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Adoyn-y Moloch

2
Duration: 2'18
Not a transposed Score
Conception
Content
From this piece I feel I have a better understanding of eastern music and how the subtle differnece in approach to scales and
harmony can create a whole new sound.
The piece is in binary form with the two parts based apon the two prayer modes.
A b1-48
B b49-52
A b53-72
In setting myself the task of writting in a eastern style I looked at various Jewish prayer modes, I decided apon
-Ahavah Rabbah
-Ukranian Dorian
and tried to use them as effectively as possible to really draw out their unique sound.
As part of an assignment we had to write for a solo monodic instrument.
1. Solo Violin
Preface Page
Adoyn- y Moloch by Alan Barclay
Conclusion
Sliding up to a trill requires sliding as normal to a note but once on the note start the trill right away.
Sliding from a undefined note should be decided by the player making sure they spend as little time as possible on the
note the glissando starts.
Left hand pizzicato will be challenging for the player but should make sure the notes with a x are played pizz while others remain
arco.
I wanted to stear away from writting a classically orientated solo violin piece and explore eastern music and what ideomatic
writting that has. I took inspiration from Cracow Klezmer band, Immigrant Suns, The Klezmatics and Taraf de Haidouks to
get a better understanding of eastern music.
Circumstances
Context
Performance Notes

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Tempo q= 100
Adoyn-y Moloch
Alan Barclay
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