Firestarters 2

FIRESTARTERS 2 

7 New Recital Pieces for Piano 

Penelope Axtens 

Stuart Greenbaum 

Ross Harris 

Matthew Hindson 

James Ledger 

John Psathas 

Anthony Ritchie


7 New Recital Pieces 

for Piano

Firestarters 2 (PE069), for Piano 

Torrent © 2001 Penelope Axtens 

Ritual © 1981 Anthony Ritchie 

Waiting for the Lights to Change © 2001 James Ledger 

Equator Loops © 2001 Stuart Greenbaum 

Mechanically Speaking © 2001 Matthew Hindson 

Waiting for the Aeroplane © John Psathas 

Micro-Piece for Xenia © 2000 Ross Harris 

Published exclusively by Promethean Editions Limited 

This Edition © 2005 Promethean Editions Limited (201506) 

Series Editor: Ross Hendy 

Editor: Christine Archer 

Music Editor: Thomas Liggett 

ISBN: 978-1-877218-69-9 (print) 

ISBN: 978-1-77660-069-4 (ebook) 

ISMN: 979-0-67452-101-7 

Promethean Editions Ltd 

PO Box 10-143 

Wellington 

NEW ZEALAND 

http://www.promethean-editions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher. 

Firestarters 2 was published with funding support from Creative 

New Zealand, the Arts Council of New Zealand Toi Aotearoa.


7 New Recital Pieces 

for Piano 


Torrent . .................................... 5 

Anthony Ritchie 

Ritual. ...................................... 8 

James Ledger 

Waiting for the Lights to Change. ............ 12 


Equator Loops. ............................. 21 


Mechanically Speaking ...................... 26 

John Psathas 

Waiting for the Aeroplane. .................. 34 

Ross Harris 

Micro-Piece for Xenia . ...................... 41 

Notes. ..................................... 42

! 

! 

! 

! 

! 

! 

! 

! 

! 

d 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

TORRENT 


Flowing C O C = ◊. 60 ( = ) 

eva 

W C C C W C C C C W C C C C W C 

X 

Y C C C W C 

X 

Y C C W C 

X 

Y C C W C 

X 

Y 

pp smooth and light, with generous rubato 

W C C C W C C C C W C C C C W C 

X 

Y C C C W C 

X 

Y C C W C 

X 

Y C W C 

poco 

X 

Y 

Ì 

{eva} 

W 

X 

Y C C C W C 

X C C W C 

X 

Y 

W 

X 

Y C C W C 

X 

Y C C W C 

Y C C W C C C W C 

W 

X 

Y C C C W C 

X C C W C 

X 

Y C C W C 

X 

Y C C W C 

X 

Y C C W C 

poco 

Y C W C C C W C 

Y C C W C C C 

Y C C W C C C W C C C C 

W 

X 

Y C C W C C C C W C C W C 

X 

Y C C W C C W C 

X 

Y 

Y C C W C C C 

Y C C W C C C W C C C C 

W 

X 

Y C C W C C C C W C C W C 

X 

Y C C W C C W C 

X 

Y 

W 

X C C W C 

X 

Y C C W C C W C C C C W C 

X C C W C 

X 

Y C C WC 

O B 

c.7" 

» 

@- 

! W C 

X C C W C 

X 

Y C C W C C W C C C C W C 

X C C W C 

X 

Y C C W C 

BO 

» 

@- 

‘Still’ Œ = ◊. 42 

W 

B W O W 

X 

A 

B B 

pp 

YY 

BO 

WX B C 

A 

B 

(with pedal) 

W B 

BBOB O 

h C C h C BO 

BO 

Y BO 

h C C h C BO 

Ì 

W W A A 

B 

pressing forward 

X W BB 

A 

B B W B W B 

Torrent © 2001 Penelope Axtens 

This edition © 2005 Promethean Editions Limited PE068 – 5 

ISMN 979-0-67452-101-7 

W A 

B 

h C 

h C 

O 

O 

Y 

B 

A 

W B

# 

# 

C 

h 

C 

C 

C 

C 

C 

C-^ 

C 

h 

g 

CC 

C- 

C 

C 

C 

C 

C 

C 

>C 

C 

C 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

- 

C C 

C 

C 

C 

C C 

C 

h 

h 

> 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

h 

g 

C 

C 

C C 

C 

C 

C 

C 

C 

- 

C 

C 

C 

C 

# 

C 

C 

C 

C 

C 

> 

C 

C 

C 

C 

C 

C 

C 

> 

C 

h 

g 

C 

C C-^ 

h 

g 

C 

C 

C 

C 

CC 

> 

C 

C 

-^C 

CC 

h 

C 

C 

CC 

C 

- 

C 

C 

C 

C 

C 

C 

A 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

# 

- 

C 

C 

CC 

h 

C-^C 

h 

C 

C 

> 

C C 

C 

C 

C 

C 

C 

C 

C 

CCC 

- 

C 

C 

C 

C 

C 

C 

C 

C 

C 

# 

! 

! 

W 

B 

W BBB 

X X B 

W W W W 

B 

W B 

- 

WW 

B 

p 

Y X B 

X 

Y C 

W 

C 

W B 

Y 

B 

INH 

X 

X 

X 

WW 

B 

GNF 

C 

Y 

- 

C 

B 

crescendo poco a poco 

X B 

B W W B 

W 

JNH 

X 

Y 

! 

! 

W - W C 

X B 

W B 

X 

KNH 

Y C W C 

Ú B = BO 

= 40 always pressing forward 

C B X B 

- 

O 

W - X W X Y 

C C W 

W 

mf 

C Y C 

Y W C 

C 

cresc. 

KNH 

C BO 

C C W C X C C W X 

W C 

Y BO 

B 

- 

X 

Y 

! 

Y - C W C C 

W - 

X 

C 

Y 

Y 

C W C 

W 

- 

C C 

W 

C 

C 

W C X 

O B Y C W C ! C 

with pedal 

> 

C 

W 

WX 

Y 

f 

> 

C 

X 

W 

BOY C W C C C C 

Y -C 

Y O 

X O W 

Y 

C O WX 

O X 

sempre crescendo 

O 

Y C W C 

X 

O 

W > O 

X > W O 

Y C C W C 

X 

Y > X O 

! 

> Y O 

BOW 

Y 

O 

X 

X 

O 

Y > X O 

Y C C W C 

YY C 

W ^C- 

C C O 

-^C 

C 

WX > C 

O 

X > C 

O 

X C C C W C 

Y > C 

O WX 

X 

W > 

W 

C O 

X > 

C C O 

> 

C 

CC O 

X(W) O 

CCO 

WX CC -^C 

C 

Y Ò - h 

W C C C C W C Ò 

! 

! 

! 

W C C C 

Swift and nimble, always pressing forward 

Y C W C 

ff 

Y Y C W C 

Ò 

1/ 

2 

with rubato 

X 

X 

Y C W C 

Y C C W C 

X 

X 

W 

X 

WW C 

^C- 

W 

W C X 

-CÒ 

X 

X 

X 

Y 

X 

Y C C W C 

W 

X 

W C W 

g 

X X C 

-CÒ 

X 

Y 

X 

W 

C C Y C C W C 

X 

W ^C- 

W 

Y C C Y C 

Y C C Y C C W C 

sim. 

PE068 – 6

„ 

Â 

‰ 

„ 

Â 

‰ 

! 

# 

# 

! 

# 

# 

# 

B 

R 

CC 

h 

g 

B 

B BB 

R 

A 

BBB 

C 

C 

! 

AA 

A 

A 

R 

BB 

B 

B 

- 

C 

C 

B B 

! 

h 

C 

-ÒC 

C 

BB 

C 

C 

A 

R 

C 

A 

A 

BB 

B 

C 

- 

R 

?AA 

AA 

AA 

¯A 

C 

C 

C C 

h 

C 

h 

C 

C 

C C 

h 

C 

CC 

R 

A 

A 

A 

B 

B 

BB 

C 

AA 

A 

C 

B B 

BB 

C 

C 

C 

C 

R 

AA 

AA 

A 

C 

C 

B 

C 

C 

C 

C 

B B 

B 

# 

AA 

A 

A 

C 

C 

g 

C 

C 

AAA 

A 

B 

R 

R 

C C 

C 

? 

B 

- 

- 

¯ 

, 

C C 

C 

C C 

A 

AAA?A 

C 

B B B B 

B 

R 

C 

C CC 

C 

C 

C C 

# X C 

Y C C Y C C W C 

Y C C W C 

X 

X 

Y C C W C 

Y C C W C 

X 

W ^C X 

- C 

Y C C W C 

X C C -^C W C W C 

X C C Y C C W C 


X 

X 

g Y X C C 

X 

X 

Y C 

C 

C 

X Ò C - 

C C -^C Y C W C 

h 

Y X 

crescendo 

X 

X W 

X 

W 

X X C C 

Y 

Y C C Y C 

Y ^C - 

Y 

# C 

Y C Ò C - 

Y 

W 

-^C 

W C C X C 

g 

X C 

W 

ev` 

X 

Y C C W C 


X C C Y C C Y C C W C 

X 

X 

Y 

X 

Y C C W C 

slowing 


X 

X 

X 

Y C C W C 

X 

Broad and sonorous, becoming increasingly calmer 

= 42 

with rubato 

# R R 

# R 

W W 

Y A AA 

Y 

Y 

ff 

(full pedal) 

W W 

W BB 

W 

W 

B B R 

f B 

Y Y B B 

Y Y 

Y Y 

Y 

O 

W C C W W 

X CCOO 

X AA ? A 

W 

mf 

? W X Y 

W 

W 

A 

A 

W 

B 

W 

W 

W B B B 

A ? A Y A 

BB B 

?-B 

B W B B R 

W AA 

W 

Y B Y 

BB 

W 

B 

BB 

B B 

Y 

B BB 

slowing 

W 

B 

B B 

W 

X B 

W 

Y Y A AA 

Y Y 

Y 

Ì 

a touch faster 

C 

W C C C 

W BB B 

W W 

W B B 

mp 

X B B 

Y BB 

B W W B B 

Y Y X 

Y 

Y 

p 

slower 

Ì 

in time 

very 

sonorous 

easing 

X 

Y 

Y 

Y 

! Q 

pp 

B B A 

R R R 

C 

W X 

( O) 

W 

p 

- 

Y 

Y INH 

Y A AA 

A W AA W 

Y W A A 

W W AAO 

Y A AA 

Y A A 

Y A A 

W AAO 

Y 

pp 

O 

Y 

Y 

pp A ? 

A?A 

A 

AA 

¯A 

PE068 – 7

T 

> 

h 

h 

> 

g 

h 

T 

T 

g 

h 

g 

h 

T 

> 

T 

g 

> 

h 

h 

T 

d 

> 

> 

h 

g 

T 

h 

T 

RITUAL 

Anthony Ritchie 

7 

Fast and roughly, with intense drive C = 132 

# 24 C . W W C . C. 

pp 

# 24 C X C 

C. C. 

ev` 

# 

# 

senza ped. 

C. W W C . 

pp 

C 

C . 

{ev`} 

C. 

C 

C. 

C. 

C. W W C . 

C 

C. 

C. C. C. W W C X . X C W . W C 

f > C . W W C . C. C. C. W W C . C. C. C. W W C . X X C . W W C 

pp 

f > 

C C C C C C C C C 

C. C. C. C. C. C. C. C. C. 

! 4 

3 # 2 

C. W C 

4 

f > C. W C C W C . > . 

C . 

T W C Ċ W C . Ċ 

> 

C C 

W 

. 

W C 

ĊC Ċ C 

più f ff pp sub. 

forcefully 

! 

T 4 

3 # 2 

X C 

4 

C. Y C 

W C X C 

X C 

. . C 

Ċ Y C . C 

. > C X C 

>C. 

C. 

(loco) 

12 

# 2 

ĊC W W CĊ 

ĊC Ċ Ċ C C WW C Ċ XX C Ċ W . W C C W W CĊ 

ĊC Ċ C 

4 ! 

W C 

f pp 

> f 

# 2 4 C C C C C C ! 

C. C. C . C. C. C. 

G 

C. W C. 

C . 

g 

X C C. Y C. 

C 

> 

g 

W C 

G 

W C . 

C. W C. 

X C. C. 

17 

! T W C. 

ĊW C . ĊW C . 

4 

3 

W C > W C 

> Ċ C W # . Ċ. 

W C C Ċ Ċ. 

2 

CW W CĊ 

Ċ. 

C Ċ Ċ. 

CWW C Ċ XX C ĊW 

W C 

Ċ. 

C W W CĊ 

Ċ. 

C Ċ 4 ! 4 

3 

G G 

più f ff pp sub. 

f pp 

! X C. Ċ Y C . 

4 

3 C 

# 2 4 ! 4 

3 > X C C C C C C C 

C 

>. C. C. C. C . C. C . C. 

22 

W C. 

! 4 

3 

>C W C W 

. 

# W C 

ĊC Ċ Ċ C C 

2 W W CĊ 

ĊC Ċ Ċ C C WW C Ċ XX C Ċ W . W C C W W C C C 

4 ! 

f ff pp sub. 

f pp 

! 4 

3 C 

# 

C X C 2 4 C C C C C C ! 

>C. C. C. C. C. C. C. C. 

C Wf > CW 

C 

G 

T X C. 

G 

C. Y C. C. 

I 

C C 

Y C. 

W C 

Ritual © 1981 Anthony Ritchie 


ISMN 979-0-67452-101-7

C 

> 

T 

T 

C 

T 

CC 

C 

g 

C 

>C 

C 

C 

C 

> 

CC 

C 

C 

Ċ 

> 

C 

C 

h 

g 

CC 

Ċ 

C 

T 

C 

Ċ 

C 

S 

C 

C 

T 

C 

C 

C 

C 

Ċ 

C 

S 

T 

S 

C 

C 

C 

T 

C> 

Ċ 

h 

C 

C 

Ċ 

> 

C 

C 

h 

>C 

C 

Ċ 

C 

C 

h 

T 

C 

> 

T 

ĊC 

C 

C C 

C 

Ċ 

C 

Ċ 

Ċ 

T 

C 

C 

C 

C 

Ċ 

27 

I 

! 4 

3 # 

W C W C W > 

C W C C C W 

W . 

W 

ĊCĊ C 

Ċ C 

2 WW C . ĊCĊ C 

4 ! 4 

I 

ff pp sub. 

G G 

! 4 

3 # 

W 2 4 ! 4 . X 

X . C . Y . C. 

. G 

g 

Y . C . Y . C G 

> 

C C 

X 

>C. C. C. C. 

31 

! 4 >. 

ff 

! 4 4 

>C. 

W . 

W 

sub. 

CC 

>C. 

>C. 

mp sub. 

W W C C 

. 

CC. 

C C. 

2 

4 

2 

4 

CC. W W C C 

. 

eva 

C Ċ Ċ C Ċ Ċ C C Ċ 

Q 3 8 

C C. 

C C. 

CC. W W C C . 

with gaiety 

CC. 

C C. 

CC. W W C C 

. 

C C. 

C C. 

CC. W W C C . 

CC. 

C C. 

3 8 

36 

{eva} 

C C Ċ . C C Ċ Y . C C . C- C C C 

! 3 8 

2 4 4 

3 2 4 

f p sub. 

mp 

! 3 2 8 4 4 

3 2 W W C C CC W W C C 

C C X Y C C C C 

Y C C C C 

CC C C 

Y C C C C 

CC C C 

Y C C C C 

CC C C 

CC 4 

sempre staccato 

41 

Ċ 

> 

Y . Y . Ċ 

! 2 

Ċ 

4 

3 Y C. 

Y . B > B p 

8 

2 B B W . 

4 

W 

Ċ C Ċ C 

Ċ C W C. 

W 

Ċ C Ċ C 

mf 

p 

! 2 T S 3 # 

4 8 C 

g W W C C C 

T T 

Y 

2 T W CC C W C W W C C C CC C C 

> 4 h 

T 

Ċ Ċ C Ċ Ċ 

mp 

pp 

X # 3 8 ! 2 # 

X C C 

B B 

. W . CC CC. 

CC. 

CC. W CC Y 

. 

CC. 

CC. X C C Y C Ċ C T B B 

CC. 

4 

pp 

mf 

mp 

# C C Ċ Ċ C Ċ Ċ Y C C Ċ C W W C C C 

3 T 8 Y C C C 2 C . 4 h W CC C W C W W C C C CC C 

47 

! 

PE068 – 9

ĊC 

T 

CC 

C 

C 

C 

C 

C 

CC 

CC 

C 

C 

C 

C 

C 

CC 

C 

C 

C 

> 

C 

C 

T 

C 

CC 

C 

C 

h 

> 

CC 

CC 

C 

T 

> 

CC 

CC 

C 

C 

C 

CC 

CC 

C 

T 

C 

CC 

C 

C 

T 

C 

C 

C 

> 

T 

C 

C 

C C 

g 

g 

C 

C 

S 

S 

g 

C 

S 

CC 

C 

C 

C 

C 

> 

C 

h 

g 

CC 

> 

C 

C 

h 

g 

C 

C 

C 

h 

h 

C 

h 

T 

C 

CC 

T 

T 

Ċ 

h 

T 

C 

C 

CC 

C 

C 

C 

> 

CC 

C 

53 

# WW . ĊCĊ C 

Ċ C WW C . ĊCĊ C XX C . W Ċ C 

Ċ C Ċ C 

Ċ C W Ċ C 

Ċ C Ċ C 3 XY 

C ĊCT 8 

mp 

p dim. 

# g 

g 

T C C C C T 3 . C 8 

. 

C. 

C C C . C 

p . 

C. 

C T X C 

C. 

Y C C Ċ C T 

C. 

59 

( = ) 

with sudden violence, returning 

# CCC Y . T XX 

C 

. 

to 

Y T Y C C Ċ C T Y C C Ċ C T Y C Ċ C T Y C C Ċ C T 4 Y C C CC > the intensity of the opening 

. 

CCC C> . C C>. 

C WW . ĊCĊ C 2 4 

pp dim. 

ppp 

f pp sub. 

molto 

# 

Y T 4 2 

Y 

Y C . Y X . 

4 

C. 

W W X 

X 

C. C. C. C > . C>. C. 

ev` 

66 

# 2 Ċ 

4 

C WW C . 

# 2 4 C 

C . 

{ev`} 

ĊCĊ C 

Ċ C WW C . 

C 

C. 

C 

C. 

XX . WW 

f 

C C 

C. >C 

. 

WW . 

pp 

C 

C 

ĊCĊ C 

Ċ C WW C . 

C 

C. 

C 

C. 

ĊCĊ C 

Ċ C WW C . 

C 

C. 

C 

C. 

XX . WW 

f 

C C 

C. >C 

71 

# 

# 

. 

WW . 

pp 

{ev`} 

ĊCĊ C 

C-Ċ W C. 

! 4 

3 # 2 

W C- 

C. W C 

C-C W 

. 

. 

C. Y C 

> 

. 

Y C W 

. 

W 

ĊCĊ C 4 

f forcefully 

pp sub. 

C G G T Y C. 

Ċ Y C 

! 4 

3 # 

T . Ċ X . G G 

2 

X C 

4 

C. . C. Y C. C. Y . 

G 

W 

G . X . C. Y C. 

C. Y C 

X 

> 

Y . 

C. 

ev` 

76 

# 2 ĊCC 4 WW . ĊCĊ C 

Ċ C WW C . XX . W . 

W WW . ĊCĊ C ! 4 Y C 

>. 

> . C>. Y > C 

Y C 

2 Y 

4 

Y C C 

f pp f 

Y > . C > . 

# 2 4 

4 Y 

C 

C CC>. 

2 YY > Y 

C C 

4 

C. C. C. C. C. C. 

{ev`} 

X . Y C. 

X . Y . 

p sub. 

PE068 – 10

# 

# 

Ċ 

h 

C 

C 

T 

C 

C 

C 

T 

C 

C 

h 

CĊ 

C 

CC 

Ċ C 

C 

C 

C 

C 

C 

Ċ C 

C 

h 

C 

CC 

C 

CĊ 

C 

Ċ 

C 

C 

C 

CC 

C 

> C 

C 

C 

C 

C 

S 

S 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

>C 

CC 

C>C 

C 

C 

h 

Ċ C 

C 

CC 

C 

C 

Ċ C 

> 

CC 

C 

g 

CC C 

C 

CĊ 

h 

CC 

C 

h 

C 

C 

C 

Ċ 

h 

C 

T 

C 

C 

C 

C 

T 

C 

C 

C 

Ċ C 

C 

C 

C 

C C 

CC 

C 

C 

T 

T 

C 

C 

C 

Ċ C 

C 

h 

C 

C 

C 

Ċ C 

C 

# 

CC 

Ċ 

C 

T 

T 

C 

Ċ C 

CC 

h 

C 

C 

C 

Ċ 

C 

CĊ 

Ċ 

81 

! 4 

3 Y 

Y 

C 2 

W C 4 

> . Y C 

C X > 

Y X 

C 

X C C Y 

Y . 

Y C C 

G G 

. 

X 

f 

. Y . T W C 

p sub. 

. C. W C . C . C. 

mf 

X 

# . X . Y . 

4 

3 

Y Y > C 

YY . X 

Y 

Y 

. Y . X C . X C 

2 . Y . Ċ W 

W C . 

4 

W C C C . C . 

W 

Ċ 

C 

con ped. 

Ċ 

C 

Ċ C 

86 

! W C 3 8 4 

3 2 

3 . 

C > . C. W C C C . C 

W C C 

. 

. > . 

T 

W C C . C C . C C 

C 

# W 

W . 

W 3 W 

W . 

8 W 

W . W . 

W 4 

3 W 

W . 

W 

2 

3 

90 

allargando 

! 2 

3 W 2 

C 

4 

W 

ff 

# 2 

3 W 

W 

2 

W 

C 4 

W 

C X 

C C . 

a tempo 

W C. 

C C Ċ 

X . 

. . 

Ċ 

C C C 

T C C 

Y X Ċ 

. . 

C. C C C. 

W C. 

C. 

C. C C C. 

W C. 

X C 

C. C 

W > C 

94 

! 

C 

CC. 

X > C 

W C 

cresc. 

W . C 

C. 

ĊCT 

C. C C C. 

C 

> 

W C 

W C. 

C. 

ĊCT 

C C C 

W C C C C C 

G G 

ff 

più 

C. C C C. 

W C. 

C. 

C 

C 

C. C C C. 

C C C 

W C C C C C 

G G 

W C. 

C. 

C 

C 

fff 

C. C C C>. 

pp 

X . 

W 

sub. 

X 

C. 

ev` 

99 

# 

Ċ 

W C 

C. 

{ev`} 

Ċ 

C 

C 

C. 

Ċ 

W C 

C 

C. 

ĊCC W . W 

C 

C. 

C 

> 

C 

Ċ 

W C 

C 

C. 

Ċ 

C 

vanishing 

C 

C. 

ĊCT C W C W 

C C . 

C 

C. 

G 

T 

! 

T W W C C 

W C C W 

Ċ C T 

CC. 

! 

W C C W 

ppp 

eva 

W C. 

W C 

G 

CC. 

PE068 – 11

# 

> 

A 

» 

A 

A 

d 

S 

WAITING FOR THE LIGHTS 

TO CHANGE 

James Ledger 

Punchy C = ◊.120 

long 

x 7 

! YY at least 

> » eva C 

Y 4 

1 : Y C 

ĊC : 

4 C 

B CC 

C BBOO 

ff 

Y Y Y4 1 : X C 

> : 4 X > 

C 

C 

! 

a tempo, yet ‘static’ 

X 

C 

mp non legato 

sempre 

CC 

C C 

X 

C 

X C 

C C C 

C C C CC 

X C 

X 

C 

C C C CC 

C C C 

X 

C 

C 

C C C 

C C C 

C 

6 

! YY Y 

! Y Y Y 

{eva} 

X C 

C C C 

CC 

C C C 

X 

C 

X C 

CC 

C C C 

C C C CC 

X C 

X 

C 

C C C CC 

C C C C C 

X 

C 

C 

C C C 

C C C 

C 

X 

C 

C C C 

CC 

C C C 

X 

C 

C C 

C 

10 

! Y Y Y 

! Y Y Y 

{eva} 

X C 

C CC 

C C CCC 

C CC 

X C 

X 

C 

CCC 

C CCC 

C CC 

X C 

C 

C 

C 

C 

X C 

C CC 

C CC 

X C 

C 

C 

C 

C 

X C 

C CC 

C C C CC C 

C C C C 

X C 

C 

C 

14 

! YY Y 

! Y Y Y 

{eva} 

X C 

C 

C CC 

X C 

C 

C CC 

C 

C 

X C 

C 

C CC 

X C 

C 

C CC 

C 

C 

X C 

C 

C 

X C 

C 

C 

C C C CC 

C 

C 

17 

! Y Y Y 

! Y Y Y 

{eva} 

X C C C 

C CC 

C 

X C 

C C C 

C 

C 

CCC 

C C 

C 

X C 

C CC 

C CC 

X C 

C 

C 

C 

C 

X C 

C CC 

C C CCC 

C C C C C C 

X 

C 

C C 

C 

C C 

Waiting for the Lights to Change © 2001 James Ledger 


ISMN 979-0-67452-101-7

# 

# 

C 

C 

C 

d 

CC 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

C 

C 

Ċ 

C 

CCC 

C 

CCC 

C 

C 

C 

C 

CCC 

# 

C 

C 

C 

C 

CCC 

C 

C 

C 

C 

C 

C 

C 

Ċ 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

# 

# 

d 

C 

C 

C 

C 

C 

Ċ 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

# 

20 

{eva} 

! YY X C C C C C C C C C C C C X C C C C C C C C C C C C C C 

Y 7 Q Q 8 4 

3 

pp 

! YY C X C C C C C C C X C C C C C C C O Ċ Ċ Ċ Ċ Ċ C O Ċ Ċ Ċ Ċ Ċ 

Y 7 8 4 

3 

senza 

24 

eva 

! YY C X C C C C X C C 

Y3 4 

4 C C C C C C 

7 Q Q 8 

4 mp 

pp 

! YY C X C C C C X C CC 

C C C C 

Y3 4 

4 7 C O Ċ Ċ Ċ Ċ Ċ C C O Ċ Ċ Ċ Ċ Ċ 

8 

4 28 

! Y Y C X CC C C CCC X CCC C C CCC X CCC C C CC C 

Y4 4 4 

5 7 Q Q 

8 

mp 

pp 

! Y Y X C C CCC X CCC C C CCC X CCC C C CCC C C CC 

Y4 4 4 

5 7 # 

8 C O C. C. C. C. C. C C O C. C. C. C. C. 

33 

! Y Y Y : 

Powerful 

C CC 

C C CCOO 

ff sub. 

Y Y Y : Y C ! X C O 

Y C 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C CC 

C C C. C 

! 

C C CCOO 

X C O 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. 

Ċ C CC 

C C C. C 

C 

d 

C C C C C CCOO 

! 

sim. 

X C CCO 

O 

C CĊ 

C Ċ C C C Ċ C C C Ċ C C C Ċ C C C 

C C CC. 

CCC 

C. 

CCC 

C. 

CCC 

C. 

CCC C . 

36 

! Y Y C C C C 

Y C O 

C 

CCO C C C CĊ 

C C CĊ 

C C CĊ 

C C CĊ 

x2 C C CC 

C C : C C C C 

O C 

CĊ 

C C 

CĊ 

C C 

CĊ 

C C 

CĊ 

C C 

CC 

C C C C C C 

O C 

CĊ 

C C 

CĊ 

C C 

CĊ 

C C 

CĊ 

4 

1 

Y Y Y 

C ! X 

CCO 

O 

CCC 

C. 

CCC 

C. 

CCC 

C. 

CCC 

C. 

C C CC . 

# : ! 

Y 

Y C 

C C 

C O 

C. 

C. 

C. 

C. 

C. Y C 

Y C 

! 

X 

C C O 

C. 

C. 

C. 

C. 

C. 

# 1 4 

PE068 – 13

# 

# 

# 

# 

> 

> 

> 

A 

» 

A 

A 

> 

> 

S 

> 

# 

> 

T 

B 

T 

# 

39 

x 11 

! Y Y at least 

> 

Y 4 

1 : Y C 

ĊC : 

4 C 

ff 

Y Y Y4 1 : X C 

> : 4 X > 

C 

C 

long 

» 

B BBOO 

g a g tempo ( CO = ◊. 80) 

Ú C = CÆ 

O 

p sub. 

C X C C. 

C C C. 

C C C. 

C C. 

X CC. 

CĊ 

C C C C. 

C C C C. 

X CC. 

Ċ CC 

Ċ 

C C 

Ċ C 

Ċ CC 

Ċ 

C C 

ff 

X C C 

C C. 

C C C. 

C C C. 

C C C. 

C C C. 

C C. 

X CC. 

Ċ CC 

Ċ 

C C 

Ċ C 

Ċ CC 

Ċ 

CC 

X C C 

C C. 

C C C. 

C C C. 

C C C. 

C C C. 

C C. 

44 

# 

Y Y Y 

C. X C . Ċ Ċ 

Ċ 

X C . Ċ Ċ 

! 

Y C 

X C . C. C 

Y C 

X C C . . C . C. 

ĊC C 

ĊC C 

ĊC C 

ĊC C 

ĊC C 

ĊC 

f 

Y Y Y C C C C C C C C C C C C C C C C C C C C C C C C C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. C. 

48 

# 

Y Y Y 

C X C C C 

C X C 

C C 

! 7 

Y C 

X C C C 

Y C 

X C X C C 

C C X C C Y C X C CY 

C C 

ĊC C 

ĊC C 

ĊC C 

ĊC C 

ĊC C 

ĊC 

8 

Y Y Y X C 

! 7 8 

X C. 

C C . C C. X C 

C. C X C. 

C C . C C. C C C C C C C C C C C C 

C. C C . C . C . C . C . C . C. C . C . C . C . C . 

52 

Delicate 

g 

! Y Y C C 

x3 

C C 

g 

C CO 

C C 

C 

x3 

C C 

C 

C 

C 

O 

Y7 8 

: : : : 4 p sub., espressivo 

! Y Y Y7 : : : : # 4 8 C C CO 

C C CO 

(Y) C C X 

C 

O 

C C C Y C C X 

C 

O 

C C C 

X . . . . X B . . . . 

56 

Punchy 

! Y Y Y4 4 C 

ĊC > C Ċ C C Ċ C > C Ċ C : C Ċ C > C Ċ C > C Ċ C T C C C C : 

h h C 

f sub. 

Y Y Y 4 X C 

> C 

C C 

C > 

C 

C > 

: 

X C 

C 

> 

C 

C C 

C C 

C Y C C C C 

C C C C C : 

x2 

X > C C C 

> 

C Ċ C > C Ċ C > C Ċ C > C Ċ C 

C > 

C 

C > 

C 

C > C C 

PE068 – 14

# 

# 

# 

# 

CCCC 

C 

C 

C 

C 

CCCC 

h 

C 

C 

CCCC 

CCĊ 

CCCC 

C 

C 

C 

C 

>C 

C 

C 

CCCC 

CCCC 

C 

C 

C 

CCĊ 

C 

>C 

C 

C 

C 

CCCC 

CCCC 

C 

C 

C 

C 

C 

C 

>C 

C 

CCCC 

C 

CCCC 

C 

C 

h 

C 

CCCC 

C 

C 

CCCC 

C 

C 

C 

C 

C 

CCCC 

h 

C 

CCCC 

C 

C 

C 

CCCC 

h 

C 

CCCC 

C 

C 

C 

CCCC 

CCCC 

h 

C 

CCCC 

C 

C 

C 

CCCC 

C 

C 

CCCC 

C 

C 

CCCC 

C 

C 

C 

CCCC 

CCCC 

CCCC 

C 

C 

C 

C 

CCCC 

C 

C 

C 

CCCC 

C 

C 

C 

CCCC 

C 

C 

C 

> 

CC 

>C 

C 

C 

CCĊ 

C 

h 

CCCC 

C 

C 

C 

CCCC 

CCCC 

h 

C 

> 

CC 

C 

A 

CCCC 

CCC 

C 

» 

CCCC 

C 

C 

CCCC 

CCCC 

h 

C 

60 

! YY Y 

Y Y Y 

C 

> 

CC 

X > C C 

C 

C 

> 

CC 

C 

> 

CC 

CĊC T 

CCCCT 

Y 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

CC 

C 

C 

C 

C 

C 

C 

CCCCT 

C 

C 

C 

C 

64 

! YY Y T 

Y Y Y C C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CCCCT 

C 

C 

C 

C 

CCCCT 

C 

C 

CC 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

CC 

C 

C 

CCCCT 

C 

C 

C 

C 

CCCCT 

C 

C 

C 

C 

C 

C 

C 

C 

69 

: : B # 

: 

C C » 

C : 

A 

>A 

! Y Y Y 

CCCCC 

4 

1 BBOO 

Y Y Y 

ff 

4 

1 X 4 X 

x 13 

long 

74 

# 

Very fast C = ◊. 160 

Y Y Y X X X X 

C C C C 

! 

C C C C 

Y Y Y ! 

Y Y Y Y 

mf dim. 

X 

C C Y C 

X 

C C Y C 

X 

Y 

Y 

X 

Y 

Y 

76 

eva 

x 7 

at least 

! Y Y Y W W W W 

X X X C ad lib. 

C X X X X X 

X 

π π 

W 

4 

1 : π : 4 ! Y Y eva 

Y X X X Y 

Y 

Y 

Y 

Y 

∫ 

4 

1 : : 4 pp sempre 

PE068 – 15

CCC 

C 

C 

C 

C 

CCC 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

C 

C 

C 

CCC 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

eva 

79 

! YY C C 

Y4 X C 

4 

eva 

! YY Y C Y 

Y4 4 

C C C 

Y 

C C X C 

Y 

C C C C X C 

Y 

Y 

X 

Y 

C C C 

Y 

X 

81 

slowing Tempo I, delicate = ◊. 126 

X 

! YY C C 

C C C 

C C C 

C C C 

CCOO 

Y 7 8 

: : 

p espressivo 

! YY Y Y Y Y 

Y 7 8 

: C C C C C C C C 

C C C C C C : 

x3 

83 

! Y Y Y 

C C O 

Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

! Y Y Y C C C C C C C C 

C C C C C C 

X 

C O C. C. C. C. C. XC 

C O C. C. C. C. C. 

86 

! Y Y Y 

eva 

C O Ċ Ċ Ċ Ċ Ċ C C O C C C C C Y C 

! Y Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

pp 

X 

C C C C C C C C C C C C C 

O C Ċ Ċ Ċ Ċ Ċ 

89 

{eva} 

! Y Y C C C C C C C C C C C C C C C C O Ċ Ċ Ċ Ċ Ċ C C O Ċ Ċ Ċ Ċ Ċ 

Y 6 8 

! YY X C O Ċ Ċ Ċ Ċ Ċ 

Y 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

6 8 

PE068 – 16

# 

C 

C 

CC 

C 

> 

C 

CC 

C 

B>B 

C 

CCC 

CCC 

C 

C 

C 

> 

>BB 

C 

CCC 

CC 

CCC 

CCC 

C 

CC 

C 

CCC 

CCC 

C 

CC 

CCC 

CCC 

CC 

C 

C 

CCC 

CCC 

C 

CCC 

CCC 

CCC 

C 

CC 

CCC 

CC 

C 

CC 

CCC 

C 

C 

CCC 

C 

BB 

C 

B 

>BB 

C 

C 

C 

C 

CCC 

C 

92! YY Y6 8 

C 

C C C C C C C C C C C C C C C C C C C C C C C C. Ċ Ċ Ċ Ċ Ċ Ċ Ċ 

C C C C C C C C Ċ Ċ Ċ Ċ C 

p 

! YY Y6 8 X . . . . . . . . X . 

Ċ Ċ Ċ 

f 

C C C C C C C C C C C C 

95 

! YY X . Ċ Ċ Ċ Y C . Ċ Ċ Ċ X C. Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ X C . Ċ Ċ C. 

Y 4 p 

f 

! YY Y C C C C 4 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

98 

G 

C C 

! Y Y CCC C 

Y4 CC 

CCC C 

CCC CC C CC CC 

C CCC C C CCC 

4 

2 4 

p espressivo 

! Y Y Y4 4 C C C 

C C C 

C C C 

C C C 

C C C 

C C C 2 4 

103 

! Y Y Y2 4 

7 

WWX B B C 

CC O 

8 4 

3 2 4 

7 # 

8 X C W W B C 

> 

C O 

mf 

p 

mf 

! Y Y g 

Y2 4 

7 C O Ċ Ċ Ċ Ċ Ċ 

8 4 

3 2 4 

7 # 

C C C 8 

g 

C O C. C. C. C. C. 

C 

> 

108 

# 

G 

Y Y WWX B B C 

CC C C 

O 

Y 4 4 

3 7 WWX B B C 

CC O 8 ! 

p 

mf 

Y Y g 

Y C O Ċ Ċ Ċ Ċ Ċ 4 C 

C C C 

C C C 

C 4 

3 C C 7 8 C O C. C . C. C . C . 

g 

C 

> 

PE068 – 17

# 

# 

# 

# 

# 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

CCCC 

C 

C 

C 

C 

CCCC 

h 

g 

C 

C 

C 

C 

CC 

C 

C 

CCĊ 

C 

C 

CCCC 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CCCC 

C 

CC 

C 

C 

CC 

C 

C 

C 

C 

CCCC 

h 

g 

C 

C 

C 

C 

C 

C 

C 

C 

h 

CCCC 

C 

C 

CC 

C 

CC 

C 

CCCC 

CCĊ 

CCĊ 

C 

CC 

C 

g 

C 

CCCC 

h 

C 

h 

CCCC 

h 

g 

C 

C 

> 

h 

C 

C 

C 

C 

CCCC 

C 

> 

CCCC 

CCCC 

h 

g 

C 

C 

CC 

C 

CCCC 

C 

CCCC 

h 

g 

C 

C 

CC 

C 

C 

h 

CCĊ 

CCCC 

Punchy 

O 

W 

! YY x2 X Y ĊC 

C 

Y : : 4 : W C CC ĊC C 

CCC ĊC C 

CCC ĊC 

W C C 

C 

> 

C X W 

ĊC C 

CCC ĊC C 

CCC ĊC C Y CĊC 

x2 

: 7 8 

f 

ff 

Y Y Y : C T X > C 

C : 4 : : 7 

O 

C C C C C C C 8 

C C C C C C C 

113 

116 

C 

! YY X W 

W C CC 

Y7 8 

Y Y Y 7 8 

f 

C 

C 

C 

C 

O 

O 

C T C 

W C C X C C W 

C 

C 

C 

C 

Y 

C 

CC 

W C C X C C W 

C C C C 

C C C 

C 

C 

120 

! Y Y O W CC 

W X CC 

W 

W CC Y X W CC Y X CC 

W CC 

Y 4 Y Y Y C T C 

C C C 

4 

O 

C C C C 

Demonic! 

getting faster 

W > C C 

> 

C 

> 

C 

> 

W 

! Y Y X W 

ĊC C 

CCĊC C 

CCĊC C 

CCĊC > C C 

> 

C 

> C 

> 

W 

C X CC W 

ĊC C 

CCĊC C 

CCĊC > C C 

> 

C Y X CC W 

ĊC C 

CCĊC C 

CCĊC C 

CCĊC C 

Y4 4 4 

3 

ff 

sff 

Y Y Y 4 X > C 

4 

3 

124 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

! Y Y W > X 

CC C ĊC 

C 

> C 

> 

W C 

CCĊC 

W > 

C Y X 

CC C ĊC 

C 

> 

W C 

CCĊC 

C 

> 

C 

CCĊC 

C 

> 

C 

CCĊC 

W > CC C 

> 

C X C ĊC 

W > 

W C Y X 

CC C ĊC 

C 

> 

W C 

CCĊC 

C 

> 

C 

CCĊC 

C 

> C 

> 

C 

CCĊC C Y 

Y3 4 

4 2 4 4 

5 4 sff 

sff 

Y Y Y4 

3 X > C 

4 

2 

X > C g 

4 4 

5 

> C 

W C 

X 

4 

127 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

PE068 – 18 

C 

>C 

C 

>C 

C 

>C 

C 

>C 

C 

>C

# 

# 

> 

> 

ig 

g 

? 

? 

B 

Very fast C = 160 

W > 

! YY X C Ċ W C C Ċ C C Ċ > 

W C Y C 

ĊC 

> X C Ċ > 

W C C Ċ > 

C C Ċ > 

W C Y C 

ĊC 

> X C Ċ > 

Y4 2 

W C C Ċ W > 

C X C 

4 4 

4 

W C BBOO 

# 

131 

Y Y Y 4 4 

g 

W C 

C C C > 

X 

C C 

C> 

C> 

C> 

g 

W C 

C C C > 

X 

C C 

C> 

C> 

C> 

2 

4 

g 

W C 

C C C 4 

A 

> C> 

A> 

135 

# 

a tempo C = 160 

slowing gradually 

Ú C 

x 7 

at least C 

π ! 

π π 

Y Y Y : : 

ff C CX 

C 

CX C C CX 

C 

C 

X C CX 

C 

dim. 

Y Y Y : : ! 

Y C 

ad lib. 

Y C 

Y C 

Y C 

∫ 

pattern ‘zig-zags’ up the keyboard 

Ì 

= 

C Æ still slowing 

X C 

C 

Y C 

Y C 

X C 

X C 

X C 

As at first, but a little slower 

Ú C = C = ◊. 112 

138 

! Y Y Y 

C 

CC 

X 

C 

C CC 

X C 

CCC 

C CC 

X 

C 

C CC 

C 

C CC 

X 

C 

CC 

C CCC 

X C 

CCC 

C CC 

! Y Y Y S 

mp tranquillo 

C 

CC 

X C 

C C 

X C 

CC 

C CC 

X C 

C C 

C 

C C 

X C 

CC 

C CC 

X C 

C C 

C 

d sempre 

143 

! Y Y Y 

X 

C 

C C C CC 

C 

C CC 

X 

C 

CC 

C CCC 

X C 

C C CCC 

C CC 

X 

C 

C CC 

C 

C 

! Y Y Y CC 

X C 

C C 

C 

C C 

X C 

CC 

C CC 

X C 

CC 

C CC 

X C 

C 

C 

147 

! Y Y Y 

X C 

C CC 

C 

C 

X C 

C C C CC C 

C C C C 

X C 

C CC 

C 

C 

X C 

C CC 

C 

C 

! Y Y Y CC 

X C 

C 

C 

C C 

X C 

C 

C 

C 

X C 

C C 

C 

C 

X C 

C C 

C 

PE068 – 19

# 

# 

# 

CC 

C 

C 

CC 

C 

C 

C 

CC 

C 

C 

C 

CCC 

C 

C 

C 

B 

C 

CCC 

CCC 

C 

Ċ 

Ċ 

C 

CCC 

Ċ 

CCCĊ 

CCCĊ 

CCCĊ 

# 

CCCĊ 

C 

# 

C 

C 

CC 

C 

C 

C 

CCC 

C 

C 

CCCĊ 

CCC 

CCCĊ 

CCCĊ 

C 

C 

C 

C 

CC 

C 

C 

Ċ 

Ċ 

CCC 

Ċ 

C 

CC 

C 

CCC 

C 

C 

C 

C 

C 

CCC 

» 

BBB 

CC 

CCC 

CCC 

151 

! YY Y 

CC X C 

C CC 

C C 

C C C C CC X C 

C C C CC 

C C CC C 

C C C C C C C X C 

C C C C CC 

! YY Y C C C 

CC X C 

C X C 

C C 

CC 

C 

C CC C C X C 

154 

slowing 

! YY X C C C C CC 

C C C C C C C C C X C C C C C C C C C C C C C X C C C C C C C C C C C C C C 

Y 2 4 + 6 8 

pp 

! YY Y 

# 

C X C C C C C C C X C C C C C C C X C C C C C 2 4 + 6 8 

157 

Slower = ◊. 104 

! Y Y C 

Y2 

CC 

C C X 

4 +6 C 

C C. 

CC 

C CC 

C CC 

C C 

CC 

CC 

C C X C 

ĊCCC 

C . 

CC 

C CC 

C CC 

C CC 

8 

: CCC CCC 

: 

p 

Y Y Y 2 # 

4+6 8 ! 

! 

: # 

! 

: 

CCCC C C C C C CCC C C C C C C CCC C C C C C C 

x2 

160 

! Y Y Y 

B O 

B BBO 

O 

6 B BBO 

8 BBOO 

4 Y Y Y 

CCCC ! X . C. C. C . C. C. C. C. 

! 6 # CCCC X . C. C. C . C. C. C. C. 8 X C. C. C. C. C. C. C. C. 4 163 

slowing ( C = 80) 

always slowing 

x 13 

at least 

! Y Y B Y4 O 6 B 4 BBO 8 BBOO 

4 

1 : : 

4 

pp 

ppp winding 

down 

Y Y Y 4 ! 6 # X 

O 8 X . C . C 4 

1 : C 

. C. C. C. C. C. 

: 4 X A 

» 

A 

long 

C 

CCC W C X X Y 

C O 

PE068 – 20

T 

S 

íí í 

T 

T 

T 

A 

g 

g 

g 

g 

g 

g 

h 

B 

, 

B 

B 

T 

T 

B 

T 

A 

T 

T 

g 

g 

g 

g 

h 

h 

h 

B 

h 

g 

B 

g 

B 

B 

T 

S 

g 

B 

T 

g 

g 

T 

g 

T 

h 

g 

B 

B 

B 

R 

B 

g 

EQUATOR LOOPS 


Steadily C = 56 

! W 1 

W 4 

5 S T g 

4 

4 

3 

4 

5 

4 

3 

C 

p C 

g 

CC 

B S T g 

O C C CC 

CC 

C C 

C 

pp C CCC 

B B O 

# W W 4 

5 Q 4 Q 4 

3 Q 4 

5 Q 4 

3 

d 

una corda 

S.P. 

Ì 

(Ossia: hold down with L.H.) 

5 

! W W 4 

3 T S S 4 T g 

: 4 

5 : 4 

C 

ppp B O T g 

C CB CO 

CC C 

pp C CCC CC 

C C C C 

p pp C C COO 

CCOO 

C 

# W W 4 

3 Q Q 4 Q : Q 4 

5 Q : 4 10 

(S.P.) Ì 

slower 

in time again 

! W W 4 5 4 

4 

C 

ppp C C C CC CC C C C C CC 

C C B 

X CCC 

C C C 

p 

pp like an echo 

# W W 4 Q ! C C C C C C 4 

5 T g 

C C C C 

# 4 

O 

(S.P.) 

slower 

13! W » 

W 4 2 4 

4 4 

5 

C C CC CC C C C C CC 

CC C C COO 

CCOO 

C C C C C T C C C 

p 

ppp like an echo 

# W W 4 

C C C C C C 

2 

C C C C T C COO 

4 

4 

B X C » 

4 

5 S S 

4 

3 

long 

3 

4 

17 

in time again 

! W W 4 

3 4 4 

3 2 4 

4 

C C CC 

CC 

C 

CO 

C C C COO 

CCOO 

C C C CC 

CC 

C 

CO 

C C 

C 

C C C 

p mp 

pp 

# W 

W C C 

W 4 

3 T 

C C C 

h 

CO 

B 4 C C 

T 

COO 

C C 4 

3 T 

C C 

h 2 

C CO 

C 

4 

4 Equator Loops © 2001 Stuart Greenbaum 

This Edition © 2005 Promethean Editions Limited PE068 – 21 

ISMN 979-0-67452-101-7

T 

T 

S 

C 

h 

h 

C 

T 

T 

T 

C 

C 

B 

g 

g 

C 

h 

C 

h 

C 

g 

C 

C 

h 

C 

C 

T 

C 

h 

C 

C 

C 

C 

C 

h 

C 

C C 

C 

C 

C 

S 

, 

C 

B 

h 

g 

g 

C 

C 

C C 

C 

C 

S 

T 

T 

A 

C 

S 

g 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

T 

C 

h 

C 

C 

C C 

S 

C C 

h 

C 

C 

C 

h 

C 

h 

C C 

C 

C 

C 

C 

g 

C 

C 

B 

B 

C 

C 

C 

C 

T 

C 

T 

T 

h 

g 

C 

g 

T 

B 

B 

C 

T 

C 

T 

B 

C 

g 

C 

h 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

C 

C 

T 

T 

B 

B 

C 

C 

C 

C C 

h 

C 

h 

g 

g 

B 

C 

C 

C 

C 

C C 

h 

C 

h 

CC 

B 

h 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CCC 

CC 

C 

C 

BBB 

C 

C 

C 

C 

22 

26 

30 

35 

40 

44 

slower 

in time again 

! W W 

C C 

4 4 

5 C C C B 4 

3 T 

g 

2 

C C C C C C C C C C C C CC 

C C C C C 4 

ppp 

mp 

pp like an echo mp 

# W 

X 

W 4 T C C W C C C C ! 4 

5 T g 

# 

h 

C C C C R 4 

3 

C C C C C 

2 4 

O 

! W W 2 4 C C C 4 C 4 

3 : 2 4 4 

3 

C C C C C C OO 

C C C C C O 

T C C O 

C C 

mf 

# W C W 2 

C C C C T C OO 

S T g 

C C C C C 

4 4 4 

3 2 O 

C : 

4 4 

3 

O 

B 

O 

B 

g 

tre corde 

Ú = C Æ 

eva 

! W W 4 

3 C 7 8 

: 4 C C C 

C C C O C C O C 8 

2 C C O 

8 

3 8 

4 

C C C C C C O 

O 

G 8 

pp like an echo 

p 

G 

# W W 4 

3 C C C O C O Y C O C 

7 8 

: 4 S C C 8 ! 2 C C C O 8 

3 8 

4 

O 

Y C 

8 

Y C B G B 

G 

una corda 

C C C C C 

C C C C 

# 

! W W 4 8 

O 

2 8 

3 8 G 4 

3 

! W W 4 8 

G 

2 O 8 

3 8 

G G 

4 

3 

mp C CC 

S T g 

C C C C C 

O 

O 

T C C T g 

C C C C C C 

C C C C C C C C C C C C CC BB C 

C CC CC C 

C 

# C C C C C C C C 

S T g 

C C C B C C C C C B 

B 

! W W O O 7 8 O 

4 

5 4 

3 O O 7 

O 

8 

W W 

pp 

O O Y O 

7 8 4 

5 4 

3 O O 7 

O 

8 

X 

X 

O 

O 

O 

O 

! W W 7 8 

4 8 

2 C C O 

C X 8 

3 8 4 

5 

C C C O C 

O 

p 

G 

G 

# W W 7 W O X 4 S 8 8 ! 

T C C 2 C C O 

C 

8 

3 # 

8 4 

5 

G G 

O 

O 

B B 

PE068 – 22

T 

B 

T 

T 

T 

B 

T 

T 

B 

B 

B 

B 

T 

S 

T 

C 

C 

C 

g 

g 

CC 

C 

g 

CC 

C 

C 

g 

g 

T 

T 

h 

g 

C 

C 

h 

h 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

B 

C 

C 

C 

g 

C 

C 

h 

g 

C 

S 

C C 

h 

C 

h 

C 

C 

C 

C 

B 

T 

T 

C 

C 

C C 

h 

C 

h 

C 

C 

C 

C 

g 

CC 

g 

CC 

C 

C 

C 

B 

B 

C 

C 

C 

C 

C 

C 

T 

C 

T 

C 

h 

h 

T 

B 

B 

T 

T 

C 

C 

C 

h 

g 

C 

C 

C C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C C 

h 

C 

h 

CC 

C 

C C 

C 

C 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C C 

C 

C 

C 

C 

C 

C 

C 

48 

52 

eva 

! W CCC C C C C C C B C 

C BB 

CCC C C C C B 

loco O B ? W 4 

5 2 T 4 4 

3 S T C C C C C B B 

mp 

pp 

CCCC C 

# W C C B C BB C 

? 

W 4 

5 O 

2 4 ! 

CCCC 4 

3 CCCCCCC C C C O BB 

ev` 

C C C C C C C 

C 

C C C 

C 

C C C 

C C C # C C B B C C C C C C CC CC 

C 

S T 

C C C C C 

g 

# 

C C C 

T 

C C C C C C C C C C C C 

h 

eva 

! W W 

O O 

7 8 

O 

O 4 

3 O 

2 4 

O 

! 4 

3 

! W W 

p 

G 

mf 

7 O O O 8 O 4 

3 2 

O 

4 O 4 

3 

56 

59 

! W . > g 

W 4 

3 C C C C O C O 4 C C C C O C O 7 8 

4 

C C C 

C C C X C C C C C O O 

8 

f 

p 

. 

# W W 4 

3 C C C 

> g 

C O C O 4 C C C C O C O 

7 W O X 

8 

4 8 

O 

O 

tre corde 

eva 

eva 

! W W 4 2 C C C O 

8 8 

3 8 

4 8 

: C C C 2 C C O 

8 

3 8 

: 4 

G 

G 8 

mf h C C C C C C C C 

G 

G 

# W W 4 8 ! 

C C 2 C C C O 8 

3 8 

4 8 

: C C 2 C C C O 8 

3 8 

: 4 8 

G G 

G G 

65 

! W W 4 8 

2 8 

3 8 

Y3 4 

5 8 4 

3 

p h C C C C C X O 

G 

C C C C CC 

O CC O 

G 

! W S T g 

C C 

W 4 X C 8 

2 X C O 8 

3 # 

C C C 

Y X 8 

Y3 4 

5 O C B O 

8 

C C 

O 4 

3 

G G 

una corda 

PE068 – 23

# 

# 

# 

# 

T 

T 

A 

T 

T 

B 

B 

h 

g 

B 

BBB 

T 

g 

h 

h 

T 

B 

h 

g 

T 

g 

T 

T 

B 

B 

g 

g 

h 

B 

B 

T 

g 

S 

T 

T 

B 

T 

T 

T 

B 

B 

h 

h 

g 

B 

g 

h 

h 

70 

! Y3 4 

Y 3 4 

O 

Slightly faster C = 60 

7 # 

8 

4 T 

! 

pp h C C Y CC 

CC 

C C C C C C C C 

C CO 

CO 

C C C C C CC CO 

CCO 

CC 

G 

g 

C C C C CO 

C CO 

7 C C CO 

C 

g g 

8 

4 C C T S 

C C C CO 

C A 

73 

! Y 4 

3 C 

4 

5 

C Y C COO 

C C CO 

C 

C 

C C Y CC CC C C C C C 

Y C C 

p 

mp 

mf 

Y C Y C 

C 

OO 

C C C C C C C 

4 

3 C CC C 

C C CO 

C 

C 

C 

C 

4 

5 

O 

G 

C 

C C C C C 

C 

C 

C 

C 

Y C 

C 

76 

tre corde 

T g 

C C C 

C C 

C 

! Y5 Y C C C C 4 

C 4 # 

C C C 

G 

Y C- CO 

f 

g 

G 

Y 4 

5 

C C Y C C C C C C C B 

# 

! 

C 4 

Y B 

C Y C 

A 

Y B A 

Y C C 

gradually slowing 

C C g 

C C Y CC 

C 

p 

g 

C C C B 

O C 

C 

78 

# 

long 

» 

Y ! 

Y 

» 

B 

A 

A 

O 

pp 

C 

una corda 

Slower than at first C = 52 

W 

C CO 

CO 

W 4 

3 5 8 4 

3 7 

C C CC 

CC 

C 

C CO 

COC 

O C C C C 

C C 

8 

S T g 

W W 4 

3 O C C C C C 

5 

C CO 

COC 

O 

8 4 

3 T g 

O ! C C C C CO 

C CO 

7 8 

82 

becoming faster 

Tempo I 

! W G 

X C C 

C = 56 

C C 

W 7 C 

8 X C C G G 

C C C CO 

CC 

O C C 

4 

3 2 4 4 

3 

mf C C C C C 

C 

C 

C CC 

C C C C 

CO 

C 

p cresc. 

! W W 

X C S T 

7 # C 

C C 

8 C C C C 4 

3 C CO 

C 

2 4 4 

3 C C C 

X C 

C C C COC C C C C 

Y C 

O 

C C C 

G O 

B 

tre corde 

PE068 – 24

T 

C 

T 

T 

B 

T 

S 

B 

BB 

B 

B 

g 

C C 

C 

h 

T 

C 

h 

h 

g 

C 

C 

C 

C 

g 

C 

T 

C 

C 

T 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

S 

T 

B 

C 

g 

C 

C 

h 

g 

C 

C 

C 

C C 

h 

h 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

B 

B 

C 

C C 

h 

C 

h 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

T 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

T 

S 

B 

C 

C 

C 

C 

C 

C 

h 

h 

g 

> 

C 

CC 

> 

C 

T 

C 

C 

C 

C 

C C 

h 

g 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

> 

C 

C 

> 

C 

C 

C C 

h 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

CC 

> 

C 

> 

C 

C 

C 

C 

C 

C 

h> 

C 

C 

C 

C 

85 

! W . 

W 4 

3 X C C 4 C 

C C O C O W > 

X C C C C O C O W C C 4 

C C C 

C C C 

C C C 

C 

C 8 

f 

. ff 

fff 

# W W 4 

3 C C C 

> 

C 

g 

O C O 4 C C C C O C C O C C C O C 

O 

C 

4 8 

B O 

S C T S S T 

O 

C 

88 

! W eva 

eva 

W 4 8 

2 C C C C C O 

8 

3 8 

4 8 

: C C C 2 C C C C O 

8 

3 8 

: 4 

G 

G 8 

f 

G 

G 

# W W 4 8 ! 

C C 2 C C C O 8 

3 C C C 8 

4 8 

: C C 2 C C C O 8 

3 C C C 8 

: 4 8 

G G 

G G 

Ì 

94 

gradually slowing 

! W W 4 C C C 2 C C O 

8 8 

3 8 

4 8 

2 8 

3 

G 

C C C C C O 8 

G G 

G 

! W C C C C 

W 4 C C 8 

2 C C O 8 

3 # 

O 

8 

4 8 

2 8 

3 8 

G G 

99 

Heavily drawn-out 

! W W 3 # 4 8 8 

C C C 2 C C X O 

8 

3 8 

4 G 

G G ff 

G 

# W G 

W 3 8 

4 8 X C 2 8 C X C Y O 3 8 X W 4 103 

Tempo 

T O 

I = 56 

A C C 

# W W 4 A ! G 

# W W 4 O 

! 

A 

A 

G 

O 

O 

G 

G 

O 

O 

G 

G 

long 

» 

eva 

A 

C C 

C 

PE068 – 25

A 

T 

h 

> 

> 

> 

B 

B 

B 

ig 

ig 

g 

B 

B 

MECHANICALLY SPEAKING 


Mechanistic C = 120 

C >C >C >C >C >C >C 

C 

! 4 

5 C C C C C C 

1 

4 

fff 

f 

secco 

# 4 

5 4 C 

>C 

C C C C 

C 

C > 

C 

C > 

C 

C > 

C 

C > 

C 

C > 

C . C . C . C . C . C . 

3 

! 

C C simile C C C C C C A 

> C C C C 

# C . C . C . C . C . C . 

Ċ C 

Ċ C 

C . C 

Ċ 

C 

Ċ 

C 

C 

.C 

. 

C 

p 

Ċ 

C 

C 

.C 

Ċ 

C 

Ċ 

C 

C 

.C 

6 

Ú C = CÆ 

! Y > 

2 4 16 

9 

2 4 16 

9 

C C C Y C 

C C C C C C CO 

Y C C C C C O 

C C C C 

# Ċ Ċ 

C C 

C Ċ 

.C C 

Ċ 

C 

C 2 Ċ 

.C 4 C 

. 

C 

C 

.C 16 

9 Y 

C C 

Y C C 

C 2 4 Y 16 

9 

f p 

mf 

d 

10 

! 16 

9 

2 4 

4 

Y C C C C C C C C C Y C C C 

# 16 

9 Y 

C 

C 

Y C C 

C 2 4 Y 

4 C 

p 

mf mf 

C Ċ Ċ C ĊC ĊC 

C C C 

13 

simile 

! C Ċ C Ċ C C Ċ C Ċ > 

C 2 4 B 4 A 

> > 

C 

C 

Y B B 

. C 

. C . C C . C . C C . C . C C . C C . C 

# 2 . C 4 

4 C C C C C 

C C C C C C C C p 

Mechanically Speaking © 2001 Matthew Hindson 


ISMN 979-0-67452-101-7

# 

# 

> 

B 

C 

C 

C 

> 

T 

C 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

>C 

C 

C 

>C 

C 

C 

TU 

C 

C 

C 

C 

g 

-C 

C 

C 

C 

T 

T 

> 

B 

C 

C 

g 

C C 

C-> 

h 

C 

jh 

C 

C 

S 

C 

C 

T 

C 

C 

TU 

CB 

B 

C 

C 

S 

g 

-C 

C 

S 

C 

C 

>C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

S 

C 

C 

C 

C 

C 

C 

C 

-C 

S 

C 

C 

TU 

C 

g 

C 

C 

C 

C 

g 

-C 

C 

C 

> 

T 

C 

C 

C 

C 

C 

h 

T 

C 

> 

C 

h 

C 

CB 

B 

C 

g 

-C 

C 

>C 

C 

C 

-C 

-C 

C 

TU 

C 

C 

C 

g 

-C 

C 

C 

C 

C 

C 

C 

# 

> 

C C 

S 

S 

C 

C 

C 

g 

C 

C 

Ċ 

C 

C 

C 

C 

C 

C 

17 

! 16 

9 

# 

O O 2 4 

C C Y C C ! 16 

9 

. . CCC 

. C C 

. C 

# 16 

9 Y C C C C 2 4 Y 

16 

9 

Y 

Y 

20 

C 

> eva 

! 16 

9 

Y Y 

2 C 

4 

16 

9 

Y C C C C C C C Y C C C 

f 

# 16 

9 Y 

CCO 

Y 

2 4 Y 

16 

9 T C 

! Y C > 

C 

> 

C C 

6 

16 

# 6 

C Y C > 

Y C 16 

C > 

Y C C C > Y C 

C 

> 

Y 

24 

# 

Y O 2 Q 4 ! Y O 

4 

Y ff f - C 

p mp mf 

# O 2 4 

4 

C 

Y C Y C 

> 

Y C Y C. C. Y C . C. Y C . C. 

p 

Y C 

Y C . 

C 

C. 

Y 

C 

C. 

Y C 

C . 

C 

C. 

Y 

simile 

C 

C. 

29 

! 

Y 

C 

C 

Y . 

C 

C. 

Y 

C 

C. 

W 

f > - C 

C Y O > 

C- 

O 

p 

Y C 

Y C . 

C 

C. 

Y 

C 

C. 

Y C 

C . 

C 

C. 

Y 

> 

C 

C 

C. 

C T Y g 

C 

f - 

Y -C 

Y 

C 

C 

C OY - C OY 

C - 

Y -C O -C 

O Y O C 

C 

C 

Y C . 

32 

Y C Y C > C Y C > 

! 2 4 

4 Y 

CC 

Yp . 

C 

C. 

C 

C. 

Y C 

C . 

C 

C. 

C 

C. 

! 2 4 Y C 4 Y Y CC 

Y C 

f . . 

C . C. 

Y 

mp 

C C. 

. C Ċ C Ċ C C 

U T 

C O 

Y CC Y . 

CC . 

U T 

U T 

C Ċ 

C O 

35 

. Y . C C Ċ C Ċ C. 

Y . Ċ Ċ Ċ Ċ Ċ Y C 

! 4 

5 . Y C . Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċ . 

? 

4 f p mp 

pp 

? 

! Y Y C C C 4 

5 # 4 

. 

O Y C. Y C C 

. 

CC C O Y . 

Y C C 

. 

CC C O Y . Y C C 

. 

CC C O . 

PE068 – 27

T 

C 

T 

T 

T 

h 

^C 

h 

^C 

C 

C 

g 

C 

g 

C 

apple 

g 

C 

C 

g 

C 

S 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

R 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

^C 

C 

h 

C 

^C 

g 

C 

ÒC 

C 

h 

C 

S 

C 

S 

C 

C 

T 

C 

h 

g 

C 

C C 

> 

C 

C 

C 

C 

C 

C 

g 

C 

C 

' 

h 

C 

T 

C C 

> 

T 

T 

C 

C 

C 

C 

C 

C 

g 

C 

T 

C 

C 

C 

T 

C 

C C 

> 

C 

C 

T 

C 

C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

T 

C 

^C 

CC 

g 

C 

ÒC 

CC 

'C 

h 

T 

C 

C 

h 

g 

C 

C 

h 

g 

C 

C 

T 

C 

C 

C 

T 

T 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

g 

C 

C 

C 

C 

T 

C 

C 

S 

S 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

'C 

h 

C 

C 

g 

C 

C 

T 

C 

C 

C 

T 

T 

C 

37 

! 4 C C C C C Y C C 

C C C C C Y C C T C 

C 

C C C Y C C 

C C C C 2 

3 C Y C 

C C C C C 

C 4 

h 

C 

# 4 T C 

C C Y Y C Y C 

2 

3 Y C 

4 41 

! 4 4 

f pesante ma legato 

con ped. 

simile 

C 

Y C 

Y 

# Y 

4 Y 

4 

3 4 44 

! 4 g g g g g g g g 

Y 

4 

3 

C. C C . C C . C . C C . C 

Y C. C. C. C. C. C. C T C C 

Y 

mḟ 

. C. 

p Y . Ċ C Ċ C Ċ Ċ C Ċ C Y C. Ċ C Ċ C Ċ Ċ C Ċ C 

# 4 Q 4 

3 

47 

50 

53 

senza ped. 

mp Y 

' 

! 4 

3 Y 

Y 

4 Y 

Y 

f 

. 

ṗ 

# 4 

3 Y 

4 

Y 

Y 

Y 

Y 

mp 

C C 

. 

PE068 – 28 

3 

4 

Y ' T g 

Y ' T ' g T T 

C C C C Y C 

. . . . . 

Y 'C 

h 

' 

C Y C. C Ċ W CCC 

Y C Ċ C Ċ 

! 4 

5 

W 

W 

7 8 

sfz f > . C > . 

Y > . C > . X C > . W C > . C > . 

Y > . C 

C 

> . h W > . C > . 

Y . . 

> . X C > . W C > . C > . 

Y > . X C > . W C > . 

C>. W C 

> . C > . X C 

> . W C 

> . C > . X C 

> . W C 

> . C > . sfz W > . C > . X C 

> . W C 

> . C > . X C 

> . W C 

> . C > . X C 

> . 

# 4 

5 7 8 

W CCC 

! 7 Y CCC 

W 

8 

4 > . C > . Y C 

> . C > . W C 

> . C > . Y C 

> . 

6 C>. X C > . W C > . C > . X C > . W C > . 

8 

sfz 

sfz 

C. W C 

sfz > 

X . W > 

X . C. W > 

X 

C>. W C 

> . C > . C > . C > . C > . X . W X . W X . Ċ W X g 

# 7 8 C h 

4 T h 

T C W > . C > . Y C 

> . C > . W C 

> . C > . Y C 

> . 

C 6 

W Ò 

8 

Y 'C 

h 

C C 

. 

Y C 

' 

Y ' 

C C 

. 

C 

. 

' 

C 

C C 

. 

4

C 

C 

C 

C 

C 

'C 

C 

C 

C 

C 

C 

C 

C 

' 

C 

C 'C 

C 

C 

C 

C 

C 

'CC 

'C 

C 

C 

C 

C 

C 

C 

'C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

'C 

C 

C 

C 

C 

C 

'C 

C 

C 

C 

C 

C 

C 

'C 

S 

C 

C 

C 

'C 

C 

C 

C 

C 

CCC'C 

'C 

C 

C 

C 

, 

T 

C 

C 

C 

S 

C 

h 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

56 

! 6 Y CCO 

O 

8 

O 

CCOO 

' C 

Y 

O 4 

5 Y ' C CC 

' C ' C CC 

' C ' C CC 

' C ' C CC 

' C ' C ( ) Y C C CC 

C C C C C C C C C C C C C 

Y C 

C 

C 

C 

4 

p 

# X 

6 ' O 

O O C O 

5 

C ' C C ' C C ' C C ' C C ' 

8 X O 

4 

4 Q 

O 

! 

eva 

59 

! Q Q T 

pp 

Y C C C C C C C C C C C C C C C C C C Y C C C C C C C C C C C C C C C Y C C C C C C C C C C C C C C C 

! 

62 

{eva} 

Y 

eva 

Y 

! 2 Q 4 

4 Y C C C C C C C C C C C C C C C C C Y C C C C C C Y C C C C C C C C C C C C C C C C 

! 2 4 

4 65 

{eva} 

Y 

Y 

Y 

Y 

! 4 

3 4 C C Y C C C C C C C C C C C C C C C Y C C C C C C 

! 4 

3 C C C C 

C 4 C Y C C C C C C C C C C C C C C C 

68 

{eva} 

! 4 

3 9 8 

Y C C C C C C C C C C C 2 4 

! Y C C C C C C C C 

4 

3 9 8 

2 

C C C C C 

C C C C C C C C . C . C C C. 4 

C. Y 

71 

! 2 Y C C C C C C 4 C C C C C C C C C C C C 

4 Y C C C C Y C C C C C C C eva 

C C C C 

! 2 4 

4 

Y 

Y 

C 

C 

C 

C 

C 

C 

C 

C 

Y 

C 

C 

PE068 – 29

C 

R 

C 

C 

C 

C 

T 

C 

C 

C 

C 

CCCĊ 

CC 

C 

C 

C 

C 

C 

CCCĊ 

CC 

U 

CCCĊ 

Ċ 

C 

C 

CĊ 

CC 

T 

C 

C 

h 

Ċ 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

Ċ 

C 

C 

C 

CC 

C C 

Ċ 

C 

C 

C 

C 

C 

C 

Ċ 

C 

CCCĊ 

C 

T 

C 

CCCĊ 

C 

C 

C 

CC 

C 

S 

C 

C 

C 

CCCĊ 

C 

Ċ 

C 

CCCĊ 

TU 

C 

C 

U 

CCCĊ 

g 

g 

C 

C 

CCCĊ 

C 

C 

U 

C 

CCCĊ 

C 

C 

C 

C 

C 

CCCĊ 

C 

? 

AAA 

C 

T 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

U 

C 

C 

C 

C 

CCCĊ 

Ċ 

C 

C 

C 

CCCĊ 

g 

C 

Ċ 

C 

CCCĊ 

C 

C 

C 

C 

CCCĊ 

74 

{eva} 

rallentando 

Y C C C C C C C C C C C Y 

! C Y C C 

C C C 

C C C 

C C C 

C C C 

? " 

9 

Y 

8 

C C C 

C C C 

C C C 

C C O 

Y C 

# 

Y C C C Y O 

! 

Y 

9 

CC O C C C C 

8 

a tempo 

77 

! 9 8 Y Y C C C C C C C 6 

8 

5 

Y C 

8 

. 

CCCC . CC C . CC C . 

CCCC . CC C . CC C . CC C . 

CCCC Y Y C C C C C C 

. Y . 

C C . CC CCCC . CC C . CC C . C CC Y Y C C C C C C 

. Y . 

C CC C . 

CCCC . CC C . CC C . CC C . 

f # 9 O 6 O O 

8 O 

8 

5 

C. C. O C. O C. O O C. O C. O C. O C. O C. O C. O O 8 

80 

! 5 # 

8 Y Y C C 

4 C C Ċ C C C C Ċ C C Ċ C Ċ C C C Ċ C C 5 

Y C 

8 

. 

CC. 

CC. p 

cresc. 

# 5 O 

8 O 

O 4 T T U 

5 

C. O 

8 

C. 

C. O 

W g i T C T S U 

W g T S T 

C. W . 

C. W . 

C. 

83 

Y . 

# 

X 

5 8 

C C C C C Y 

Y Y . 

Y CC 

Y 

Y CC 

Ċ 

! 9 8 

6 

C C 

8 Y 

C CC 

f 

# 5 O 8 T C 9 O 

8 

6 C C Y O O O O O 8 

W C 

O 

C. O C. O O 

W C . 

C. C. O C. O C. O C. O 

C. O 

O 

C. O 

O 

C. O 

86 

Y . Y 

Y CC CCĊCĊ C Y . 

! Y CC 9 Y 

Ċ 8 Y CCOO 

CC O 

CCO 

6 8 

4 C 

Y C O C C C . C. O CC C C. O CC C. O 

C C Y CĊO 

Ċ 

Y . O CC O C CCO CCOO 

C. O 

O 

O 

# Y 

9 8 

6 8 

4 O 

O 

O 

Y C. O . 

C C C C C C C Y Y C C 

C. C. C. C. C. C. C. Y C . C. Y C . C. C. C. C. C. 

PE068 – 30

# 

Ċ 

C 

B 

T 

C^ 

C 

h 

C 

C 

Ċ 

C> 

C 

h 

C 

C 

U 

C 

C 

C 

C 

>C 

C 

> 

B 

Ċ 

C 

Ċ 

C 

C 

C 

>C 

C 

>C 

C 

> 

B 

C 

C 

Ċ 

C 

R 

CB 

B 

Ċ 

C 

C 

C 

C 

> 

B 

Ċ 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

C 

C 

> 

B 

CB 

B 

Ċ 

Ċ 

C 

89 

Y 

! 4 Y C T g i 

2 4 

4 

Y sfz p 

C. . C . C C 

crescendo 

. . C . C C . C 

C Y C 

. . . 

C . C Y . . 

C . C C . . 

Ċ 

. Y C 

Ċ Ċ Ċ Ċ Ċ Ċ Ċ . Ċ Ċ Ċ Ċ Ċ 

Ċ Ċ 

ff 

# 4 Y g T S S Ċ Y C . Ċ Ċ Y . Ċ Ċ Ċ Ċ Ċ 

2 Y . Ċ 4 

4 

Y C Ò . 

C . 

C . C . 

C . 

C . C C . . 

C . 

C Y C . . C . C . C C. . C . 

92 

eva 

! 4 2 4 

4 fff 

>C 

C 

>C 

C 

f dim. 

CCC C 

loco 

simile 

CC C C 

# 4 2 4 

4 C C C C C 

>C >C >C >C >C 

C 

C. 

C 

C. 

C 

C. 

CCC . 

C C C . 

C C C. 

95 

! 

C 

C. 

C 

C. 

CCCC 

C 

C. 

CC. 

CC. 

CCCC 

C C. 

mp 

Ċ 

C C. 

> 

CCCC CC CC CC CC B 

CC CC 

Ċ 

C 

Ċ 

C C. 

Ċ 

C 

Ċ 

C C. 

Ċ 

C 

Ċ 

C C. 

98 

> 

C 

! C C C 

C CC 

C C 

C C C C 

C 

# C C C ! 

Y CCCC 2 CCCC 4 16 

9 O O 2 Y 4 16 

9 

Y 

C. C. 

. 

Y 

2 4 C. 16 

9 Y 

2 4 Y 

16 

9 

f 

eva 

102 

! 16 

9 Y C C C C C 2 C C Y C Y C C C 

C 

C C C 

4 

7 C 8 

Y C C 4 

C Y C 

! 16 

9 

2 4 

Y 

7 Q # 

8 

4 

Y 

Y 

PE068 – 31

# 

# 

# 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

T 

C 

>C 

C 

C 

>C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

Ċ 

>C 

Ċ 

C 

C 

C 

> 

C 

C 

T 

> 

C 

> 

C 

>C 

C 

T 

T 

C 

C 

C 

C 

Ċ 

h 

C -C 

C 

h 

g 

C 

-C 

C 

C 

C 

C 

C 

C 

Ċ 

C 

>CC 

C 

C 

> 

C 

T 

> 

C 

C 

T 

C 

C 

CC 

C 

C 

C C 

> 

CC 

C-C 

C 

C 

C 

Ċ 

>C 

C 

CC 

C C 

> 

CC 

C 

C 

T 

T 

T 

CC 

C 

>C 

C 

C 

Ċ 

h 

C -C 

C 

h 

h 

C 

> 

C 

> 

Ċ 

CC 

C C 

> 

C 

C 

C 

T 

T 

Ċ 

C 

C 

C 

Ċ 

C>C 

C 

h 

g 

C 

>C 

C 

C 

CC 

C 

C 

Ċ 

C 

C C 

> 

CC 

CC 

C-C 

C 

C 

Ċ 

C 

>C 

CC 

>C 

C 

>C 

Ċ 

C 

C 

C 

105 

CCĊC ĊC Y 

! 4 Y C C ĊC ĊC 2 Y C C ĊC ĊC C 

4 

4 

mf 

# 4 2 4 

4 f 

p 

109 

! 

Y > C 

Y C 

C. 

C. 

C 

C 

ĊCĊC 

C. 

C 

> 

C 

C. Y C . 

CCC C C 

Y C . 

C C 

C O 

C 

> 

C C 

C O 

g 

C. 

C 

C 

g 

C. 

ĊCĊC 

C. 

C. 

C 

> 

C 

C. 

C C 

C. 

C 

C 

ĊCĊC 

C. 

C 

> 

C 

C. 

C 

C 

C 

> 

C 

C. 

C. 

C 

C 

ĊCĊC 

ĊCĊC 

C. 

C 

C 

C 

> 

C 

C. C . 

C 

C 

C 

C 

C 

ĊCĊC 

C. 

ĊCĊC 

! 

112 

Y C 

Y C 

C C C C 

ĊC ĊC ĊCĊC C 

Y C > C 

! 16 

9 

C C 

> C Y eva > C 

> C 

C C C C 

> eva 

C 

C C Y C 

> 

C C C Y C # 

f 

> 

Y > 

! 16 

9 

# 

Y . C. Y 

Y . C. Y . C. Y C C 

. C. > C C 

C C C 

> C 

> 

C 

> C Y C C Y 

C 

C > C Y C C > 

Y C 

116 

# 

C 

> 

Y 

C C > 

Y C 

Y 

O 

! 4 4 

# O 4 C>C Y C Y C 

> C C Y C . 

qua 

YY Y C 

C 

C 

C. 

C 

C 

C C CCC 

C 

C. 

C 

C. 

>C C CCC 

C 

C 

C C CCC 

C 

C. 

YY Y C 

C 

C 

C . 

C 

C 

C C CCC 

eva 

YY C 

C 

CC C CC 

C 

C 

Y Y 

Y 

C O 

O 

O 

119 

! 

Y 

C 

C 

Y . 

eva 

YY C 

C 

C 

C. 

C 

C 

C C CCC 

C 

C. 

C 

C. 

>C C CCC 

C 

C 

C C CCC 

YY Y C 

C 

loco 

C CCC 

C 

C 

YY -CC Y - Y CCOO 

C C CCOO 

Y C C CC C C C > . 

C C C C C 

Y 

Y 

Y -C 

O X 

O X -C 

O 

C 

-C 

C 

C 

Y C 

Y C 

> . 

eva 

Y Y 

Y C 

C 

-C 

C 

C C CCC 

C 

C 

YY -CC Y - Y CCOO 

C C CCOO 

Y C C CC C C C > . 

C C C C C 

Y 

Y -C 

X -C O 

Y O X O 

-C 

C 

C 

C 

Y C 

Y C 

> . 

ritenuto 

eva qua 

YY Y C C C C Y 

! C 

CCC 

CCC 

CCC YY C 

Y 

C 

2 Y CC Y C CCC 

4 4 

5 

cresc. 

Y C C C Y . Y C 

Y C 

Ċ C 

# Y C 

Y C 

! 

2 Y C 

4 4 

5 

C C C . C. C Y C C Y 

Y 

Y C. 

C. C 

122 

PE068 – 32

# 

# 

T 

C 

C 

C 

B 

C 

C 

C 

T 

C 

C 

C 

C 

Ċ 

C 

C 

C 

C 

C 

Ċ 

Ċ 

>C 

C 

C 

C 

C 

Ċ 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

T 

C 

C 

C 

C 

C 

> 

C 

C 

C 

ÒB 

C 

C 

C 

> 

C 

C 

C 

B 

C 

C 

C 

C 

C 

h 

Ċ 

C 

C 

Ċ 

T 

C 

Ċ 

C 

C 

C 

CC 

C 

C 

C 

C 

C 

C 

^C 

C C 

h 

CC 

Ò 

> 

125 

128 

# 

133 

135 

139 

a tempo 

! 4 

5 Q # 4 ff 

f X 

>. Y C > . C > . W C > . C > . X C > . 

# 4 

5 4 X > . Y > . C > . W C > . C > . X C > . Y > . C > . W C > . C > . B 

molto pesante 

fff 

Y C X W X C W C X 

W C C X C Y C W C 

Y 

A 

A 

Y Ò 

131 

Y A 

Y A 

X 

X 

Y 

W 

PE068 – 33 

Y C > . C > . W C 

simile 

Y B B 

Y BÒ 

B B 

ÒB 

C X C 

X C C Y C 

W 

C X C 

X 

X C C Y C 

B 

B 

Y C C W C C X C 

W 

C X C 

X C C Y C 

# 4 

3 ! 4 

W C X C 

X C Y C 

W C C X Y 

W C X C 

X C Y C 

W C X C 

X C Y C Y 

f 

# 4 

3 4 

Y B Y B 

B B 

( Y C ) C 

p C 

C C C 

Y C C C C 

eva 

C 

! 4 fff 

# 4 C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

Y 

C 

C 

Y 

Y C 

Y C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

Y C 

Y C 

Y C 

Y C 

C 

C 

C 

C 

gliss. 

C 

C 

C 

C C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C C 

C 

C 

C 

ev` 

{eva} 

Y C 

> . 

eva 

Y 

>. Ċ 

> 

Ċ 

> 

Y C. 

eva 

Y 

Y Y . 

! h 

3 Y 

8 4 

5 Y . 

> C >C 

4 Y C C 

Y p 

fff 

. 

Y > . p Y . 

fff 

# 

Ċ g 

g T S R 3 Y 8 

g 4 

5 S T C 

h . Y . 

Y 4 µ 

>. 

µ 

. 

>. 

. µ > µ > µ > µ 

{ev`} 

ev` 

ev` 

{eva} 

rallentando 

a tempo 

Y > C 

Y C > C C > Y 

! > eva 

C ? 

Y 

S 

Q 

Y 

Y mp 

? 

S Y C C C C C- C- C- C- C- 

S R 

>µ >µ >µ >µ >µ >µ >µ 

Y 

{ev`} 

C. 

sfz 

C 

C 

C 

C 

>C 

C C > 

C

B 

B 

# 

T 

d 

g 

h 

B 

- 

- 

WAITING FOR THE 

AEROPLANE 

John Psathas 

C = 60 

! 4 Q : Q : Q 

F fade in very gradually (cresc. sempre) p 

# 

C 

4 C C C C C C C C C C C C C C C C : C C C C C C C C C C C C C C C C 

: C C C C C C C C C C C C C C C 

x5 

con ped. 

una corda 

4 

! R S O ig 

Y 1 

! 5 5 1 

G G 

C 8 

4 

4 

3 

Y CO 

CO 

Y COY CO 

C B C 

Y CO CO 

C C Y CY 

C C + 16 

3 

# 

C C C C C C C C C C C C C C C C C 

5 C C C C C C C C C C 

8 

4 C C C C C C C C C C C C C C C 

4 

3+ 16 

3 

7 

1 5 1 

! 4 

3+ 16 

3 4 T O 

gi 4 

3 CO CO CO 

CO 

CO 

O 

CO 

C 

CO 

4 

3+ 16 

3 

Y O 

C O X O 

X C 

# 

C 

4 

3+ 16 

3 C C C C C C C C C C C C C C 

4 C- C C C C C C C C C C C C C C C 4 

3 C C C C C C C C C C C C 

4 

3+ 16 

3 

Ì simile 

10 

O 

CO 

CO 

! 4 

3+ 16 

3 3 8 4 

3 4 

3+ 16 

9 

CO 

pp - Y CO 

CO 

CO 

CO 

CO 

-CO 

CO 

# 4 

3+ 16 

3 C C C C C C C C C C C C C C C C 

3 C C C C C C 

8 4 

3 C C C C C C C C C C C 

4 

3+ 16 

9 

13 

! 4 

3+ 16 

9 Y CO 

2 4 + 16 

5 

# 4 + 16 

3 

CO - C O C O C O 

-CO 

C O C- O CO 

C O CO 

CO 

- CO 

CO 

B C CO 

# 3 4 + 9 16 

C C C C C C C C C C C C C C C C C C C C C 2 

4 + 16 

5 C C C C C C C C C C C C C 

4 + 3 16 

Waiting for the Aeroplane © John Psathas 


ISMN 979-0-67452-101-7

„ 

Â 

‰ 

B 

B 

T 

A 

-C 

C 

B 

C 

C 

B 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

d 

g 

C 

C 

C 

C 

C 

C 

C 

g 

C 

U 

C- 

-C 

B 

B 

A 

>A 

A 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

-C 

C 

C 

C 

C 

C 

C 

C 

15 

# 4 4 + 3 16 

# 4 4 + 3 16 

G 

C Y C C C 

Y 

O 

O 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

4 

4 

17 

# 

! 

T O g 5 Y O 

8 

4 4 

3 

O 

i O 

O 

Y O 

Y OY O C B C C Y Y 

+ 

Y 

G G 16 

3 

# 


5 C C C C C C C C C C - 

8 


4 

3+ 16 

3 

20 

! 4 

3+ 16 

3 Y O 

O 

# 

4 T g i O O 

O O 

O O 

O O 

4 

3+ 16 

3 X 

# 

C 

4 

3+ 16 

3 C C C C C C C C C C C C C C 

4 C- C C C C C C C C C C C C C C C 

4 

3+ 16 

3 

22 

pp 

# B O 

C C 

4 

3+ 16 

3 ! 4 

3 O Y O O O O O O O 4 

3+ 16 

9 

G 

# 4 

3+ 16 

3 C-CCCCCCCCCCC C C C 

4 

3 C C C C C C C C C C C 

4 

3+ 16 

9 

mf 

# 4 

3+ 16 

3 RO 

O 

Y 4 

3 O 

4 

3+ 16 

9 

24 

! 4 

3+ 16 

9 Y - O O O O 

O Y - O O C-O O O O C-O O C O 2 4 + 16 

9 B C Y O C O C C O C C 4 +5 8 

pp 

# 

C 

4 

3+ 16 

9 C C C C C C C C C C C C C C C C C C C C 

2 4 + 16 

9 C C C C C C C C C C C C C C C C C 4 +5 8 

26 

! 4 +5 4 # 

8 C OO Y C C OO 

5 8 

ppp 

X AA > 

# 4 + 5 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 5 

8 

4 

8 

PE068 – 35

h 

TUU 

h 

R 

CCC 

A 

TUU 

A 

S 

C 

TUU 

d 

C 

CC 

h 

CCC 

U 

C 

CC 

h 

d 

C 

C 

TU 

h 

T 

TUU 

C 

h 

C 

CC 

h 

CCC 

C 

CC 

h 

h 

TUU 

C 

C 

h 

CCC 

CCC 

C 

28 

C 

# 58 C C C C C C C C C C 

4 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

2 4 + 3 8 

G G 

# 58 S S C 4 2 4 + 3 8 

pp 

C 

C C C d C A A 

31 

# 24 + 3 8 

# 24 + 3 8 

O 

4 

TU 

p 

Y OO 

OO 

BO 

B 

3 

4 + 3 16 

U U T 

C OO 

Y CCOO 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

4 

4 

3 + 16 


B 

C 34 

# O Y 

4 + 16 

3 A 

CCO A 

C CC O 

2 UU 

Y OO 

4 T 

OO 

4 

# 

C C C 

4 + 16 

3 C- C C C C C C C C C C C C C C C C C C C- 

2 C C C C C C C 

4 

4 36 

38 

C 

# OO 

C 

4 Y CCOO 

B 

C C C C C C C C C C C C C C C 3 8 

C 

# 4 C C C C C C C C C C C C C C 

G G 

C 

3 8 

C C C 

C C BO 

poco rallentando 

a tempo 

# 3 Q 

Y OO 

8 4 

5 OO 

CCC U 

C OO C C C C C C C C O 

Y CCOO B 

! 4 p 

C 

# 3 C C C 

C C C- 

8 4 

5 C C C C C C C C C C C C C C CC C C C C 4 40 

g 

C O S C 

! 4 2 Q 4 

4 4 

3 

Y B 

BB C OO 

Y C OO 

Y 

OO OO 

OO Y C OO 

# 

C 

4 C C C C C C C C C C C C C C C C 2 C C C C C C C C 

4 


4 

3 

PE068 – 36

# 

C 

- 

T 

C 

B 

-C 

B 

C 

C 

C 

A 

C 

C 

C 

C 

C 

B 

C 

BB 

C 

C 

C 

T 

C 

C 

# 

T 

ig 

C 

-B 

C 

C 

C 

C 

C 

C 

C 

C 

d 

C 

C 

>C 

43 

! 3 4 

T OO l hj C 

4 

O 

O 

Y 

! 5 Y 

8 

# 

C 

4 


4 C C C C C C C C C C C C C C C C 5 C C C C C C C C C 

8 

4 OY 

O 

O 

O 

Y 

OY 

O 

4 

46 

! 4 4 

B C C 

G 

Y 

Y 

G 

X A - 

pp subito 

# 4 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

4 

5 

5 

4 

48 

! 4 

5 C C Y 2 S T 

4 

O 

T O 

4 

g 

4 

3 

G 

i 

G 

# 

C 

4 

5 C C C C C C C C C C C C C C C C C C C C 

2 C C C C C C C C 

4 


4 

3 

51 

54 

sfppp 

g 

! 4 

3 O O 

O O 

O O 

O O C 

> W O 

sfppp > g 

C 

W BB 

4 

C C C 

C 

# 4 

3 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

G G 

C T C 4 f 

C C C 

* 

con ped. 

tre corde 

! 4 UU 

UU 

Y C C 

f C C C C C C C C C 

Y CCC 

C C C C C C C O 

# 4 C C- C C C CC C C C CC C C C CC C C Y 

C 

R 

55 

! Y CC C 

C 

T 

UU C C C C C C C C C C Y C C C C C 

C C C 

C C C CC C C C CC C C C CC C C C Y 

C 

>C 

PE068 – 37

# 

# 

B 

B 

AAA 

B 

- 

B 

BBB 

R 

R 

g 

UUT UUT 

Y C C C C C C C C C C C C C C C CO 

Y C 

# CC 

- C C C C C C C C C C C C C C Y 

C 

56 

! 

57 

! Y CC 

UUT C C C C C C C C C C C C C C C C C Y C 

C C C C C C C C C C C C C C C Y 

C 

>C 

C 

C 

UUT Y UUT 

C 

C C C C C C C C C C C C CO 

Y C 

# CC- C C C C C C C C C C C C C C Y 

C 

58 

! 

59 

! Y BB O 

C 

COO 

Y C 

dim. poco a poco 

C C C C C C C C C C C C C C C C 

TO 

gi 

B BBOO 

C B 

OO 

C 

OO 

C C C C C C C C C C C C C C C C 

Y C 

61 

rallentando 

a tempo 

C C C 

! 

UUT 

2 # 

W OO 

C C 

X C OO 4 ! 4 C 

ppp 

# 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

2 C C 

G C 

4 

UT C C 

4 una corda 

f C C C C 

con ped. 

tre corde 

PE068 – 38

# 

# 

# 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

h 

C 

C 

C 

C C 

CC 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

TU 

C 

C 

T 

h 

C 

T 

h 

C 

T 

C 

C 

C 

C 

C 

C 

C 

„ 

Â 

64 

! 4 : Y C C 

ff 

# Y 

4 : 

C C 

Y 

C C C C C C C C C C C C C C C 

Y 

C C C 

C C C 

C C C 

Y 

C 

C 

C C C 

‰ 

# 4 4 

: 

ff 

O 

con ped. (sustain bass notes) 

C 

C 

C 

C 

Y C C 

Y 

C 

C 

Y 

O 

Y 

C 

C 

O 

C 

C 

„ 

Â 

‰ 

65 

! C Y 

CCC 

Y 

C 

C 

: 

Y O 

C O 

# X C C C C C C C C C C C C C Y C C C C C > C C C C C C C C C C C C 

: 

G 

# 4 : 

O Y C 

C C 

C C 

x3 

66 C C 

C C 

Y 

! Y C C 

O 

C 

C 

C 

C 

Y C C 

Y 

C 

C 

Y 

Y 

C C 

O 

Y C 

C Y 

O 

Y 

C 

C 

C 

C 

Y C O 

C 

C 

Y C 

C 

CCC C 

O 

Y 

C C 

O C O 

C C 

Y C 

C Y 

C 

C 

U T 

C C 

G 

C C C 

68 

! B Y B 

O 

C 

C 

C 

C 

Y C C 

Y 

C 

C 

Y 

Y 

B 

O 

C Y C 

O 

C 

C 

BB Y B 

C 

C 

O 

C Y C 

B B 

C C 

U T 

C C 

G 

C C 

70 

! Q Q 

O 

C 

C 

C 

C 

Y C C 

Y 

C 

C 

Y 

O 

Y 

C 

C 

O 

C 

C 

C 

C 

O 

C Y C 

C C 

U T 

G 

C C 

C C 

d al fine 

C 

PE068 – 39

# 

C 

C 

B 

B 

h 

B 

B 

h 

C 

C 

h 

A 

B 

S 

C 

72 

! Q Q R S T OO l hj 2 4 

ppp cresc. 

p 

# C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 2 4 

75 

! 2 4 

A A B O 

una corda al fine 

4 

O 

C 

# 2 C C C C C C C C 

4 C C C C C C C C C C C C C C C C 

4 2 C C C C C C C 

4 

4 U U T 

Y 

OO 

2 

4 

4 

78 

! 4 4 

U U T 

C OO B O 

U U T 

OO 

dim. sempre al fine 

# 

C 

4 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

4 

3 

3 

4 

81 

C B A 

! 4 

3 T OO lhj 2 4 

4 # 

C 

4 


2 C C C C C C C C 

4 


Y C B A 

84 

! S T OO lhj 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

A 

x3 

at least 

86! 

: Q : Q ? 

dim. poco a poco a niente (fade out) 

# 


: C C C C C C C C C C C C C C C : Q ? 

PE068 – 40

# 

R 

T 

jh 

T 

T 

h 

g 

g 

T 

h 

T 

d 

T 

T 

R 

g 

S 

# 

h 

> g 

MICRO-PIECE FOR XENIA 

Ross Harris 

C = 54 

! 4 T C 

h C 

p 

C C 

# 4 ! 

CO 

Y COO 

Pedal freely 

C 

pp 

YC 

CO 

C Y C 

g 

X C 

X C 

G 

Y C 

g S U 

X C - 

Y Y C 

X C 

X 

X C 

X 

C 

C C Y Y C 

pp 

G 

C C X C 

p 

U T 

Y 

C 

C 

C 

3 

! C C 

G 

! C 

g 

C 

INH 

C CY C . Y C. 

W C C. pp 

X 

C 

X 

C 

p 

C. W g G 

W X C W C 

X C 

C 

W 

C 

g 

C 

X C 

pp 

Y C 

X 

CW 

C 

C 

X C Y C C 

g 

W C 

INH 

G 

pp 

X C 

W C X C 

C 

g 

C 

G 

Y C 

ppp 

X C 

C 

X 

C 

C 

W C 

Y C 

C 

C X C W C 

C 

5 

! 

! 

W C- 

C- 

C C W 

pp 

Y -C 

O 

CO 

X CW 

C 

X CY 

CW 

C 

C T X C 

W C 

CO 

C 

C 

G 

C 

pp 

C 

C 

W C W C 

INH 

g 

X C 

ppp 

C 

C 

W C 

W C 

X 

O C 

C C C C CO 

C YY C 

G 

C 

Y CCC 

X C 

C 

7 

! T TU 

ppp 

CCC 

W X C 

X 

C 

Ì 

X 

C 

C 

CW 

C 

X CY 

C 

Y C 

C 

X 

C 

rallentando 

X CO 

Y 

Y 

CO 

CO 

?B 

B 

Y Y C 

¯ 

C¯ 

Micro-Piece for Xenia © 2000 Ross Harris 


ISMN 979-0-67452-101-7


7 New Recital Pieces for Piano 

Torrent (2001) 

Penelope Axtens (1975) 

Penelope Axtens began studies in composition and piano 

performance at the University of Auckland, New Zealand, and 

completed a Masters degree at Victoria University of Wellington 

under the tutelage of Ross Harris and John Psathas. Her work 

For Violin, Violoncello and Piano, composed while she was still a 

student, has been widely performed in New Zealand and overseas 

and was selected as the representative New Zealand chamber 

work for the 2004 IAMIC Annual List. Axtens won the New 

Zealand Symphony Orchestra-Concert FM ‘Music 2000’ Prize with 

her orchestral work Part the Second, which was subsequently 

performed and broadcast throughout New Zealand. The prize 

also included a commission from the NZSO for a 20-minute 

orchestral work, and this resulted in From the Sixth Hour which 

was premiered by the NZSO in 2002. In the same year Axtens 

was the recipient of the Composers’ Association of New Zealand 

(CANZ) Trust Fund Award, made annually to ‘a composer of 

outstanding potential or achievement’. Currently, she lives in 

London. 

In order to better understand Torrent, the performer should read 

and visualise the lines written by the composer. 

The music, a depiction of different energy levels within nature 

that has at its heart the juxtaposition of stillness and cascading 

motion, must maintain a sense of linearity throughout. This 

applies particularly within the chord sequences: aim to employ 

slow, fluid arm movements and finger pedalling where possible. 

There are a number of notational conventions employed that are 

specific to this piece. The music is unmetered, and dotted barlines 

are provided in places merely as a visual aid to assist vertical 

coordination rather than to imply points of stress. Accidentals 

apply only to those notes they immediately precede. In general, 

groups of beamed quavers should be played with a sense of 

‘localised acceleration’ within the prevailing tempo. Tenuto marks 

imply a slight prolongation of a note. 

On page 6, in the third and fourth systems, pedalling should be 

used to maintain clarity of the upper line. Note also the use of 

half-pedalling, beginning in the fifth system of this page. 

The composer writes: 

Trembles green in the morning rains 

It is the ridge we climb 

Over lifetimes of stillness 

Down to Torrent Bay 

(for Ros) 

Ritual from Poems of Spring (1981) 

Anthony Ritchie (1960) 

Anthony Ritchie was born and educated in Christchurch, New 

Zealand, the son of composer John Ritchie. He received his first 

commission in 1982, his final year at Canterbury University. This 

resulted in his Concertino for Piano and Strings. He travelled 

to Hungary in 1983 to study the music of Bartók for a doctoral 

thesis, and also studied composition there under Attila Bozay 

at the Liszt Academy. Ritchie has been based in Dunedin, 

New Zealand since 1988, where he has worked as a freelance 

composer, writing for chamber groups, dance, choir, opera, film 

and orchestra. Many of his works have been performed overseas, 

and a growing number have been recorded and published. 

Ritchie currently lectures in composition at Otago University. He 

has composed extensively for the piano, and among his recent 

works is a major cycle of 24 Preludes (2002). 

This short piece is full of character and vitality. The composer 

indicates that it is to be played fast and roughly. However, the 

performer should still take note of every dynamic nuance and 

remain true to all the articulation markings. This is the key to a 

successful performance! 

Small noteheads in the right hand indicate chords that may be 

omitted if necessary to facilitate performance. 


Ritual is one of the eight short pieces comprising Poems of 

Spring (four of the other pieces are published in Firestarters 

1), which were composed while I was a third-year student 

at the University of Canterbury, and first performed there 

by myself in 1982. They were inspired by two major events 

in my life at that time: first, the ructions caused by the 1981 

Springbok rugby tour which I found myself caught up in; and 

second, a love affair which ended in grief. Ritual owes a debt 

to Stravinsky’s Le sacre du printemps, attempting to evoke the 

earthy, sexual energy of spring through its vigorous rhythms. 

Waiting for the Lights to Change (2001) 

James Ledger (1966) 

James Ledger is an Australian composer whose orchestral works 

have been performed by all of that country’s major orchestras. 

He has composed soundtracks for several short films and 

documentaries for the ABC, SBS and independent filmmakers. 

His orchestral music has been used for seasons with the West 

Australian Ballet. 

In 2003 and 2004, Ledger was the composer attached to the 

Adelaide Symphony Orchestra, and in late 2004 he took up a 

residency with the Christchurch Symphony in New Zealand. In 

addition to new work for the Christchurch Symphony in 2005, 

James has commissions for the Sydney and West Australian 

Symphony Orchestras. 

PE068 – 42

Waiting for the Lights to Change is a response in musical 

terms to the imposition by external factors of circumstances 

beyond an individual’s control, and alternates between moods 

of frustration and resignation. Tension is present from the very 

outset, with every crotchet, quaver and semiquaver energised 

by emotional stress. Temporary relief is felt in passages of 

‘daydreaming’, but by the end it remains unclear whether a 

resolution has been attained. (May you never come across traffic 

lights like these in your own travels!) 

In the opening section marked ‘static’, explore the alternative 

effects of either playing legato or staccato with the pedal 

depressed (noting that the composer specifies the latter). 

The passage between mm.58-71 may present a problem to 

pianists with a small hand span. Here, the lowest note may 

be omitted from right-hand chords where the stretch is 

unmanageable, and the parallel 9ths in the left-hand part may be 

discreetly split if necessary. 

Headless notes in mm.78 and 136 indicate a 4-note pattern that 

the performer is to repeat ad lib. at different pitches, continuing 

the example pattern given in smaller notes in the preceding 

measures – the left hand playing black notes and the right hand 

playing white-note arpeggios. (The notes in smaller type are 

given as one possibility only of beginning or ending the passage 

in question; the performer may choose to begin playing ad lib. 

immediately.) 


Waiting for the Lights to Change is a depiction in music 

of the thought-processes that you may – depending on 

your disposition! – be familiar with if you’ve been stuck in 

a vehicle that is stopped at traffic lights. The piece begins 

with a pounding motif (as of fists against steering wheel) as 

you pull-up at yet another red light. The music then drifts 

away, with a sense of unravelling optimism, as daydreams 

begin to come and go. The fist-pounding recurs as the mind 

intermittently enters the conscious realm only to discover that 

the lights are still red. 

Equator Loops (2001) 

Stuart Greenbaum (1966) 

Born in Melbourne, Stuart Greenbaum studied composition under 

Brenton Broadstock and Barry Conyngham at the University of 

Melbourne, graduating with a BMus(Hons) and MMus. In 2000 

he was the first candidate to gain a PhD in composition from 

the University of Melbourne, and he is currently Lecturer in 

Composition at the same institution. 

Greenbaum grew up with popular music (rock, blues and jazz) 

as well as the works of the Western classical canon, and his 

interest as a composer lies particularly in exploring the points 

of commonality between these apparently different musical 

worlds. His music presents a crossover between classical and 

popular styles – particularly jazz and minimalism – and invokes 

an atmosphere apart from the routine of modern life. He has 

said that ‘When I compose, I write the music that I want to hear. I 

seek sounds in time which reflect who I am and how I feel about 

the world I live in. I aim to write music which has an attractive 

surface on a first hearing, but has some level of mystery which 

does not reveal all of itself so quickly.’ 

Equator Loops is based on a simple melodic idea that expands 

and contracts step-wise in a ‘mirror image’ of itself around the 

note D in the very centre of the piano keyboard. Development 

is strictly organic – this single idea is used exclusively throughout 

the piece – and progresses in ‘waves’ of fluctuating intensity. The 

composer’s decision to limit himself to such minimal germinal 

material lends the piece a hypnotic, even obsessive, feeling; 

interest is focused on the development of a demisemiquaver 

rhythmic motive and gradual expansion of the music into wider 

registers. 

The diamond-shaped notes at the beginning of the piece are to 

be silently depressed and caught with the middle (sostenuto) 

pedal – alternatively, on instruments without this pedal, the 

notes may be held in the left hand for as long as indicated. 

This sustained chord allows resonating sounds to carry into the 

distance. Maintain the atmosphere thereby created by ensuring 

that the right hand is kept as still as possible and that hand 

movements during the rests are minimal yet fluid. 

Throughout, the demisemiquaver motif (e.g. m.18) should not 

be specially accented – it should be felt to be part of the melodic 

line both in the quiet reflective passages or the dramatic climatic 

parts. The dotted pedal marking (for example, in mm.29-30) 

indicates a gradual release of the damper pedal. 


The title of this piece refers to the use of contrary motion, 

which defines its thematic material. The ‘loops’ gradually 

expand but always return to the ‘equator’ (the central tone 

D). The title is a slight play on John Adams’ Shaker Loops, 

which itself was also a play on words. The overall musical 

structure of modal alternation is based on the Te Deum of 

Arvo Pärt – the analysis of which work was the basis of my 

PhD thesis – and Equator Loops is accordingly dedicated to 

Pärt. 

Mechanically Speaking (2001) 

Matthew Hindson (1968) 

Matthew Hindson lives and works as a freelance composer in 

Sydney, Australia. He studied composition at the University of 

Sydney and at the University of Melbourne with composers 

including Peter Sculthorpe, Eric Gross, Brenton Broadstock and 

Ross Edwards. His music exhibits the influence of contemporary 

popular music within a ‘classical’ context. With his particular (and 

often critically divisive) interest in the techno and death-metal 

genres, driving repeated rhythms and loud dynamic levels are 

typical elements of his work, as are a directness and immediacy 

PE068 – 43

of impact. Works by Matthew Hindson have been performed 

by professional ensembles and orchestras throughout his native 

Australia and overseas, and he as also composed a number of 

works specifically for younger players. 

As the title suggests, this piece is to speak like a machine. There 

is a job to be done and the mechanism is precise and relentless in 

carrying it out. The drama and energy of the music relies on the 

rhythmic writing and in the rapid changes of register. Every detail 

of the contrasting dynamics and articulation must be adhered to 

by the performer in order for the machine to seem to function 

as its designer intended. Note the ‘cluster’ notation in the left 

hand beginning at m.135 – this indicates an unspecified chromatic 

or diatonic cluster in the lowest register of the keyboard, which 

should be played with the palm. 


Mechanically Speaking was composed with an image of 

interlocking pieces of machinery in mind – I imagined an 

industrial workplace with gears cranking and cogs turning. 

The opening of the work, particularly, sets this mood 

although there are many twists and turns throughout the 

piece. There is one particular motive that returns throughout 

the composition in many different guises. 

The work is dedicated to the memory of Emeritus Professor 

Peter Platt. 

Waiting for the Aeroplane (1988/90) 

John Psathas (1966) 

John Psathas is a New Zealand freelance composer and teacher 

who, at a relatively early stage in his career, has established 

an international profile and receives regular commissions from 

organisations both in New Zealand and overseas. His works are 

championed around the world by a growing number of leading 

international artists, one of the most consistent of whom has 

been the Scottish percussionist Evelyn Glennie. Initially making 

a name for himself as a composer of high-energy percussion 

music, more recently the composer has concentrated on a series 

of larger-scale concertante works. A major career highlight to 

date has been the commission to compose the ceremonial music 

for the opening and closing of the 2004 Athens Olympic Games. 

In 2005 John Psathas was created an Officer of the New Zealand 

Order of Merit for his services to music. 

In Waiting for the Aeroplane the composer evokes an 

emotional response to the experience of contemporary air travel: 

long periods spent passing the time in a kind of awkward limbo, 

concluded by abrupt partings with loved ones. 

The alternating two-note ostinato which is present throughout 

most of the piece should be executed with precision but be 

perceptible as no more than an unobtrusive background ‘buzz’, 

until it combines with foreground elements at the climax of 

mm.54-64. 

The interjections of melodic fragments above this ostinato are 

like the fleeting, distracted thoughts and conversations occupying 

the individual obliged to wait at the behest of influences outside 

his or her control. The pedal should be used throughout each full 

phrase to create the sense of a single uninterrupted expression of 

emotion. 

While rehearsing, the performer would be wise to sense the 

pairs of dotted semiquavers in the right hand against the three 

corresponding semiquavers in the left hand, and as soon as 

the correct coordination has been established, return the focus 

to the melodic line of the right hand. The melodic writing of, 

for example, mm.12-13 should be expressed with a fluid single 

movement of the wrist for each part-phrase, rocking gently 

between the lower and upper part of the hand. 

The right hand chords between mm.32-42 may be found more 

comfortable played over the left hand. However, the arpeggiated 

chord of mm.34 and 40 may feel more controlled played under 

the left hand. Explore to find a smooth, dance-like transition that 

ensures the linear quality linking the chords of the sequence. 

The intensity of the drama created through to m.64 needs to be 

maintained in the ensuing six measures – as though the heart 

is held, but not stopped; feelings are suspended while external 

chaos continues, and then the outside influences subside, leaving 

only reflections and memories. 


Waiting for the Aeroplane captures a time when I was 

travelling to Greece to visit my family, who had recently 

returned there from New Zealand to live. The emotion 

of farewells, the sense of the distance between the two 

countries and the power of aircraft, and the frenetic activity 

of airports all found their way into the piece. 

Micro-Piece for Xenia (2000) 

Ross Harris (1945) 

Ross Harris was born in the small town of Amberley in North 

Canterbury, New Zealand. He played both tuba and French horn 

in the New Zealand National Youth Orchestra and went on to 

play in the New Zealand Symphony Orchestra for a short time 

before becoming a lecturer in music at Victoria University of 

Wellington. In 1985, following the premiere of his opera Waituhi, 

Harris was awarded the QSM for Public Service. In 1990 he was 

awarded the Composers Association of New Zealand (CANZ) 

Citation for Services to New Zealand Music. His works, numbering 

more than 100, include many piano pieces, several operas, 

orchestral works, jazz and rock music. 

Micro-Piece for Xenia is a precious vignette which, once 

studied and understood, is the kind of piece a pianist will want 

to return to often in moments of contemplation and ‘refuelling’. 

The rhythmic complexities appear daunting at first, but here 

a metronomically precise performance is not the key to a 

sensitive performance that it is in some of the other works in 

this collection. The music, and the gestures it comprises, should 

PE068 – 44

appear to flow in a natural and comfortable manner. However, 

the challenge of interpreting the rhythm accurately is the aspect 

of the piece that should be isolated initially. Study the score away 

from the keyboard at first, beginning by identifying where the 

crotchet pulse falls throughout, then working on the rhythm 

of each discrete gesture. From here, proceed to feel the flow 

of the music, linking each gesture to the next. Finally, return to 

the keyboard and add the element of pitch, creating delicate, 

flickering ‘spasms’ of sound and releasing any sense of a defined 

pulse. 


This piece was composed for Xenia Pestova in recognition of 

her dedication to excellent performances of new music. 

PE068 – 45

FIRESTARTERS 2 (THE CD) 

Emma Sayers, piano 

Emma Sayers comes from Wellington and is active as a solo 

pianist, accompanist, chamber musician and teacher. 

After studies with Judith Clark she graduated from Victoria 

University, receiving a TVNZ Young Achiever’s Award in 1993. This 

led to five years at the Franz Liszt Academy of Music, Budapest, 

as a pupil of Rita Wagner. During this time she also worked with 

Ferenc Rados, Péter Solymos, János Devich (Kodály Quartet) and 

Hargitai Géza (Bartók Quartet). 

Sayers has a strong interest in contemporary music and performs 

with the new music group STROMA. She is a National Recording 

Artist for Concert FM and has collaborated with Richard 

Mapp, members of the New Zealand Symphony Orchestra 

and international artists. Currently, she is a lecturer at Massey 

University, Wellington. 

Emma Sayers appears courtesy of Massey University. 

Firestarters 2 (PE068/CD), for Piano 

Tracks 1–5 & 7 recorded by Emma Sayers at the Conservatorium of 

Music, Massey University, Wellington, New Zealand, 9 June 2002. 

The recording was made possible through the support of Massey 

University. 

Producer: Thomas Liggett 

Engineer: Richard Caigou 

Piano Technician: Michael Ashby 

Thanks to Buzz Audio and Matthew Marshall 

Track 6 recorded by Michael Houstoun in the Ilott Concert 

Chamber, Wellington, New Zealand, 12 March 1996 (from the CD 

Elusive Dreams – Trust Records MMT2010) 

Emma Sayers appears courtesy of Massey University 

Michael Houstoun appears courtesy of the HRL Morrison Music 

Trust 

[1] Torrent © 2001 Penelope Axtens 

[2] Ritual © 1981 Anthony Ritchie 

[3] Waiting for the Lights to Change © 2001 James Ledger 

[4] Equator Loops © 2001 Stuart Greenbaum 

[5] Mechanically Speaking © 2001 Matthew Hindson 

[6] Waiting for the Aeroplane © John Psathas 

[7] Micro-Piece for Xenia © 2000 Ross Harris 

Firestarters 2 (PE069/CD) 

© 2005 Promethean Editions Limited 

P 2005 Promethean Editions Limited 

PO Box 10-143, Wellington, NEW ZEALAND 

http://www.promethean-editions.com 

Michael Houstoun, piano 

Michael Houstoun was born in Timaru in 1952 and received 

his early musical training from Sr Mary Eulalie at the Convent 

of Mercy. Later he studied with Maurice Till in Christchurch 

and Dunedin. Maurice Till prepared him for the 1973 Cliburn 

International Piano Competition where he won third prize. In 

1974 he was placed fourth in the Leeds International Piano 

Competition. 

ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE 

WORK REPRODUCED RESERVED. UNAUTHORISED COPYING, HIRING, 

LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS 

RECORDING PROHIBITED. 

From 1974 to 1981 he lived in the USA and London, spending 

a year during this time at the Curtis Institute of Music in 

Philadelphia. In London he studied with Brigitte Wild and 

recorded albums of music by Beethoven and Bartók for EMI. 

Since 1981 Houstoun has been resident in New Zealand. 

In 1993 Houstoun celebrated his 40th birthday year with a feast 

of Beethoven, performing the five concertos with the New 

Zealand Symphony Orchestra, and then the 32 piano sonatas in a 

three-week cycle in Wellington; later repeating this in Auckland, 

Christchurch, Dunedin and Napier. He went on to record the 

complete cycle of sonatas for Trust Records during 1995 and 

1996, and the first 3-CD set of this project received the Recording 

Industry Association of New Zealand ‘Tui’ award for the best 

classical album of 1995. 

In May 1999, Houstoun received an honorary doctorate in 

literature from Massey University. 

PE068 – 46

PE068 – 47


An Introduction to New Music 

‘Bravo to Promethean Editions for its new Firestarters collection! The 

pianist as arsonist, fires that enliven – I like it – burn, baby, burn!!’ 

Michael Houstoun 

Firestarters 2 is a collection of seven recital pieces for solo piano by composers 

from Australia and New Zealand, suitable for performers of approximately Grade 

VIII to Diploma-level ability. Each piece has been annotated with suggestions for 

performance and interpretation, and all are ideal for student recital or 

professional performance. 

The volume is accompanied by a CD recording of the works by New Zealand 

pianists Emma Sayers and Michael Houstoun. This recording was made possible 

through the support of Massey University and the HRL Morrison Music Trust. 

Promethean Editions is a contemporary music publishing house, located in 

Wellington, New Zealand, specialising in music by emerging and established 

composers. Our mission is to bring the fire of new, fresh and exciting 

contemporary music to performers and audiences throughout the world. 

The Firestarters series comprises attractive and accessible works especially 

composed for performance by younger players. Each volume is accompanied by a 

CD recording which is intended to help teachers and students over the hurdle of 

unfamiliarity so often presented by contemporary music. 

Firestarters 2 was published with funding support from Creative New Zealand, the 

Arts Council of New Zealand Toi Aotearoa. 

Promethean Editions Limited 

PO Box 10-143 

Wellington 

New Zealand 

www.promethean-editions.com

Firestarters 2

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?