Luciano
Williamson Essential Etudes for the Modern Pianist:
Six effective studies to facilitate the development of contemporary performance practice
2020
to Connor Fogel
Essential Etudes for the Modern Pianist: Six eective studies to facilitate the development of contemporary performance practice
Luciano Williamson (b. 1 996)
06/05/2020
Copyright Š 2020 Luciano Williamson All rights reserved lucianowilliamson@hotmail.com lucianowilliamson.weebly.com
1 5 seconds duration
white note clusters (pitches approx.) black note clusters (pitches approx.) chromatic clusters (pitches approx.)
chromatic cluster with forearm (pitches approx.)
4 6
free time (for text instructions) 4 beats 1 /6 of a semibreve (i.e. crotchet triplets)
All accidentals are notated for clarity, except tied notes; accidentals carry through ties. I (for the development of patience and maturity of interpretation in the impatient learner) . . . . . . . 2 II (for the revelation of the inďŹ nite possibilities of colour and nuance in the sound of the piano) . . . 5 III (in which the student will rediscover the piano as a holistic instrument of many sonorities) . . . . 6 IV (a graphic score to encourage the student to think creatively, applying the skills explored . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 in the preceeding etudes to realise a mature interpretation) V (a charming melody, delightfully decorated, and existing on three temporal planes to encourage multitasking) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 VI (an exercise in which the headstrong student will learn to follow whatever instructions the score gives, however unorthodox). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4
Inspired by old books of beginner piano exercises, Essential Etudes for the Modern Pianist: Six eective studies to facilitate the development of contemporary performance practice focusses each movement on an area of non-technical musicianship. î ˘e set forms both a valuable teaching aid for the student interested in exploring contemporary music, and an engaging concert suite in its own right.
2
to Connor Fogel
Essential Etudes for the Modern Pianist: Six effective studies to facilitate the development of contemporary performance practice Luciano Wiliamson (b. 1 996)
- I (for the development of patience and maturity of interpretation in the impatient learner)
{
“ n >œ n œ ™ # œ # œ
Studiously e = 104
&
f
.
15"
3 3
3
> #œ
(C#)
5:4
& nœ bœ nœ bœ n œ #œ pp
? nœ #œ #œ nœ #œ #œ
{
n œ n œ 5:4 # œj #œ nœ
b œ n œ # -œ
#œ ™ n œ j n œ n œ b œ n œ n œ b œ nœ œ nœ ™ nœ nœ bœ œ #œ nœ nœ
?
{
loco n œj œ n œ
.
8"
5:4
& n Ów ™ n w- ™ p ? n b wÓ-w ™™
Πnw
b˙ ™
nœ mf
#œ
nœ
.
12"
3 3
#œ bœ nœ nœ nœ nœ > bœ ° ®
.
15"
Copyright © 2020 Luciano Williamson. All rights reserved lucianowilliamson@hotmail.com lucianowilliamson.weebly.com
{
3 (C#)
# >œ
&
nœ
nœ bœ bœ
ff
?
{
22:16
&
°
#œ
#œ nœ
& n œ ™ bœ nœ ™ .
‰™
n œ nœ
#œ
8"
# -œ.
nœ bœ
nœ
bœ nœ bœ
–6–6 # –6–6–6 # –6–6– –6 # – 6 # –6–6 6 ° ff
.
20"
–6–6 # –6–6–6 # –6–6– –6 # – 6 # –6–6 6 ° ff
5
p
8"
#œ
nœ
3
nœ ? ® bœ bœ nœ nœ nœ °
.
1"
.
°
& nœ
.
n –6–6–6 n –6– 6–6 n –6–6 –6 n 6––6– – 6 n 6–6–6
12"
5
& nW > sffz > ? bW
{
#œn œ
U
n -œ U nœ nœ b -œ
n –6–6–6 n –6– 6–6 n –6–6 –6 n 6––6– – 6 n 6–6–6
.
p
? n b -œœ ≈ ≈ ≈
{
?
n>œ
bœ
n >œ
3
#œ #œ
.
40"
bœ
nœ mp
nœ nœ
nœ
.
6"
bœ
≈ pp
r n -œ.
4
î‚ťis page is leî„— blank to facilitate page turns.
5
- II (for the revelation of the infinite possibilities of colour and nuance in the sound of the piano)
{
& ™™ n œ ™™ ? ™™ Œ
{
& ™™ bb ˙˙ ™™ ? ™™ bb ˙˙
™™ ™™ ™™
{
{
?
{
& &
bœ
p
n nn ˙˙˙
Establish this new soundworld for as long as necessary. Explore all colours.
# n ˙˙ ™™ n n ˙˙ ™™
freely, espressivo
n b ˙˙
U∑
™™ ™™ ™™
& ™™ bb ˙˙ ™™ ? ™™ bb ˙˙
& bw
Repeat until you have exhausted all possibilities. Forget the last note.
nœ
™™ ™™ ™™
nœ n b ww pp
n nn www
#œ
Repeat until it is no longer dissonant.
nw bw
&
6
- III (in which the student will rediscover the piano as a holistic instrument of many sonorities)
{
& ?
{ {
{
–6–6– 6
–66–– 6 – 6 –6–6– –6–6 6
ff
–6 F j –6–6–6–6 – ã ¿ & 6–6–6
**) abruptly
sf
ã >¿ <° >
6––6–6 – 6 – 6 6––6–6 –6
–6–6 –6–6– 6–6– 6–6
knock on either side of keyboard
‰ ¿
3
ã
sf
f
‰ ¿ > °
–6–6– 6
#
.
5"
ã
#
nervously (knocking)
¿
sffz
?
I
I
*)
‰
¿ >
‰
ã
ã
3 3 33 3 33 3
f
3 3
3 3
p
ΠΠΠΠΠΠterrified!
3 3
‰ 33333 5
3 333 3 3 ‰ 3 3 3 3 p
f
calming down a little
U 3 33 33 3333 3 Œ 3 3 3 3 3 3 Œ ã 3 U 3 3 3 3 3 3 3 3 3 3 3 Œ 3 3 3 3 3 3 Œ ã > p mf f mf p <° > Fj ã ¿
–6–6– 6
terribly violent
sf
ã >¿
<° >
&
ff
?
–6–6– 6
‰ ‰
–6–6– 6
–6–6– 6
–6–6– 6
–6–6– 6
–6–6
I
mf
sf
gliss. w/ palm
≈ ≈
~~~ ~~~~ ~~~~ ~~~~
{
–6–6– 6
With gusto e = 184
–6–6
¿
¿ >
U Œ U Œ
ã ã
tap on lid with fingers
‰
3
mf
‰
3
‰
3
ff
3 3 3 3 3 3 3 3 3 3 3 ã 3 3 3 ≈ 3 3 3 3 3 3 3 ≈ 3 3 3 3 3 3 ≈ 3 3 3 ≈ 3 ≈ 3 3 ≈ 3 3 ≈ 3r‰ 3 3 3 ã 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 as if tapping out a secret, coded message
*) slam lid down **) slam lid open
{ {
{
{
33‰
3 3 3 f 3 3 3 3 3 3 3 3 333 33 33 33 33333333‰
333333‰ ã 3 3 3 3 3 3 3 3 3 3 3 3 f
3
ã ã
f p f
f f
f
p
f
3
3 3 3
3 3 3
33 33 33 33 3 3 3 3
Œ Œ
3
3
3
3
mf
3
33
33
33
33
33
3
3 3 3 3 3 3 3 3 3 + 3 3 3 3 3 3 3 -3 3 ff fp 3 3 3 3 3 3 3 3 3 3 3 3 3 ã + 3 3 3 3 3 3 –6–6 –6–6– F j j 6– ã >33 ¿ & 6–6–6 sf sffz j – ã >33 >¿ ? 6‰–6–6–6– 6–6–6 –6 °
a sudden outburst of untempred violence
?
@ <° >
Œ Œ
3 3 3
ã 3
mp
Œ Œ
ΠΠ333
overcompensatingly bright and jolly
suddenly panicked
&
f f f
7
jΠ2
33
3
3
+ +
stand up! *)
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
I
U ¿ Œ
sf
¿ >
U Œ
curiously p on strings w/ fingertips
2
°
j Π2
Œ
2
j Π2
Œ
–6–6– gliss. Fj –6–6– 6 w/ palm 6––6 I 6 – J ¿ 6 – ¿ 6 –6–6– –6 –6–6– 6 w/ nails 6 mf sf ff sff f –6–6– – 6 6 –6–6– –6–6 Œ ¿ ¿ j j 6 – 6 – 6 > –6–6 –6 > 2 2 –6 ÷ 2 2 having made up your mind
Œ
33
sit down! *) savage and brutal
*) stand up/sit down on same beat as slamming the lid
~~~~~ ~~~~~ ~~~~~ ~~~~
{
ã
sensuously stroke lid
3
8
- IV -
{
(a graphic score to encourage the student to think creatively, applying the skills explored in the preceeding etudes to realise a mature interpretation)
&
{
? & ?
{
5:4
9:8
3:2 11:8
13:8
4:3
*31:32
3:2
3:2
4:5
7:6 4:3
4:3 5:4
5:4 23:16
3:2
3:2
9:8
8:13
3:2 4:3
5:4
5:4 3:2
7:4
3:2 3:2
4:5 3:2 7:4
3:2
& ?
{
& œ ?
{
&
?
œ œ
œ œ
œ
œ
œ
œ
œ
w
w
9
10
î&#x201A;ťis page is leî&#x201E;&#x2014; blank to facilitate page turns.
11
{
- V -
(a charming melody, delightfully decorated, and existing on three temporal planes to encourage multitasking) &3
{
4
∑
B n˙ ™ ?4
4
loco
:“; ˙
B œJ ™
“
ìŒ
nœ
bœ
mp3
n˙ ì
nœ nœ
nœ mp b œ
3
3
? nœ nœ ˙
#œ ì b˙
*) Tempo relationship 6:4:5
p
r nœ œ ™
5
Ó
loco
nœ ™
˙
mp
nœ ì ˙
n˙ Ó
nœ bœ ™ nœ ™ œ #œ ™ n œ J ì3 ìJ
4
p
4
nœ œ
nw “
n -˙
pp
ì
nœ
3
ì ‰ nœ mf n w #œ œ J ì5
4
> nœ ˙ nœ ™
n˙
p
#œ nœ
3
p
ì˙
˙
mp
mf
ì
nw
3
mf
œ
b -œ œ ì n œJ n œ ™ ì 4 ˙ 4 7:6
˙
3
ì3
bœ ™ b œ b œ b -œ b œ b -œ b œ b -œ b œ n œ bœ J ì4 J J Œ J ì3 Œ J 4 4
mp
-˙ n œ J
œ ™n œ œ
ì
3
P ad lib.
∑
ì‰ ‰ j ˙™ pn œ
∑
Ϫ
pp
p
nw
q = 68*
?
mf
p
B nœ ™
{
p
q = 54*
&
&
“ 5 3 “ “ . # œ # -œ. # -œ. n œ #œ ™ œ ™ b˙ b œ # œ n œ n œ ‰ ì4 Œ ≈ bœ n œ n œ ì7 Œ Œ n œ ì ì 4 8
q = 82*
ì
mp
nw p
ì
{
12
& ΠB ?
{
&
œ
{
?
nœ
nœ n œ ™ ì
nœ ˙
j3n œ 4 nœ ì
p
nœ J n˙ ™ > f
œ ™ J bœ
nœ
7:6
ì
4
pp
nw
ì nœ nœ #œ
n w-
nœ J
ì3 Ó
2
n˙
œ
7:6
ì
mp
#˙
loco
nœ ™ ™ j b œ
b -œ
#œ ˙ ™ ˙
n˙
p
ì
b œj
nœ ™ bœ
œ
nœ nœ
nœ ™
5
ì nœ nœ bœ n ˙ ™
mp
8
œ J ì
n˙ ™
mp
5
n -œ
n -œ
n œj
ì5
8 bœ ™
˙
bœ ì3 J
(Bb)
4 mf
ì
mf
∑
mf
f
b˙
nœ nœ
b -˙ Œ
ì
nœ pp “
b n ˙˙
™ nœ ˙ ™ n œ n œ œ n œ n œ #œ n œ b œ nœ nœ n œ ì2 œ ì9 ì3
nœ
mp
4
pp
mp
p
p
n˙ ™ b ì4 Œ ˙ ™
“ b -œ. b -œ.
j3n œ ˙ œ 3
n # ˙˙
n # ˙˙
loco
ìŒ
r œ n˙
mf
:“;-. -. -. -. bœ bœ bœ bœ
?
B
nœ ™ nœ œ 3
œ
f
5
B
&
n œ n œ #œ
bœ nœ
3
4
4
mp
nœ œ
ì
nœ ™
œ
ì4
4 b“w f
n œ nœ f 3
n˙
bœ
p
#œ œ #w R
ì7
16 n œ loco
nœ nœ ™
ì
{
&
13
n˙ ™
ì7
8
B
? ì4 œ
{
4
n˙ ™
˙
# # -œœ ™™ ì 2
œ #œ ™ #œ ˙ ™
7:6
{
& B ?
# œj # w
p
4
p
#˙
œ ‰ J
Œ
pp
#w b -œ
loco
# >œ # œ ™ ì4 J
4
b˙
ì
#œ œ R
# -œ ˙ ™ J ì3
pp
#œ
“
ìŒ
b˙ ™ p“
4 pp
ì
w
8
bœ
ì
4
p
3
w
ì
œ œ #œ #œ J ì5 ì3
mp
nœ nœ nœ
œ ™™
#˙ p
‰
ì4
bœ
œ n œ n >œ ˙ œ nœ nœ
mp
mp
mf
“ # -œ
4
bì -˙
nœ nœ nœ #œ ìn˙ &
? w
ì3
5
p
p
B Ϫ
4
n -˙ n˙
(A#)
#˙ r bœ ì
n ˙ ™™™ pp
# -œ ˙ J ì
# -œ # -œ nœ nœ nœ J mp
ì
w
˙ ˙ ™™
ì3
4
ì5
˙
˙™
8 Ϫ
‰ œ
14
- VI -
(an exercise in which the headstrong student will learn to follow whatever instructions the score gives, however unorthodox)
{
& ?
{
& ?
{
&
{
Shut the piano lid. Turn to the audience. Announce "I will now play the final etude." Turn back to the piano. Open the lid. Continue when ready.
>–6– 6–6
9 16
9 16 –6–6–6 ff
–6–6– 6––6– –66–– 6 6 6 ®™
4 8
n bn œœœ ™™™ > n # b œœœ ‰
8
>. –6–6– 6
f
b nn>œœœ
<° > ø
& 4 nœ ™ 8 - nœ
–6–6™ ™ –6 ™
–6–6– –6–6– 6 6
°
?4
n bn >œœœ
b nn>œœœ ™™™ °
8
mf
–6–6– 6
–6 ≈ –6–6 ff
j n œ œ ™ nœ
–6–6–™ ™ 6™
‰™
nœ ™ nœ ™
Ϫ
9 16
œ nœ bœ
4 8
œ#œ
™ ‰ ™ ≈ b œj œ n œ œ –6–6™ ™ –6 ™
–6–6– 6
–6–6 –6
°
–6–6–™ ™ 6™
mp sub.
n œ ™# œ ™
j nœ ™
nœ ™#œ ™
r ≈ ≈ ≈ r ≈ ‰™ bœ bœ sf n œ. sf n œ. > >
‰™
p serpentine, biting
nœ ™
nœ b œ ™ nœ J bœ
°
9 16
4 8
(D§) 9:8
nœ bœ bœ bœ
–6–6– ‰ 6
#œ n œ n œ œ ≈ b b œ. œ ° 3
–6–6–™ ™ 6™
12 16
>–6. –6–6
e. = e = 108
?4
12 16
–6–6–™ ™ 6™
Erratic e. = 108
nœ ° nœ
# œJ
bœ
#œ
bœ n œ &
‰ Œ
4 ‰̇ #n œœ œœ nb œœ ™™ 4 12 J 8 4 12
n b œœ œœ n n œœ ™™ ‰ J f
secco
?
Shut the piano lid. Turn to the audience. Announce "I will now play the final etude." Turn back to the piano. Open the lid. Continue when ready.
œ nœ n œ b œ nœ
4Π8
mp
f
bƜ J mp
‰ nœ bœ
3 n œœ ™ 8 -™
4 8 4 8 4 8
3 œ≈ ™≈ n œ œ 4 8 pb œR œ 8 °
3
-
{
4 8 ?4 8 &
{
&3
8
#œ n œ b œ n œ #œ œ bœ nœ #œ 3
∑
& #˙
{
U ∑
# œ Uœ ™ –6–6– ææJ ææ 6
#œ
<° >
n˙
nœ
la
la
la
œ Œ n nn ˙˙˙ ™™™
b ˙˙ ™™ p
œ
nœ
–6–6– 6
3 8 3 8
Œ
3 4n˙
b bn ˙˙˙ ™™™ ˙™
mf
bœ ø
3 4
Œ
nœ
#œ ™ #œ ™
#œ
la
la
p
la
#œ ™ #œ ™
#œ ∑
∑ ˙™
la,
Œ
∑
˙™
˙™ & #˙
3 4n˙
p
n˙ ™
mf
∑
˙™
–6–6– 6
mf
# œ ™ ‹ œ ™ # œ ™ n ˙Œ ™ n œ #œ ™
Œ
#˙
&
Shut the piano lid. Turn to the audience. Announce "I will now play the final etude." Turn back to the piano. Open the lid. Continue when ready.
#œ ™ #œ ™ ‹œ ™ #œ ™ la
∑
? œ
la,
ff
La
fp
Œ
–6–6– 6
–6–6–™ ™ # œ # œ 6 ™ ææ
3
Childlike q = 132 Pianist sings (any comfortable octave)
#˙
la
& #˙ ?
–6–6– 6
#œ
la
&
°
6––6–6 –6–6– 6 –6–6 >–6 ‰ –6 –6–6
– ? 3 6–6–6 6–– 8< > 6–6 °
{
f
œ #œ #œ œ #œ #œ b nb œœœ bœn œ nœ bn -œœ b>œ
15
˙™ nœ # œ
#œ
#œ ™
‰ n œj œ °
nœ
bœ
nœ
la
la
la
nœ
b œ̇ ™ ˙˙ ™™
nœ
˙˙ ™™ ˙˙ ™™
nœ #œ œ J bœ la,
bœ
3 2 3 2 3 2
16
&
{
&
3 2
œ
3 4
nœ # œ # œ # ˙
3 n n œww ™™ 2 n w ™ nœ # œ # œ # ˙ la
la
la
3 4
la,
? 3 b n ww ™™ bw ™
{
&
#œ #œ #œ #œ #œ #œ
? ˙˙˙ ™™™ ˙™ ˙™ <° >
{
nœ nœ bœ
la
b˙ ™
nœ nœ bœ
b˙ ™
la
la
˙˙˙ ™™™ ˙™ ˙™
p
ø
™
la.
˙˙˙ ™™™ ˙™ ˙™
# œ # œ # œ # œ # œ # œ # œ # œ U˙ ™ ˙˙ ™™ ˙˙ ™™ ˙™
8:6
mf
n˙ Œ #n n ˙˙˙ (D§) n˙ ™ ø
2 4 ff
pp
U ˙˙ ™™ ˙˙ ™™
2 4
˙™ u 6––6– n –6–6–6 n – 6 ––6 n –6–6 6 6 n n 6–– –6 n 6––6–6 6–6 Œ n n ˙˙ n˙ – 6 f –6–6– # –6–6 # – 6 – # 6 –6–6– –6 6 bœ # – 6 6 – # n 6 ? # –6–6–6 –6 Œ̇ b b ˙˙
–6–6 n – 6 n –6–6 –6 – ?3 6 – n 6 – – & 4 n 6–– n –6–6–6 n 6–6–6 6 6–6 # –6–6–6 – 6 – # 6 ?3 –6–6– –6 # & – 6 4 –6 # –6–6–6 # –6–6 6 # –6 <° > –6ø > >j >–6 –6–6– –6–6– –6–6 6 ‰ 6–6–6– –6–6–6 Œ & 2 Œ –6–6–6 6 4 J > > > > > > b ˙ b ˙ b b n ˙˙ b n ˙˙˙ ? 2 b n ˙˙ b n ˙˙ b n ˙˙ 4 bn ˙˙ > > <° >>ø
{
∑
3 Œ # n## ˙˙˙˙ 4n˙
2
<° > ø
p
> –6–6– 6 –6–6– 6 >
ø
Quickly turn back to Etude I. Play the first bar of the final system on page 3. Return here as quickly as possible. Continue as if nothing had happened.
3 4
–6–6 –6
–6–6– 6 ‰ –6–6–6
> bb ˙˙ ™™ 3 b n ˙˙ ™™ 4 n˙ ™ > ° ff
–6–6– 6–6– 6–6–6 –6–6
–6–6 –6
?
3 4
–6–6 –6
3
ø
b bn ˙˙˙ 2b˙ 6 n -˙
2 6
2 4 2 4
ff
–6–6– 6 –6–6– 6
ø
–6–6– 6–6 –6–6
3 4
–6–6– 6–6 –6–6
–6–6– 6–6 –6–6
{
17
& nœ ?
f
<° > ø
5
nœ bœ
nœ
bœ
5
nœ
nœ nœ b œ bœ
{
b bn œœœ n bn -œœœ # # -œœ # # -œœ nœ nœ &4
nœ
3 6 4ff b -œ n -œ b -œ b œ ? 3 4 & - 4 –66––6 6 <° > ø ø ø ø ø
{
5
# # œœ ‰ # n œœ
bœ bœ
5
nœ #œ &
bœ b œ bœ
nœ bœ nœ nœ
4 6
nœ #œ
n œ5 b œ
5
nœ
-œ. n –6–6–6 n 6––6–6 n 6––6 n –6– – b -œ. –6 66– n 6–6–6 n 6––6 # # œœ # # œœ n – 6 4 ‰ # n œœ ‰ # n œœ Ó ? 21 6 4 # –6–6–6 # –6–6–6 # –6–6– # –6– – . n œ -. 6 66– # 66––6 # 6––6 ? b œ 21 –6 4 Ó –6–6– –6–6– & 6 4 6 6 ø ø
◊ nœ#œnœnœ ~ ~ ~ ~ ? 21 ~ ~ ~~~~~~& ~ ~ ~ n œ # œ ~ ~ n œ # œ n œ ~ ~ 4 nœ#œnœ#œ nœ n œ n œ # œ n œ # œ n œ sim. n œ # œ “ ◊ 85:84 #œ nœ#œ n œ ? ? 21 ~ ~ ~ ~ ~~~~~&~ ~ n œ # œ ~ ~ n œ # œ ~ ~ n œ ~ ~ n œ # œ n œ 4 nœ#œnœ nœ#œ ~ n œ # œ n œ # œ # œ ~sim. “ <° > ø
{
85:84
- - - - - - - >- >-3 >nœ Œ bb œœ n œ ## œœ n œ n œ # œ nn œœ n œ nn œœ n œ bb œœ b œ nœ nœ bœ nœ # œ nœ n# W W ™™
& 12 4 ff ? 12 j n W ™ ™ 4 bb œœ b W W™
Terrible q = 60 - -
<° > ø
4 6
nœ
# œ nœ
U ∑
12 4 12 4
short pause
U ∑
18
{
.# œ
Ad lib. explosive flurry
5"
b œ b œœœ# œ œ œ œb œ œ œ b b œb œœœ∫œbœbn#bœœwœnœœœœbœœ# œn bœnœb œœb bœœœœnœœœ œœnbœœ n œn œbœbn œ∫nœbœbnœœ∫œœ œ œ bœ n œ bœ & n b œb‹œœœ#œœ#œœœœœb œœœœnnœ∫bœnœœœœ nÙ#ٜٜ ®n®n œœÙ®#bœœœ≈ b#Ùœnœb#œbÙœœœœ nœbœœœ 7 # œn œ# #œ œ œœœ n œ n œ n #œœ#œœ 8 fff tutta forza
# œœb œ œœ œ œœ b œ n œœ ? œb œ Ùœ Ùœ Ùœ œœÙ ® ™® ® ÙÙÙ##œœn œœ œ # œ# # œœœœœ 7 # œœœ#œ œ œ # œœn œn œœ#œœœœœœœœœn œœœ œ # #œ œœœœ#œœœœœ œ œ œ œ œ œ œ œ œ œœœœœœ# œœœ#œœb œœœœ œ œ# œœœ œnœ#œœœœœœœœœ #œnœœnœœœœœ nœnœœœ œœœœ 8 œ œ œœ œ œœ œ °
19
{
& ?
7 8
Ϊ
U ÷
–6–6™ ™ –6 ™ <° >
U ÷
7 8
f
mf
3 4 3 4
{
20
3 bœ nœ bœ n˙ 4 n˙ ™
Inscrutable q = 54 accel.
b bb œ˙˙ ™™b œ b œ b ˙
? 3 b bb ˙˙˙ ™™™
4
{
q = 88
?
{
nœ nœ nÆœJ >
°
&
–6 –6–6– –6–6 –6–6 6 – <°6>
?
{
bœ ™ ˙˙ ™™ ˙™
f
bn nn ˙˙˙˙ ™™™™ b˙ ™ b˙ ™
1¿ 4
b ˙ nn ˙˙ n -˙ -
nb -˙˙ # ˙ n -˙
&
n n nn wwww
{
? 4 n bn www
2
ff
°
p
n b œœ
ø
ø
bœ
n bb ˙˙˙ ™™™
U nœ
bœ nœ
bœ nœ ø
nœ
& n bn w ww
F
b˙ b n -˙˙ b -˙ b n ˙˙ nb -˙˙
?
n #n# wwww n bn www
n˙ n -˙
bb -˙˙
nœ
f
–6 –6–6– 6––6 6––6–6 6 ø
Impatient h = 120
nn -˙˙
b n -˙˙
n n nn wwww
6 4
n # -˙˙ ™™ nn -˙˙ ™™ 6 ?
nU W nW
sff
& n bn w ww
#˙ # -˙ # # ˙˙ b n ˙˙ n -˙ n˙
# -˙ ™ # -˙ ™ n˙™ # ˙™
4
?
U nW nW “ ø
–6–6– –6–6– 6 –6–6– 6 6
U bœ
nœ
1 ¿ 2 nn ˙˙ n ˙ Without turning to 4 2 -f # -˙ the audience, yell sf sf " I will now play -˙ b -˙ b the final etude!" 1¿ 1 ¿ 2 b ˙ n˙ > 4 4> 2 I
& n ˙ #n ˙˙ n -˙ ? nb -˙˙ n ˙ n -˙
4 2 n#n# wwww
nœ
mp
b œj œ
–6–6– –6–6– 6 –6–6 6 –6
# nn ˙˙˙ ™™™
q = 54
rall.
b n œœœ n œ n œ n & n b œœ n œ˙˙ ™ n œ n œ bÆœ ˙ ™™ J >
3
n nn ˙˙˙ ™™™
mp
nœ nœ n n ˙˙ ™™b œ b ˙ 3
b nn œ˙˙ ™™# œ n œ # ˙
3
n -˙ n ˙ n˙ n˙ bb ˙˙ bn -˙˙ -
n ˙ ™ nn ˙˙ ™™ # -˙ ™ n -˙ ™™ b -˙ ™ # ˙ b˙ ™
1¿ 4
4 2 4 2
I
1¿ 4> sff
Cardiff, UK April 2020
&
3