DAVE FLYNN COMPOSER/GUITARIST
  • ABOUT
    • COMPOSER
    • GUITARIST
      • PRESS KIT
        • REVIEWS
        • PRESS REVIEWS
          • PICS
    • SONGWRITER
    • ACADEMIC
      • ARTICLES
  • MUSIC
    • COMPOSITIONS
      • Orchestral
        • The Clare Concerto
        • Aontacht
        • Music for the Departed (orchestra)
        • The Mahatma of the Glen
        • The Man from Maghera Rambles Through Africa
        • Echoes of Bamako
        • Mesh
        • An Irish Farrago
        • ‘The Mountain Lark/Tom Doherty’s Reel’
      • Ensemble
        • Joy
        • Le Chéile is in Aonar
        • Stories from the Old World
        • Quirk No.3 'Goss Face'
        • Quirk No.5 'Horrific Spasm'
        • Manipulations
        • Polymetric Cycles
      • Vocal/Choral
        • Mna Brian Boru
        • Protest Song; Chanson de Protestation; Amhrán Agóid; Protesta Cancion
        • Liadain agus Cuirithir
        • Taibhreamh Ó Ríada
        • Full Circle
        • I Have Always Known
        • Two Nonsense Songs
        • Electric Guichair
      • String Quartets
        • No.3 - The Keening
        • No.2 - The Cranning
        • No.1 - Fairground Attractions
      • Guitar
        • An Irish Raga
        • Passacaglia
        • 5to9
        • Rainstorm
        • Four Études for Five Fingers
        • Two Minimalist Etudes
        • Homage Sonatina
        • Three Gymn O’Paddy’s
        • Rollercoaster
      • Guitar Quartets
        • Chimurenga
        • Kora
        • Sebene
        • Against Feldman
        • Errigal Suite
        • Cran Óg
      • Duets/Trios
      • Flute
        • Quirk No.7
        • Toccata for Obama
        • The Forest of Ornaments
        • Ómos do Frankie Kennedy
        • Shadowplay
        • Quirk No.1
      • Violin
        • The Longest Reel (Solo Fiddle)
        • The Valley of the Lunatics
        • Between the Jigs & the Reels
        • Music for the Departed (Trio version)
        • Tar Éis an Caoineadh (Solo violin/fiddle)
        • Tar Eís an Cran
      • Piano
        • 7/11
        • 12 Tone Bach
        • Seven/Eleven
      • Uilleann Pipes
      • Percussion
      • Electro-Acoustic
      • IRISH TUNES
        • Clare Concerto Tunebook
    • RECORDINGS
  • SCORES
  • EVENTS
  • FESTIVAL
  • BLOG
  • CONTACT
  • ABOUT
    • COMPOSER
    • GUITARIST
      • PRESS KIT
        • REVIEWS
        • PRESS REVIEWS
          • PICS
    • SONGWRITER
    • ACADEMIC
      • ARTICLES
  • MUSIC
    • COMPOSITIONS
      • Orchestral
        • The Clare Concerto
        • Aontacht
        • Music for the Departed (orchestra)
        • The Mahatma of the Glen
        • The Man from Maghera Rambles Through Africa
        • Echoes of Bamako
        • Mesh
        • An Irish Farrago
        • ‘The Mountain Lark/Tom Doherty’s Reel’
      • Ensemble
        • Joy
        • Le Chéile is in Aonar
        • Stories from the Old World
        • Quirk No.3 'Goss Face'
        • Quirk No.5 'Horrific Spasm'
        • Manipulations
        • Polymetric Cycles
      • Vocal/Choral
        • Mna Brian Boru
        • Protest Song; Chanson de Protestation; Amhrán Agóid; Protesta Cancion
        • Liadain agus Cuirithir
        • Taibhreamh Ó Ríada
        • Full Circle
        • I Have Always Known
        • Two Nonsense Songs
        • Electric Guichair
      • String Quartets
        • No.3 - The Keening
        • No.2 - The Cranning
        • No.1 - Fairground Attractions
      • Guitar
        • An Irish Raga
        • Passacaglia
        • 5to9
        • Rainstorm
        • Four Études for Five Fingers
        • Two Minimalist Etudes
        • Homage Sonatina
        • Three Gymn O’Paddy’s
        • Rollercoaster
      • Guitar Quartets
        • Chimurenga
        • Kora
        • Sebene
        • Against Feldman
        • Errigal Suite
        • Cran Óg
      • Duets/Trios
      • Flute
        • Quirk No.7
        • Toccata for Obama
        • The Forest of Ornaments
        • Ómos do Frankie Kennedy
        • Shadowplay
        • Quirk No.1
      • Violin
        • The Longest Reel (Solo Fiddle)
        • The Valley of the Lunatics
        • Between the Jigs & the Reels
        • Music for the Departed (Trio version)
        • Tar Éis an Caoineadh (Solo violin/fiddle)
        • Tar Eís an Cran
      • Piano
        • 7/11
        • 12 Tone Bach
        • Seven/Eleven
      • Uilleann Pipes
      • Percussion
      • Electro-Acoustic
      • IRISH TUNES
        • Clare Concerto Tunebook
    • RECORDINGS
  • SCORES
  • EVENTS
  • FESTIVAL
  • BLOG
  • CONTACT
Search

SEVEN/ELEVEN (2004) - 14'
for
Piano Duet (4 Hands)

This work has yet to receive its World Première. To enquire about hosting the World Première of this work please contact frisbeerecords@gmail.com
MIDI Recording of Part I
_MIDI Recording of Part II

Programme Note

_When I wrote ‘7-11’ I was in my mid 20’s and had recently discovered the music of Philip Glass, Steve Reich and John Adams, the so-called minimalist composers. I was immediately drawn to their music and it helped me find some direction for my compositional style, which was up until then primarily influenced by jazz, popular music and 20th Century guitar composers such as Brouwer, Rodrigo and Villa-Lobos.

I didn’t want to simply imitate the minimalist composers so instead I used some of their techniques and merged or developed them further. ‘7-11’ is probably my most strictly minimalist ‘process’ piece and so a number of processes are found in it.

The first is the use of additive time signatures which go firstly from 7/4 through to 11/4 and then from 7/8 to 11/8. This additive time signature technique is often associated with Philip Glass, but I had coincidentally used it in an early guitar piece 'Rollercoaster' before I’d heard his music. (‘Yeah, sure you did’, I hear you all saying!)

The next technique which I’ll call ‘additive and subtractive chords’, is the gradual addition of notes to a phrase until a large cluster chord is created and vice versa. In other words the first time the phrase is in octaves or fifths then as the phrase is repeated one or more extra notes are added until a dense cluster chord is created then it gets pared down again. With each time signature change comes a new cycle of additive and subtractive chords which occur simultaneously with additive time signatures. With each time signature change comes a change of the primary harmony.

I also occasionally use additive and subtractive rhythms whereby rhythmic lines are gradually elaborated or reduced by the addition or subtraction. This is a technique often associated with Steve Reich which he got from African music.

These techniques drive most of the piece until towards the end when I use Polymetric Cycles whereby repeated phrases in two or more different metres are played simultaneously until the metres meet up in cycles. This is a technique I thought I’d invented and was so proud of my discovery until I found out that Dusan Bogdanovic got there before me, long before me in fact!

While all this technical mumbo jumbo may make it seem like this is a cold mathematical piece, I created it all quite instinctively and was very conscious to ensure it was musically direct, rhythmic and harmonious. In saying that there’s no story to the piece, there’s no profound meaning or symbolism to be pertained from it. It’s just a piece of music for your listening pleasure or displeasure, depending on your taste.
Powered by Create your own unique website with customizable templates.
  • ABOUT
    • COMPOSER
    • GUITARIST
      • PRESS KIT
        • REVIEWS
        • PRESS REVIEWS
          • PICS
    • SONGWRITER
    • ACADEMIC
      • ARTICLES
  • MUSIC
    • COMPOSITIONS
      • Orchestral
        • The Clare Concerto
        • Aontacht
        • Music for the Departed (orchestra)
        • The Mahatma of the Glen
        • The Man from Maghera Rambles Through Africa
        • Echoes of Bamako
        • Mesh
        • An Irish Farrago
        • ‘The Mountain Lark/Tom Doherty’s Reel’
      • Ensemble
        • Joy
        • Le Chéile is in Aonar
        • Stories from the Old World
        • Quirk No.3 'Goss Face'
        • Quirk No.5 'Horrific Spasm'
        • Manipulations
        • Polymetric Cycles
      • Vocal/Choral
        • Mna Brian Boru
        • Protest Song; Chanson de Protestation; Amhrán Agóid; Protesta Cancion
        • Liadain agus Cuirithir
        • Taibhreamh Ó Ríada
        • Full Circle
        • I Have Always Known
        • Two Nonsense Songs
        • Electric Guichair
      • String Quartets
        • No.3 - The Keening
        • No.2 - The Cranning
        • No.1 - Fairground Attractions
      • Guitar
        • An Irish Raga
        • Passacaglia
        • 5to9
        • Rainstorm
        • Four Études for Five Fingers
        • Two Minimalist Etudes
        • Homage Sonatina
        • Three Gymn O’Paddy’s
        • Rollercoaster
      • Guitar Quartets
        • Chimurenga
        • Kora
        • Sebene
        • Against Feldman
        • Errigal Suite
        • Cran Óg
      • Duets/Trios
      • Flute
        • Quirk No.7
        • Toccata for Obama
        • The Forest of Ornaments
        • Ómos do Frankie Kennedy
        • Shadowplay
        • Quirk No.1
      • Violin
        • The Longest Reel (Solo Fiddle)
        • The Valley of the Lunatics
        • Between the Jigs & the Reels
        • Music for the Departed (Trio version)
        • Tar Éis an Caoineadh (Solo violin/fiddle)
        • Tar Eís an Cran
      • Piano
        • 7/11
        • 12 Tone Bach
        • Seven/Eleven
      • Uilleann Pipes
      • Percussion
      • Electro-Acoustic
      • IRISH TUNES
        • Clare Concerto Tunebook
    • RECORDINGS
  • SCORES
  • EVENTS
  • FESTIVAL
  • BLOG
  • CONTACT