1 9 13 20 25 33 37 40 47 51 57 61 67 70 82 Flying Machines Sixty Beggars Old Man with Water Studies Study of a Woman’s Hands The Kite of the Cradle Tank Polishing Imperfections in Glass A Moth to the Light Perspectives of Disappearance La Scapigliata The Existence of Nothingness The Impossibility of Perpetual Motion Lenses for Looking at the Moon Study of a Deluge This is the Way Birds Descend The pieces in this collection were written as a cycle; however, performers are free to play individual ‘books’, or indeed to select as they chose from among them. They were inspired by a visit to Vinci, birthplace of Leonardo. Though titled after his designs, studies, paintings and writings, they are not intended as musical evocations or 'translations'; rather as “imaginings” of the internal joys, frustrations, inspirations and dreams that might have accompanied his creative processes. This, the second volume in a series, forms part of an ongoing project that is open ended. It is dedicated to the young pianist whose playing rekindled my compositional spark, and to whom I will always be deeply indebted. Book I Book I Book I Book I I II III IV V Book II Book II Book II Book II VI VII VIII IX X Book III Book III Book III Book III XI XII XIII XIV XV Peter Seabourne Steps Volume 2 An second anthology of music for piano Studies of Invention
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Transcript
1
9
13
20
25
33
37
40
47
51
57
61
67
70
82
Flying Machines
Sixty Beggars
Old Man with Water Studies
Study of a Woman’s Hands
The Kite of the Cradle
Tank
Polishing Imperfections in Glass
A Moth to the Light
Perspectives of Disappearance
La Scapigliata
The Existence of Nothingness
The Impossibility of Perpetual Motion
Lenses for Looking at the Moon
Study of a Deluge
This is the Way Birds Descend
The pieces in this collection were written as a cycle; however, performers are free to play individual ‘books’, or
indeed to select as they chose from among them. They were inspired by a visit to Vinci, birthplace of Leonardo.
Though titled after his designs, studies, paintings and writings, they are not intended as musical evocations or
'translations'; rather as “imaginings” of the internal joys, frustrations, inspirations and dreams that might have
accompanied his creative processes.
This, the second volume in a series, forms part of an ongoing project that is open ended. It is dedicated to the
young pianist whose playing rekindled my compositional spark, and to whom I will always be deeply indebted.
* Phrasing is not copied between staves where identical, to avoid clutter. It should be in broad sweeps and not over fussily subdivided into irregular beat groups:
the effect intended is of a slightly imperfectly moving large object, not of "danciness". A certain amount of rubato will be required to allow for the faster moving inner
parts. Thus absolute tempo and rhythmic accuracy are to be subordinate to the sense of massiveness and melodic line.
5 3
5
5 3
13
12
15
18
22
3 5
3
5
5
5 3
5
5 3
mf
5 5 3
5 5 3
mp
5 5
3 3
3 3
14
27
30
33
36
3
3
3
3
cresc. poco a poco
[B, C#]
cresc. poco a poco
3
3
3
3
3
3
più cresc.
più cresc.
It is realised that it will not always be possible physically to hold the melody notes
in this passage, fingers being required for the faster inner parts. However, this 'fiction' is maintained to indicate the line.
ff massive
5 3
5 3
3 3
3 3
15
38
42
44
46
5 3
The melodic line should be maintained as much as
possible, even though repeated notes are required.
subdued but with weightsubdued but with weightsubdued but with weightsubdued but with weight23
25
p mf p mfmf pp3
3rd Ped.
una corda
p p poco mp
p sempre
f
tre corde
mp
f p mf33
33
33
3
p mp
p f molto
p
poco
33
p sempre p sempre
3 3
mp
poco,
pp p pp
ppoco
mp p mp
3 33
34
28
31
34
Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)
A slightly 'fussy', pointed use of dynamics is intended, with strong diminuendi
for paired notes, but with phrased dynamics following the dotted hairpins above.mp mp
3 3 3 3 3 3 3 33
mp mp mp mf mf mp
mf mp
3 3 3 3 3 3
mf
3 3 3 3 3 3
poco mf mf mf mp3 3 3 3
mf mf
3 3 3
51
14
17
20
22
24
mf mf f mf mp
3 3
f
3
33 3 3 3
mf mp
moltof
molto mp molto
3 3 3
mp molto
3
3 33
f mf f
pocoff
3 3
f
3
3
3
3
3
3
f ff
3
f
3 3 3
3
moltopp
3
3 3 3
33
52
28AgitatoAgitatoAgitatoAgitato
33
36
39
44
mp
3 3 3
3 3
accented notes here not over attacked,
just standing out from triplets
3 3 3 3 3
3
33 3 3 3 3 3 3
mp mp
3 3 33
pp pp
poco
p p
pp mp
3
33 3 3
3 3
3
3
mp mf mp
moltof ff
f 5 5
33
5 5
ff
poco
fpoco
mf mp
33
3
3 3
53
50
54
59
63
playfulplayfulplayfulplayful
66
poco
mppoco3 3
3 3 3 3
3 3 3
p mp pp p
3 3
3 3
mp p mf5 5
poco più
pp p
p p mp3
poco
p
mp p
mp
p
mp5
3
3
3 3
mp p p p
mp mp
p p mp
mp
3 3 3 3 3
33
3
54
69
72
77
mf p mf
mf
mp3
mp p
mf
mp
p
3
3 3 3 3
3
3
mf
p
moltomf
p p p33
mp p
mp
mf
mp
3 3
p p p
lontano
una corda
ppp sub.
tre corde
p pp
poco
3
55
Andante - un poco pesante Andante - un poco pesante Andante - un poco pesante Andante - un poco pesante q = 66= 66= 66= 66
XI. The Existence of Nothingness
Book III
4
7
11
f3 3
3 3
mf f
3
3 3
33
3 3
mf mf
3
3
3 3 3
3
mf3
3 3
5
3 3
3
56
16
19
22
26
30
3
3
3 3 3
f
f
3 3
3rd Ped.
3
3 3
5 3 3
3
ff
f
ff
bars 22 & 24 A little rubato will be obviously be necessary to accommodate the spread chord.
The top two (melody) notes should not be arpeggiated.
3 3 3
pochiss.
f
poco3 3 3
3 3
(ancora) f
poco
f ff
3 3 33 3 3
top two notes not arpeggiated. Rubato come prima - but as little as possible.
3 33 3 3
57
33
37
39
41
sub. mf f mf
molto
3
3
3
3
3
ff
3
3 3
3 3
5 5
ff
3 3
3
3 3
fff3 3 7:85 3
fff
3 33 3
5
ffsoltanto un poco meno
poco menof
3 3 33 3
3
3
3
3
3 3
3 3
3 3 3
58
44
48
53
59
63
33
3 3
3
3
3
3
3
mf mp
3 3
3 3 5 3 3 3 3
mp
3 3
p
3
5 3
3 3 3 3
pp
3rd Ped.3 3 3 3 3
3
3 3 3
3 3
59
71
78
p semplice
3
3 3 3 3
3
3
3 3 3
pp
3
3
60
Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! e = 168 = 168 = 168 = 168
XII. The Impossibility of Perpetual Motion
4
8
12
legatiss.mf
3 3 3 5 3 3 3 5
f
3 5 3
3
3
3
3
5 5 3 3
f
3 3 3 5 3 3 3 3
3 3 3
f
3 3 5 5 3
3 3 3 3 3
61
15
18
21
24
26
ff
f
3 33 3 3 3
3 3
f 3 3 3 3 3 3
5 3 3
3 3 3 3
mp f3 5
mf f
3 3 3
3 3 3 3 3 3
ff mp
ff
mp
3 3 3 3 3 3 3 3
62
28
30
33
36
39
f
5 5 3 3
sub.p
3 3 3 3 3 3 3 3 3
p
3 3 3 5 3 3 3 3
3
3
3 3 3 5 3
3
33
f
3 3 3 3 33
3 3 3
63
42
45
49
53
58
ff
p ffmp
molto
ff
ffmfmolto
3 3
ff
p ff mp mppiù
3 3 3 5 3 3 3 3
(p)
mf mf mfmolto
3
p f 5 3
p
5 3 3 5
5 3
pp
pp
poco3 3
3
5 3 3 3 3
64
63
66
70
73
76
p
molto
f
3 3 3
3
3 3
p sfz mp
3
sfz sfz
3 3 3 3 3 3 33
f
3 3 3 5
3
sfz sfz
ff fff
3 3 3 5 3 3 3 3 3
[E]
3 3 3 3
3
5 3
3 3 3
3 3 3
3 3 3 3
3 3
65
79
non rit....non rit....non rit....non rit....
fff
3
3
3
33 3 3 3 3 3
66
Almost still - very slow Almost still - very slow Almost still - very slow Almost still - very slow q = 36 = 36 = 36 = 36
*bar 4 etc.:To avoid fussiness the trilled note is tied, it resuming as soon as the melody note has been struck and 'rung' a little, in the manner of Debussy etc.
** bar 14: the melody ties are 'aural'. However, there should be a clear sense of line. Phrase marks/slurs are not indicated for the rapid broken chord inner parts
to avoid pointless clutter - these follow the melody phrasing. The effect is intended is of a gentle hovering developing from the trills and not something over articulated.
82
15
16
17
18
poco seriosopoco seriosopoco seriosopoco serioso19
3 3 3 3
3 3 3 3
mf
3 3 3 3
33
p
83
20
22
25
26
27
pp
3
pp 3 3 3
3 3
84
più appassionatopiù appassionatopiù appassionatopiù appassionato28