.

Vc.

E10

��

%� ��

%� ��%� ��

%� ��

�� "#�

�� "#��� "#�

�� "#�

"#�"#�"#�

"#�

�� � �

� � �

�� �

� �

�� �

� �

�� �

� �

�� �

�� � � � � � � �

�� � � � � � � �

�sul pont.

� �� �

�sul pont.

� �� �

��� ���� � � ��� ���� � � ��� ���� � �

��� ���� � � �� � � � ��� ���� � �

$$��

� �� � �� � ��

��� ������ � � ��� ���

��� �

��� ������ � � ��� ���

��� �

� �� � ��

� �� � �� � �� � ��

� �� � � � �� � � �� � �� �

� � �� � � � �� � � �� � �� ��

� ��� ������� � ��� �� � � ��� ���

���� �

��� ������� � ��� �� � � ��� ���

���� �

16

Page 17: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

12

Vln. I

Vln. II

Vla.

Vc.

14

Vln. I

Vln. II

Vla.

Vc.

16

������

��

�� "#��� "#��� "#�

�� "#�

�� � � � � � � �

�� � � � � � � �

�� �

� �

� � �� �

�� � � � � � � � �

�� � � � � � � �

� � �� �

� � � �� �

�� � � � � � � � � � � �

�� � � � � � � � � � �

� ��

� � ��

� �� � � � �� � � �� � �� ��� � �� � � � �� � � �� � �� ��

& ��� ������� � & � ��� �� � �& & ��� ���

���� � & � �

��� ������� � ��� �� � � ��� ���

���� �

� �� � � � �� � � �� � �� � �

� � �� � � ��� � � �� � �� �

�� � � & � ��� � & & �� � � & � ��� ���� � ��� ��� � &

�� � � ��� � �� � � ��� ���� � ��� ��� �

� �� � � � �� � � �� � �� � � �� � � ���� � �� � � � �� ��

��� �� � �� ��

� � �� � ��

��� � � � & ��� ��� � � � �� � �& �

��� � � � ��� ��� � �� � � �

17

Page 18: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

F19

���

���

Vln. I

Vln. II

Vla.

Vc.

23

���

���

Vln. I

Vln. II

Vla.

Vc.

�� ��

27

�� ��

"#�

"#�"#�

"#�

�� � � � � � � � � � � � � � � �

�� � � � � � � � � � � � � � � �

� !� � � �

� !�� � �

�� � � � � � � � � � � � � � � �

�� � � � � � � � � � � � � � �

� � � �Violently at the Frog��

� � � �Violently at the Frog��

�poco sul pont.

�poco sul pont.

�nat.

� � � � � � � � � � � � � � � � �

�nat.� � � � � � � � � � � � � � �

� �� � � � �� � � �� � �� � ��� �� � � � �� ��� � �� � �� �

��� �� � � � �� � � �� � �� ��

�� � �� � � � �� � � �� � �� ��

� �� � � � �� � � �� � �� � ��� �� � � � �� ��� � �� � �� �

�� � �� � � � �� � � �� � �� ���� � �� � � � �� � � �� � �� �

� �

� �

��� �� �� ��

��� �� �� ��

� �� � � � �� � � �� � �� � ��� �� � � � �� ��� � �� � �� �

� � �� � � � �� � � �� � �� ���� � �� � � � �� � � �� �

18

Page 19: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

��

G31

��

Vln. I

Vln. II

Vla.

Vc.

���

34

���

���

���

Vln. I

Vln. II

Vla.

Vc.

36

����

��

��

� �

poco sul pont.��

� ��

��

� ��

��

� ��

� �

poco sul pont.��

��

��

��

��

��

poco sul pont.

�� ���

��

poco sul pont.

� � � � �

��

��

� ��

�� �� � �

��

� ��

��

��

� �

��� ��

��

�� �� � � �

��

�� � � � � � � � �

� � �� � �

��

�� �� � �

��

� ��

� ��

��

� �

�� �� � � �

��

�� �� � � �

��

�� � � � � � � � � �

� � �

��

� �

��

� �

��

� �

��� �� � � �

��

�� � & � � �

��

�� �

��

� ��

��

� �

��

�� �

��

� ��

� �

� �

��

� ��

�� �

��

� ��

��

� �

��

� ��

�� �

��

� ��

�� �

19

Page 20: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

38

Vln. I

Vln. II

Vla.

Vc.

39

Vln. I

Vln. II

Vla.

Vc.

40

� � �� � �

��

� ��

� �

�� �� � � �

��

�� � � � �

� �

� � � ��

��

���

� �

�� �� � � �

��

�� � � � �

� � �� � �

��

�� �� � �

��

� ��

� ��

��

� �

� � �� � �

��

�� �� � �

��

� � � � � � � � � � �

� �� �

� � �

� �

��

� ��

� � �� �

� �

� �

��

� ��

� � �� �

� � �� �

� � �

�� �� � �

�� �� �� �

20

Page 21: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

��

� = 70

H42

���

���

���

Vln. I

Vln. II

Vla.

Vc.

��� ��

� = 14045

��� ��

��� ��

��� ��

Vln. I

Vln. II

Vla.

Vc.

���

48

���

���

���

�� ��

�� ��

�� ��

�� ��

�� '� �� '�

�� '� �� '�

�� '� �� '�

�� '� �� '�

'� �� '� ��

'� �� '� ��

'� �� '� ��

'� �� '� ��

� � �� � �

��

sul pont.

� ��

� � pizz.

� � �� � �

��

nat.�

� � � � � �nat.

� �

sul pont.� ��

��

��

��

��

sul tasto� ��

� �

arco sul pont.��

� ��

sul tasto� � ��

�sul pont.

��

� �

��

��

��

��

sul tasto�� �

��

sul pont. ��

� ��

sul tasto� � ��

� �

��

��

��

sul pont.� ��

��

��

��

�� �

sul pont.� � ��

� � � �

��

��

��

sul pont.��

�� �

��

��

��

� � ��

sul pont.� � ��

� � � �

� � ��

��� � ��� �

� � �

� �� �� � �� � ��� � ��

� �� � � ��& � �

� � �

��

�� ��

� �

��

�� ��

� � �

��

�� ��

��

�� ��

��

�� ��

��

�� ��

� � �

21

Page 22: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

�� �

51

�� �

�� �

�� �

Vln. I

Vln. II

Vla.

Vc.

54

Vln. I

Vln. II

Vla.

Vc.

57

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� �� ��

�� �� %�

�� �� %�

�� �� %�

�� �� %�

� �

sul tasto� ��

��

��

��

�nat.

�� �

� �

sul tasto ��

� ��

nat.� � � ��

� �

sul tasto�� �

��

��

��

��

nat.

� � �

� �sul tasto �

�� �

�nat.� � � �

� �

��

��

� ��� �

��

��

��

� �

�� �

� � � ��

� � � � �

� �

��

��

� ��� � �

��

��

��

� �

� � ��

� � � ��

� � � � �

� �� �

��

��

��

� ��

� ��

� � � � ��

� �� � �

��

��

��

� ��

� ��

�� � � � ��

��

�� ��

� � �

� �

� �� ��

�� � � �

&

� � �

��

�� ��

�� � � � �� ��

�� �

� �

�� �� �� �

� �& �� ��

�� �

� � �

� � � � �� ���

�� �

� ��

� �& �� ��

�� �

� �

22

Page 23: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

���

I59

���

���

���

Vln. I

Vln. II

Vla.

Vc.

60

Vln. I

Vln. II

Vla.

Vc.

61

%�

%�

%�

%�

� � �

� � ��

��

��

� ��

� �

��

� � � � ��

� ��

� � �

� � �

� � ��

��

��

� ��

� �

��

� � � � ��

� �

� �

� � �

� � ��

��

��

� ��

� �

��

� � � � ��

� �

� �

�� � �� �

� �

� �

� �� � � $� $ � &�

�� � � $� $ �

�� � �� �

� �

� �

�� � �& $�� $ � &��� � � $� $ �

�� � �� �

� �

� �

�� � �& $�� $ � &��� � � $� $ �

23

Page 24: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

62

Vln. I

Vln. II

Vla.

Vc.

63

Vln. I

Vln. II

Vla.

Vc.

J64 ��

��

��

��

� � � � �

� � � ��

�� �

� � ��

� �� �

� �

� �

� � � � �

� � � ��

�� �

� � ��

� �

� �

� �

��

� ��

Repeat this phrase ad lib in free time for around 30 seconds

� �

All players should end this sectionsimultaneously before moving on.

����

� � ��

Repeat this phrase ad lib in free time for around 30 seconds

� � ���� ��������

� � ��

Repeat this phrase ad lib in free time for around 30 seconds

� � � �������������

� � ��

Repeat this phrase ad lib in free time for around 30 seconds

� � ���� �������� �

� � � �� �� � $� $

�� � �& $�� $ � &��� � � $� $ �

� �

� �� �� � $� $

�� � �& $�� $ � &��� � � $� $ �

� �� �� � $�$ �

�� �� �$

$ �

�� �� � $$ �

� �� �� � $� $ �� � �$$ �� � �$$

�� � �& $�� $ � �� � �$$ �� � �$$

�� � � $� $ � �� � �$$ �� � �$$

24

Page 25: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

Vln. II

Vla.

Vc.

� = 70

K65

��� �

��� �

��� �

Vln. I

74

Vln. I � niente

84

��

��

��

��

�*

sul tasto

*As you slide up to the next note keep the same finger pressure usedto get the harmonic, this should produce an audible but muted series of sliding notes.Continue in this fashion with all other notes, only the E note is a harmonic.

�pizz.

� � � � � �arco

� � � � � � � �

� � � � � � � �

sul tasto

Here the sounding finger gradually moves upwards as the bow graduallymoves further down the fingerboard. At this point more bow pressure shouldbe applied so that it is more noise than specific pitches occuring here. The notes give are just an indication of where the finger goes.Once the sounding finger and bow touch a white noise is produced and this should fade away as the bow is gradually drawn off the string.

molto sul tasto

� �

� �

� �

� �

� �

� �

� �

� �

� �

�� �� � �

� �� � � � � �

� �� � �&� �

� �

� �

� �

� �

� �

� �

� �

� �

��

� �

� �

� �

� �

� �

� �

� �

25

Page 26: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. I

� �1

Vln. I

� �3

Vln. I

� � �5

Vln. I

� 8

Vln. I

� �11

Vln. I

� �13

Vln. I

� �16

Vln. I

� � �18

Do not play this section in the order given. Instead create an improvisation using the phrases given, in other words first you might play G, followed by B, followed by I and so on. Repeat phrases if you wish and don't feel you have to play every phrase during the improvisation.Listen to what the rest of the quartet are doing and respond to what they play.Keep the dynamic generally quiet and vary the texture by bowing different areas of the string such assul pont and sul tasto, also use different types of bow pressure to create different textures.The tempo should be slow and free, so you may hold any notes that are notated longer than a crotchet forslightly longer than written. Notes of a shorter duration should generally stay in time.

(Table of Murmurs)

� � � � � �

� � � � � � � �

� � � �� � � �

� � � � � ���

� � � � � � ��

� � � � � � � � �

� �� � � �

� � � � � � ��

26

Page 27: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vln. II

� �21

Vln. II

� �23

Vln. II

� � �25

Vln. II

� 28

Vln. II

� � 31

Vln. II

� �34

Vln. II

� � �36

Vln. II

� �39

Do not play this section in the order given. Instead create an improvisation using the phrases given, in other words first you might play G, followed by B, followed by I and so on. Repeat phrases if you wish and don't feel you have to play every phrase during the improvisation.Listen to what the rest of the quartet are doing and respond to what they play.Keep the dynamic generally quiet and vary the texture by bowing different areas of the string such assul pont and sul tasto, also use different types of bow pressure to create different textures.The tempo should be slow and free, so you may hold any notes that are notated longer than a crotchet forslightly longer than written. Notes of a shorter duration should generally stay in time.

(Table of Murmurs)

� � � � � �

� � � � � � � � � �

� � � �� � � � �

� � � � � � ���

� � � � � � �� � � �

� � �

� � �

� �� � � � � � ��

� � � � ��

27

Page 28: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vla.

� �41

Vla.

� �43

Vla.

� � �45

Vla.

� 48

Vla.

� �51

Vla.

�53

Vla.

� � �55

Vla.

�58

Vla.

� �59

Do not play this section in the order given. Instead create an improvisation using the phrases given, in other words first you might play G, followed by B, followed by I and so on. Repeat phrases if you wish and don't feel you have to play every phrase during the improvisation.Listen to what the rest of the quartet are doing and respond to what they play.Keep the dynamic generally quiet and vary the texture by bowing different areas of the string such assul pont and sul tasto, also use different types of bow pressure to create different textures.The tempo should be slow and free, so you may hold any notes that are notated longer than a crotchet forslightly longer than written. Notes of a shorter duration should generally stay in time.

A. Table of Murmurs

� � � � � � � �

� � � � � � � �

� � � �� � � �

� � � � � ���

� � � � � � ��

� � � � � � � �

� � �� � � �

� � �

� � � ��

28

Page 29: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vla.

� � � �61

Vla.

� � � �65

Vla.

� �69

Vla.

� � �73

Vla.

� � � �77

Vla.

� � �81

Vla.

� �84

This section is not to be played in this order or with the exact note durations given. Improvise in a similar manner as from the table of murmurs.

B. Table of Drones

���� � �� ��

��� ��������

��� � �� ����� �� � �

�� ��� � � � ��

�� � � �� ��� ��

��� � �� ��� ��

�� � � ���� � � �� ��� � � � ��

��� � � � ��

���� � �� ��

��� � �������

�� ��� ��� �� �� � � ��

��� � � � �� �� � � �

29

Page 30: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vc.

� �86

Vc.

� �88

Vc.

� � �90

Vc.

� 93

Vc.

� �96

Vc.

�98

Vc.

� �100

Vc.

� �102

Vc.

� �104

Do not play this section in the order given. Instead create an improvisation using the phrases given, in other words first you might play G, followed by B, followed by I and so on. Repeat phrases if you wish and don't feel you have to play every phrase during the improvisation.Listen to what the rest of the quartet are doing and respond to what they play.Keep the dynamic generally quiet and vary the texture by bowing different areas of the string such assul pont and sul tasto, also use different types of bow pressure to create different textures.The tempo should be slow and free, so you may hold any notes that are notated longer than a crotchet forslightly longer than written. Notes of a shorter duration should generally stay in time.

A. Table of Murmurs

� � � � � �

� � � � � � � �

� � � �� � � �

� � � � � ���

� � � � � � ��

� � � � � � � �

� � ��

� � � � � �

� � � ��

30

Page 31: String Quartet No.3 The Keening (An Caoineadh) Quartet No.3 "An Caoineadh" - (The Keening) Performance and Programme Notes For this piece the performers are requested to sit as follows

Vc.

� � �106

Vc.

� � �109

Vc.

� � 112

Vc.

� � 115

Vc.

� � �119

Vc.

� � � � �122

Vc.

� � � �127

�SECTION I

This section is not to be played in this order or with the exact note durations given. Improvise in a similar manner as from the table of murmurs the only exception being to stick with improvising from Section I until the viola finishes playing the Murmuring Lament and the violins play it.Then as indicated in the score improvise from Section II.Section Ia is a number of choices which may be used occasionally with either Section I or II, but they should be used very sparingly in Section I and never one after the other.

B. Table of Drones

�SECTION Ia

�SECTION II

���� � �� ��

��� � ��

�����

��� ��� ��� ��

�� � � �� ��� � � � ���� � � �

��� ����� � �� ��� �� �� � � ��

�� � � �� ��� � � � ����� � � � ��

���� � �� ��

��� � �������

�� ���

��� �� �� � � �� ��� � � � ���� � � �

31