Michael Baldwin

Seven Miniatures for Solo Pianist

- for solo piano -

2010

Seven Miniatures for Solo Pianist (2010) - for solo piano Notes for performance General

• All seven miniatures are to be played at once. • Their order is central to the work’s overall structure and as such can not be rearranged in any

fashion. • There should be minimal amount of silence in-between each miniature. However, the miniatures

are not to bleed into one another without pause. • The use of differing barlines is used to indicate structural markers, and make no direct impact on

performance practice.

Dynamics In miniature three, assigning different dynamics to each note in a chord specifies the specific voicing of each chord.

A dynamic followed by a bracket is an indication that the dynamic is to be maintained for the duration of the bracket.

Gracenotes All gracenotes occurr directly before the note they preceed. They are to be played as close to the note as possible

These gracenotes are to be played within the duration specified. These may be played with slightly more freedom, but must not stray from the specified duration.

Gracenotes which have a roll indication are to be played just as a regular gracenotes, except the order is specified through the use of a roll.

Slurs/Ties There are two types of slurs implemented, as well as two types of ties. Slurs 1.) Ordinary slurs 2.) Dashed slurs are used to indicate phrase markings.

Ties 1.) Ordinary ties (two types)

a.) ordinary ties used in traditional fashion b.) ordinary ties used to indicate a full sustain, and sharp release (miniatures four and six

exclusivly)

2.) Dashed ties are used to show connection of a pitch when another note interrupts. This is usually used when a note is being trilled and a grace note interrupts the flow of the trill, yet the general gesture should not be interrupted.

Depressed keys Keys to be depressed silently are indicated with a diamond shaped notehead. This technique is used extensively in miniature four. (N.B. the example illustrated here is from miniature one, mm1. In order to be played the performer will need to take a moment and set their fingers into position given its finger positioning.)

Inside the piano The inside of the piano is called for in two locations. Once in miniature two, and throughout miniature five. The material inside the bracket is to be played inside the piano by plucking the strings with ones fingertips.

In miniature five the top stave is assigned to the inside of the piano. Specific details, such as when to dampen the string and how to attack the strings are specified as well. Pedal Exact releases of the pedal will always be given, unless marked poco ped. In all other cases the pedal is not to be used.

In some cases a more specific location of pedal release is used. These are marked by a dashed line coming off the pedal bracket. (N.B. in the example illustrated here the pedal changes happen independently of the attack points.)

Trills All regular trills will have the note to be trilled specified in parenthesis. Double trills - emphasize the main note indicated and let the other two notes provided interrupt sporadically. When possible execute with one hand only. However there are instances where this is not feasible.

Miniature-specific details Miniature 4 This miniature is notated on four separate staves. The diamond shaped notes are to be silently depressed. When they go back to sounding PLAY is indicated

Miniature Five Dampaning is indicated by a damening signal, and the string to be dampened. This usually happens at the end of a note initiated inside the piano, but may be used to dampen a note already sounding from a key struck outside the piano.

A vertical strike on the piano string is an exaggerated attack with the knuckles.

Rub back and forth on the string with a nail.

Using the flesh of the fingertip, press down, bending the string, and push back into the body of the piano. Dynamics relate to the speed in which the finger moves across the piano. f = fast, and p = slow.

Miniature Six The slur going over the silence is an indication of how the silence should sound (and look). This is the only silence where there should be a noticeable amount of body movement into the next gesture in order to show a connection of musical material over a duration of silence.

Miniature Seven The initial chord is given and sustained over the full duration indicated. The attack points for additional notes to the initial chord are shown in this fashion as a means of clarity.

&

?

Piano

!œn>œ# .

œn -œb .

® ®œn . œ# - œ

® œn - ®

jœn

œ# .

13:15œrK

? &

JOOO#

n#

.

..RÔOOO

œ#

¨

œn .Ù Ù

œn

¨œb . "

j

œnœ# . Ù .r

KO#

11:15œrKK

& ?

e = 80

ç F # F p # P

P F ß p p

loco

Silently depress keys.

Silently depress key.

&

?

U2"

œ# .

œ.œ>

œb .œ>

œ# .œ#

œb

œ.11:15œrKK

# P p ƒ # p #

U U5" 4" U1"

&

?

161

161

Ÿ~~~~~~~~~~4

œ œn ¥œb>

œb -

œœb-.

œn¨

11:15œrKK

ßp

#

P ß U3"

jœn

> Rœb.

$

ç p

Seven Miniatures for Solo Pianist

Michael Baldwin (1989)

Copyright © 2010 Michael Baldwin,All rights reserved.

One - 21"

&

?

166

166

Piano

!

œb . œb . œb ® rKœb5:6œr

® œbœn œ

œn13:11œr

K

&

x = 60

"# p

# PPoco Ped.

.œ œb œ

j

œb

> .œnœn

5:4œr

œ œœn œb Rœ

13:10œrK

loco

" ßP "

p

&

&

164

164

165

165

2

œ

.œb>

œ® $ $ $ ®

œb .

5:4œr

?

.œœb œ ..œO O O

œn .O œOb

P "

PF"

Una Corda Ped.

.œn . œrœ

$ $

rœOrœOb

rœO Rœ"

Very softly re-articulate the Bb. Should sound like resonance from the E

p

&

U3"

&

&

165

165

5

‰ ® rKœb Jœb

.œn ®œb .œn œ

13:10œrKp "

p "PSenza Ped. Ped.

®

j

œn> rKœn .œ

$ ..œb - œ

œn

11:8œrK

‰ O œOb . O O œ- œ ® $5:3œr

3:2œrK

?

f

P p

p"

Poco Ped.

&

?

166

166

165

165

86

86

7

œ ROn

$ $ rœn . $ $ $5:4œr

"

Inside piano.

RO O ® œb - .œ $ . Rœb>

3:2œrK

5:4œrK

rKœn .® ®

j

œn .rKœn

rœ

$ $ rœb

ß"

œœn>

$

œ .œnRÔœb .®&#

ß

?

U4"

Two - 84"

&

?

86

86

87

87

11 œb > œb œn œn

œb . ®

œb > œbœ œn

œb

œb .

œb >œb œ œn

œn . ®

œb

œb .

œb œb

œn . ®œn .

œn œ#

œn .

œn œ

œœn#>

œnœb

6:5œrK11:8œrK

5:3œrK

3:2œrK

13:8œrKe = 72

ç p Í P p f ß p P ! ß ! ç p

Ped. Ped. Ped. Ped.

!ß

U2"

&

?

87

87

166

166

13 œb > œb .® œn œn

œb œn œn .œb

œn .

® . œn > œn œn œb

œn .® œb . ®

œ# >® œn >

œn

j

œ#œ

œb

¨

®

œn >j

œbœn œn œ# .

œn >

œn >

j

œnœn œb œ.

®

œn¨

œn œb œ

10:6œrK 11:8œrK

5:4œrK

9:7œrK

3:2œrK

7:5œrK

3:2œrK

RÔœß P! f P f p ß f P p !

F

f p F

P

!ß

P

Ped. Ped.

Ped. Ped. Ped.

U4"

&

?

166

166

~~~~~~

~~~~~~

~~~~~~

~~~~

15

Jœb Rœ RÔœ œ œb œn œn œb

œb Rœn >

"RÔ

œ

Œ ® Ob Oœb .5:4œrK

x = 60

! F ß

FPed.

‰ œb .®

j

œ

œ

n

œb . ® œœn

b- ®

7:8œrK

JO " .

j

œb >

" œœbn -œœ

j

œn

œb

9:8œrK

ß

! ! P

F p!

&

?

17 œb >œb -

œb .®

œn œb .œb .œn

5:4œrK 7:8œrK

œœ

n> œn

œn œ ® " ® rKœ

rœ

rKœ

®3:2œr

p !

!

#

Ped.

jœb

> .œb > œn >œn . œb > œn . œœœb

# >

® rœb >

rœ

9:8œrK

3:2œrK

?

œœbn¨

œb¨ œn ¨ œœbn

> œœnb> œ

œbb > œœœn#n >

Jœœœ

7:8œrK

ƒ ç sfffz

#sub.

ß

Ped.

&

?

82

82

42

42Piano

œ> œ œœb . .œb>

œn . œb>œn .

œœ> œb ...œœœ# -j

œœ# RÔœœœœœbn# ¨ ®

11:6œrKe = 42

P f

&

?

42

42

82

82

42

42

j

œb> œn> œœ>œœœ#b .® œn ¨ œn ¨ œb -5:4œr

11:8œrK

œœœbnn >œœœ

ƒ

ç

Ï

Ped.

œn> œn ..œœb>

œn œ# .œn> œœ## œn œœœ#n >œœnn ®

12:11œrKK

3:2œrKK

Ù rœœœnn# -

F p f

!

U4"

&

?

42

42

45

45

4œn> œn œ# œ#> œn œb> œb œœbn > œn œb œ> œ# œn>®Ù œ#> œn œn œb> œb œn> œ# .œn> œn œ# .œn> œb œn> œb œb> œn œn œb .11:14œrK

K

3:2œrKK 6:5œrK

K8:5œrK

K 6:5œrKK 7:6œrK

K4:5œrK

K

® œœœbnn ¨ Ù ® œœnb¨ ÙÙ

œœœnn# ¨ÙÙ® " œœœn#n

¨Ù Ù ® œœœ#n#

¨Ù ® ® œœœœbnnn -

œœœœ ....œœœœ3:2œrK

K3:2œrK

K

3:2œrKK

P

f p f P p p P ƒ f P

ß ß ßß ß p

Ped.

Ped.

U3"

Three - 42"

&

?

45

45

44

44~~~~~~~~~~

~~~~~~~~~~

~~~~ ~ œœœnn# >

‰œn .

‰ ® !

rœ# . œn .

œb .œn . œn .

œn .œ# .

‰ .œœœn# .

‰ .œn .

‰ ! .

rœ# . œ# . œb ¨ œn . œb œn

œn .!

œœnn>

! .

œœ# œœn#> œn .

œ# . œœœnnn œb . œœn# - œœ- œœ## .-

45:40œrK

ßß

ßP

Fß

"

ßp

p

f p

#

p

P

Fß

# ß#

"

pF

Poco Ped.

Ped. Ped.

Una Corda Ped.

Poco Ped.

Ped.

F

pP #

Dashed slur indicates grouping.

U2"

&

?

44

44

165

165

œœbn- œ œn - œb - œœn œn .

œœn > œn > œœn#œn .

œ# > œn .œ5:4œr 7:8œr

5:2œrK

rKœb . ® ! rKœn .® ! ‰ œ# - œœ# œœn ! rKœb

¨ ‰ Œ3:2œr 11:6œrK

"P

ß#

pP

"

F

pSenza Ped. Ped.

U2"

&

?

165

165

! RÔœœœn#n - œ> ® œ> œn œœb . œ

RÔœœœ#n ˘ ®

3:2œrK5:4œrK

œœœ#n# - œœ#n . .œb¨ œn ¨ œn ¨

RÔÔœ# - Rœ rKœœnb fl®

9:8œrKKP f

f ß

P p #

#

ß

p F

?

&

&

&

815

815

815

815

1613

1613

1613

1613

1611

1611

1611

1611

Piano

jœ# ¨ Jœn . Œ Œ Œ Jœb . ‰ Œ Jœn . ‰ jœn ¨

·n ‚b .·n .‚n

.·# ‚n ‚ ‚# · J‚n

·n ‚ ‚b .·n ‚ ‚b J‚

Π= 53Play

ç çFSilently depress key.

Silently depress key.

Silently depress key.

Una Corda Ped.

Œ Œ ‰ Jœ# . !

·# ‚ ‚n R‚#

.·n R‚

‚ ‚n ‚n R‚

F

?

&

&

&

1611

1611

1611

1611

817

817

817

817

815

815

815

815

2 ‰ ! Rœ# . Rœ ! ‰ ‰ !

· .J‚

2 ‚ .‚# ‚ ‚ ‚n

2 ‚ .‚ ‚# .J‚Una Corda Ped.

‰ Jœn . jœn¨ ‰ Œ Œ ‰ jœb . Œ ‰ Jœn . ‰ Jœn . ‰

‚ ‚n ‚ ‚ ‚n ‚ ‚# · ‚ ‚n ‚ Jœ# .

‚ ‚# · ‚ ‚n ‚ ·# ‚ ‚n J‚#

‚ ‚n · ‚ ‚# ‚ ‚n ‚ ‚ ‚n ‚ j‚?

Play

ç F

"

Sost. Ped.

Four - 2:30

?

&

&

?

815

815

815

815

1613

1613

1613

1613

815

815

815

815

4 Œ Œ jœ#¨ ‰ ‰ Jœn . Œ Œ Jœn . jœ# . ‰

Œ Œ œn ¨ œn . Œ Œ Œ Jœn . Œ

4 .·n ·b ‚n ‚b J‚

4

‚ ‚ ‚b ·n ‚ ‚b ‚ ‚n J‚

ç

çF

F

Una Corda Ped.

Œ Œ ‰ .J‚#

‰ Jœn . ‰ jœ#¨ Œ !

‚ ‚n ‚ ‚ R‚

‚ J‚n jœn¨ Œ !Play

ç

ç

Silently depress keys.

?

&

&

?

815

815

815

815

1613

1613

1613

1613

1611

1611

1611

1611

6 ‚ ‚ .‚n ‚ .‚# · ‚ .‚n .‚ ‚b J‚&

Œ ! jœ# . ! ‰ . Rœn . Rœ ‰ . Œ ! œn . œn ¨ Rœ ‰ . ‰

6 .‚ œn ¨ œ œ# . ! Œ ‰ . Rœ# .

Rœ‰ . ! J

œn .! Œ ‰

6 Œ ‰ . rœ# . rœ ‰ . ‰ . rœn . rœ ‰ rœ# .rœ‰ . Œ ‰

Play

ç

ç

F

P

PUna Corda Ped.

Sost. Ped.

‚ .‚ ‚n ‚ .‚n R‚

Œ ‰ . ! Rœb . ! Jœb . ! !3:2œr

‰ . Rœn¨Rœ ‰ ! !. R

œn .‰ . !

3:2œr

! jœ#¨ ! ‰ ! r

œ# .! ! ‰ ! !3:2œr

ç

ç

P

P

F

Sost. Ped.

&

&

&

?

1611

1611

1611

1611

817

817

817

817

1613

1613

1613

1613

!

8· J‚ R‚n

Œ ‰ " rœn . " ‰ "3:2œr

8 Œ ‰ " " Rœn .‰ "

3:2œr

8 Œ ‰ rœn ." " ‰ rœn .3:2œr

Una Corda Ped.

‚ .‚ ‚n .‚ ‚# · .‚ ‚n ‚ ‚.‚#J‚

" Jœb¨ " Œ Œ " jœn . " " Jœ# . " Œ " Jœn . " Œ ‰

" Jœn." Œ ‰ . Rœ#

¨ œ œn ." Œ Œ ‰ . R

œn .Rœ‰ . ‰

rœ ‰ . ‰ . rœn¨ rœ ‰ . Œ Œ " œ# . œ# .

rœ‰ . Œ " rœn .

ç

ç

ç

F

P

P

&

&

&

?

1613

1613

1613

1613

164

164

164

164

815

815

815

815

1613

1613

1613

1613

(!)

10‚ ‚ ‚n " ‚# ‚ R‚

Œ " " Rœ# ¨ " " Œ "3:2œr

10 " Jœb . " " " " Rœn ¨ " Œ "3:2œr

10

rœ‰ . " rœn

¨ " " " Œ "3:2œr

ç

ç

çUna Corda Ped.

‚

Jœ# . ‰

Jœ# . ‰

#

F

P

‚Jœn . ‰ Œ ® RÔœ# ¨ ® ® ‰ jœ# . ‰. Œ Œ ® RÔœn . ® ®?

Jœn . ‰ Œ Œ ® ® RÔœn ¨ ® ‰ ‰ Jœn . Œ Œ ® ® rKœ# . ®

Œ Œ ‰ Jœb .® ® ® RÔœ̈ ‰ Œ ‰ J

œn .Œ ® ® ® RÔœb .

jœn .‰ jœ# .

‰ Œ rKœ#¨ ® ® ® ‰ Œ Œ ‰ jœn . rK

œn .® ® ®

ç

ç

çP

P

P

P

ç PP

Una Corda Ped.

?

&

&

?

1613

1613

1613

1613

1611

1611

1611

1611

(!)

13 Œ Jœn . ‰ Œ "

Jœ# . ‰ Œ Œ "

13 Œ Œ ‰ Jœ# . " ?

13 Œ Œ jœn .‰ "

#

#

#

#

?

&

?

1611

1611

1611

815

815

815

1613

1613

1613

14 Œ " Jœ# . " " Jœ# . &

Œ Œ .jœ# -14 œn - œ ® .œn - " . œ# . ‰ "

7:8œrF P p

$

$Œ Œ Œ ‰ Jœn . Œ Œ Jœb . ‰ ‰

" RÔœœnn¨ ‰ ® " œœbn ¨ ® œb . ® ® ..œœbn œn œ ® œ# - .œ

œn

Jœn7:9œrK 7:13œrK 7:8œrK

9:8œrK

7:8œrK

Œ Œ Œ Œ Œ Œç ç P ß p P

#

$

&

&

?

1613

1613

1613

1611

1611

1611

817

817

817

16 Jœn . ‰ Œ Œ !

œ œ ® .

œb

Œ Œ !7:8œrK

16

œ .œ œœœœ"nn¨ rœœ

7:8œrK

ß#

! Jœ# . ! Œ ! Jœn .

$

œ ® œb . ! ® œœbn > ..jœœ7:8œrK

# ß

&

&

?

817

817

817

1613

1613

1613

18 Œ Œ ‰ Jœ# . jœn . ‰ Œ Œ ‰ Jœ# . Œ ‰

œœb

! œœnn ¨ ! . .œn œ .œ ® œ# œ œ !.œ# . .œ œn .Jœ ® ‰7:9œrK

7:8œrK7:8œrK

18 ‰ . . Œ Œ Œ Œ Œ Œ ! œœœbn# œ3:2œr

ß F

ç

#

&

&

?

1613

1613

1613

815

815

815

Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~

19

Jœn . ‰ Jœn . ‰ Œ ! ?

$

19 ...œœœbn !j

œb ...jœœœnbn

rœœœ5:6œj

p P p

‰ . rœn .

rœ‰ . ! j

œb .! Œ ‰ . r

œ# . œ œn .! Œ ‰ &

œn>Á œ œ œb ¨ .œn œœnn¨ œn . œ- Y .œ

j

œ#>œ œ

j

œn

¨œn .! .

jœ# œ.

! .j

œn >œ

3:2œ5:8œr 5:6œr

$

çpf p ß ç F ppp fF çç

Ped.

&

&

?

1613

1613

1613

1611

1611

1611

Ÿ~~~~~~ Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~

21 Œ! Jœ# .!Œ ! Jœ# .

!! Jœn .!Œ Œ ! R

œn .

.œ œn œb - œnœn œb . ! œn - œn œb . ! œn - œ# œn œ# œn > œ Á

œ# . œ# .

œ> œn .!

j

œ# .œn .!

j

œ# œn .œ5:4œj

6:5œrK3:2œrK

7:6œrK9:6œr

21 "Poco Ped. Ped.

pçP f# ç p

Una Corda Ped.

Rœ

‰ ! Jœn .

Œ ‰ !

œ Á œbŸ

YÁ

Rœ.œn Y

15:13œr

"Fp

Double Trill - emphasize the main note and let the other two notes interrupt sporadically.

&

&?

1611

1611

1611

817

817

817

1613

1613

1613

~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~

23 ‰ Jœ# .

‰ Jœ# .‰ !

œ œnŸ

ÁÁ

œ#Ÿ

Á Á

12:11œr

23 "fFp

Ped.Una Corda Ped.

Œ Œ ‰ . Rœn .

Rœ

‰ . Œ ! Jœn .! ‰ . Rœn .

Rœ ‰ . ‰

.œ œn Y œ œ œ œ# Á œ œ œj

œ œbŸ

Á œ œ Á œ œb œJœ

3:2œj3:2œj 3:2œj

" &#$

Una Corda Ped.Ped.

Una Corda Ped.Ped.Ped.

&

&

&?

1613

1613

1613

1613

164

164

164

164

81

81

81

81

%

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~25 Œ ‰ . Rœn .

Rœ ‰ . !. .œbŸ

Á ¥ œ j

œ#œ ¥ œ

3:2œr

25 "25 "

Una Corda Ped.Ped.

‰ Jœn .

?

.Jœ

!

""

Una Corda Ped.

® RÔœn . ® ®

® ® RÔœn . ®

® ® ® RÔœb .

rKœ# .® ® ®

ç

ç

ç

ç

PAGE LEFT BLANKIN ORDER TO FACILITATE PAGE TURNS

&

&

?

Inside Piano

Piano

œn

j

¿ ! œ#

j

¿ Ù œn . ®

j

¿# .œn œ ®

j

—n ——n# >®

rK

—n æ® ! ® œ# œ

j

¿ ® Ù ———"nb¨

7:13œrK

7:13œrK

3:2œrK

7:4œrK

? &

œ# ® Ó Œ œn - Ù OOOO#b"9:8œr

K

Œ ! œœn#-

® ‰ ! ® rœn œ œ ® œn rKœ ® !9:8œrK 3:2œr

K 7:4œrK

e = 42 Vertical Strike

# p$ F p #

##

p # $

ß

P P P PFn D# A# F#

Make all releases as sharp and clear as possible.

Ped. Ped. Ped. Ped.

&

&

?

U2"

.–#%

– ® Ù

œj

¿

Ù ® .

7:13œrK

....rKOOOO#b" OOO

®

œœb œ

7:13œrK

&

P Í #

$

Press down with ball of finger moving away from the hammers.

PDn

Ped.

U4.5"

RÔœn .

RÔœœ#n.

&

#

#

Five - 21"

?

?

165

165

161

161

165

165

162

162Piano

‰j

œb Jœœœ Rœœœn##

&

œb . œn . œn œn œb œn œn œn .œb œb œn5:4œrK 5:4œrK

x = 60

pPed.

!

œn œb .

" Jœœœnnb

jœ#

jœœbn?

œn œn œn œ# œn . œb œn œ œb4:5œrK 5:4œrK

Ped.

?

?

162

162

163

163

165

165

3 !

.œ

j

œ# œœœnnn5:4œrK

Ped.

" Jœœœbnb

" . œ#

j

œ# ...œœœnnn

5:3œr

Ped.

?

?

165

165

161

161

164

164

5

Rœœœ

...Jœœœn## "&

œn œb œn œn œb œb œn œn .œn .œb œœbn œœœn#

5:4œrK3:2œr

U1"!

rKœ#®

?

U2"

?

?

164

164

161

161

165

165

9 ‰ jœœœnn#

œœœ#bnj

œn œn œœœn#5:4œr

Ped.

Rœœœbb

®j

œ#rKœœnn .

Ped.

Six - 42"

?

?

165

165

11 œœœn...œœœ

n Rœœœ#b

‰

œ# œn œb œn œn œ œn œb œb .œn œœn#4:5œrK 5:3œrK

?

?

161

161

161

161

12 !

œœ œn œ# œn œn œ# œn . œn œ œb œ œn5:4œrK 5:4œrK

!

rKœn ®

&U2"

jœ#

Rœœœbnb -

Rœœœbnn

&

&

42

42Piano

Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~!œn -

j

œ>œ.

RÔœ# . ®œn -

j

œ# -œn .

®œn -

j

œn -

œœbn ¨ œn - Y.œn Y

3:2œrK

5:4œrK3:2œrK

7:8œrK

" ® RÔœ#¨

‰ Ù rKœbflŒ

5:4œrK 3:2œrKK

?

e = 53

p ß# $

F

F Pp $ p ƒ

ß

Í #

&

?

Ÿ~~~~~~Ÿ~~~~!

œn> œb œn œn œb œn œ# .

rœb>"

j

œnœn> œn œb œn œn œb œ

œ#n ¨ ®

œœn# ¨ œn . ® œn Y œn . œb - Á œ œn .®

3:2œj

3:2œrK 3:2œrJœ

J

œ

Œ " ®

j

œb œn . ®

jœn œn . ®

j

œn œn . ®7:6œrK

&

loco

ƒ # f p Í ß F #

#

P fp $

Ped. Ped.

&

&

43

43

Ÿ~~~~~~~Ÿ~~~~~~~~

2 " . œn - œ# . œn ¨ œb - œn œn œ Y œn¨ œ# œn ¥

œn¨ œn .

Ùœœnb >

6:5œrK8:7œrK

jœb . œb .

"j

œnœb .

" œ#œn œb .

® œb œn œn œb .

j

œnœ# . ®

j

œnœ# . "

j

œb œ#>7:8œrK

3:2œrK 6:4œrK

F f p F # F p # P # ç

p # p ßPed.

Seven - 67"

&

&

43

43

43

43Ÿ~~~~~~~

3 ..œœ ® ! . œœnb - ..œœ ® ! . œœnb - ..œœ ® ! . œœnb -

œj

œn . œœn# -.œn > ¥

jœn> RÔ

œ# - œ œ# - œœœœbnn ¨ ® !

j

œn .

œb > .œ ® œœn#- œn .

j

œb

> œn3:2œrK 7:6œrK

3:2œrK 3:2œrK

5:4œrK

? &

P " Í ç" P

"

p P ß # ç "

&

&

43

43

43

43Ÿ~~~~~~~~~~~~~~~~~~~~~~~

4 ..Rœœ ® ‰ Œ Œ

œn ¥ œnj

œ# .œœœœœœœbnnbnnb>

œ n>

j œ # >

3:2œr3:2œj

?

# p # ç f ƒPed. Ped.

&

?

43

43

42

42

5 Œ ! ® œœnb - ..œœ ® ! ® œœnb - ..œœ ®

œ # >œb . œn . œb . œn . œn . œ# . œœœœnn## - œœœœ ® œ# . œn . œn . œb œn œn . œb ¨

œœ#n . œœn > œœœn . ® œ# . œn œ# œ6:3œrK

7:8œrK 3:2œrK3:2œrK

3:2œrK

&ç p P

"

p f P ß P f " # P

&

&

42

42

42

42Ÿ~~~~~~ Ÿ~~~~~

Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~6 ®

œb . œn - j

œ#

¨

.œn -j

œb

¨ œn - j

œœnn

¨

œn - Y .œ œn œœn> .œn Y

3:2œrK 5:4œrK

j

œ# . œn - œ. .œ# . Á .œb Áœn .

j

œn .

œœ#njœb

>œ# .

! œn> œ ®

j

œ# œn . ®

j

œ#œn .

3:2œrK 7:4œrK 3:2œr 3:2œrK 5:4œrKpP f p " F" ßP p

F P ƒP fP ƒ" P ß p f

&

&

42

42

~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~7

œ œ# œ Y œ®

j

œn œn œ#jœn œ# -

5:4œr

3:2œr

œb . !j

œ#œ. !

j

œnœ. œn

> œn œ# . ®jœn œ# . ®

j

œn œ# - œn œb œn œn7:8œrK

7:8œrK 5:3œrK

P #

" ç p

F

&

&

43

43Ÿ~~~~~~~~~~~~

8 ‰ RÔÔœ. ! . .

œb>j

œnœb> œn> œ# - œ œ# .œ œœ## >

3:2œrK 3:2œrK

œn Y œœ#n - œb ® œn> œn œn .œ#> œb .œn> œn œn9:8œrK

10:8œrK

accel.

Sharp release

#

" pçp f

ƒ

P

&

&

43

43

Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

9œœœbn > œ- Á œ œb >

Á œn > Y

3:2œr

j

œn

¨œbŸ

YÁ Jœb

ŸÁ ¥ œn>

ŸÁ

Á œ .œnŸ

YÁ

7:6œj

e = 80

ç

ç

! Í f p Í ! f

F ç ç

&

&

42

42

Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~

Ÿ~~~ Ÿ~~~ Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~

10 œb > Á œ# - Á œn > ¥ œœœn## - ..œœnb3:2œ

œ œb

œb

¨.œn Ÿ

ÁY .œ œ# Ÿ Á Á œ

j

œn

¨œ

j

œ#

¨

œ# Á œn Á œ# Á

j

œb

¨

. .Jœ# Á

j

œn

¨

4:3œ 3:2œrp ç f p ç pç P ç p ç

fçç !

&

&

42

42

165

165

43

43~~~~~~~~~~~~~~

Ÿ~~~~~~11 ..œœ ...œœœbnb - œœœ œn > Á œ

j

œb > œn . œn - Y œ3:2œrK

3:2œr

œ .œ œn ." œœœœœbnnn# >> .....œœœœœ

?

rit.

p ! # ç

ÍPç P

Ped.

j

œb> .œn œ# œ œ

13:10œrK

jœœœœœ œb .œnœn4:3œr

&

x = 60

çF p

p PPoco Ped.

&

&

43

43

13 œœ#> ..œœn> œœn> œœ ..œœbb> œœ#

> ..œœn>5:3œj 7:6œr

œj

œn >

œb>j

œn >œn> œ

j

œ#>

œn>

5:3œ

e = 80

ç

çPed.

Pedal follows the right hand movement.

&

&

166

166Ÿ~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~

14 œœœn >...œœœb> œœœb

> œœœ œœœ#n > œœœœnnb > œœœœ!! > œœœœœ!b > .....œœœœœ ®5:4œj 3:2œr

?

Jœ Y

j

œn œn ¥ œ œn> œn œn œn> œn œn œb> œb Á .œ œn œ#¨

3:2œj

8:9œrK 3:2œrK

?P Í

ƒ ç f

‰

j

œœn# >œœœœœnnn#n >

jœœœœœnbn## >>œœœœœ

ç

çß

Ped.

Michael Baldwin Bowling Green OH