Farewell to Connaught Tune Notes

(D Major Ionian Mode)

PART I:

The ornamentation on the opening D is the same as that discussed in the analysis of bar I of The FIax in Bloom. The C natural crotchet (or flattened seventh) in bar 2 has to be played on the draw (inside row) to include the grace note run C, D', B, C. Bar 2 is played on the draw (inside row) until the last three quavers A, G and C which are played along the middle row. The first A quaver in bar 3 is played along the middle row while all the Ds are played along the inside row, including the grace note run D', B, G, D' which is used as an alternative to the single D crotchet.

All of bar 4 is played on the inside row including the F sharp cut on the first E quaver. Bars 5 and 6 correspond with bars 1 and 2, while the run A, B, C in bar 7 is got along the middle row. The remainder of bars 7 and 8 may be played along the middle row, with the exception of the C natural (bar 8) which is got on a drawn bellows on the inside row. This is because it facilitates an easy, undisturbing bellows movement for the last phrase of Part I, which concludes with the characteristic double stop.

PART II:

All of bars 1, 3, 4, and 5 are played with ease along the inside rows, while bars 2 and 6 provide an interesting opportunity to vary the use of the alternative top D on the middle row. Both top Ds in the first group of quavers are played on the middle row, r/r/s. The C natural semi-quaver at the end of Bars 2 and 6, must be played on the press, particularly to facilitate the easy playing of the introductory run in bar 7. Bars 7 and 8 otherwise coincide with the conclusion of Part 1.

It must be noted that while this tune is in the key of D major (and appears to be in the Ionian Mode), the only C sharps which occur are in bars 2 and 4 in Part I.

All the other Cs are naturals. Farewell to Connaught may also be played as a hexatonic tune as it lacks F sharps throughout, with the exception of one F sharp in bar 1 of the turn. If this F sharp was to be replaced by a high A, the whole character of the tune would be transformed. It is possible that the tune was originally structured in that way.

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