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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3

Content The piece is in binary form with the two parts based apon the two prayer modes.y Moloch by Alan Barclay 1. Circumstances As part of an assignment we had to write for a solo monodic instrument. Context I wanted to stear away from writting a classically orientated solo violin piece and explore eastern music and what ideomatic writting that has. Duration: 2'18 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. Immigrant Suns. I took inspiration from Cracow Klezmer band. I decided apon -Ahavah Rabbah -Ukranian Dorian and tried to use them as effectively as possible to really draw out their unique sound.2 Preface Page Adoyn. Solo Violin Not a transposed Score Performance Notes Sliding up to a trill requires sliding as normal to a note but once on the note start the trill right away. A b1-48 B b49-52 A b53-72 Conclusion 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 Klezmatics and Taraf de Haidouks to get a better understanding of eastern music. Conception In setting myself the task of writting in a eastern style I looked at various Jewish prayer modes.

Vln.                                .                                                              65 Vln. Vln.       18 Vln.                                                                                                                           Adoyn-y Moloch 3 Alan Barclay  3                     38 Vln.Violin    11 Tempo q= 100  Vln.        3  3 3               gliss. 33 Vln.                     3                            Vln. Vln. Vln. 26 Vln. arco  52   arco                      57               44 61                                                                                                            3                pizz.                      3  49                         arco pizz.pizz. 69 Vln.

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