WILLIAM e BOLCOM 12 ETUDES tor PIANOContents Page Perormanc tet... eee 3 Book | (Etudes t 4). ‘4 Book I (Etude 58). .eesevsseeeesen sd Book I (Ete 12)... cevseeseee co Recorded by the compore for Advance Recordings (FGRS-14)Performance Notes {ZETUDES FOR PIANO, wile aig wih snot a mac fino cha, onmrtson cone of ets, rami, ps sed th se te sng of {he ple The work deiated to tna BERTHE FONCY JACOBSON, ho ‘tmp We compton of he ede, a We JAMES BRUCE MATHER ‘over tis marino Novena, 14 Fest permed a Pa 185 by th compow Al tc of ne met py a gle work or ec ce may bead ‘asmt scion a senna tour ear may beled al (GENERAL OIRECTIONS 1. yeni ¢ staat — poem {ec itty int nari para ty fone ae oud pels Ped. owt ottpaials Peg, ‘her pts Pea ee at ptt = Ped) serum pais 2 9 porns sien ceel, =] See Th og of sow nda he deo cn ote Copiers pet part dial yg on inl of plano: Eade 6 12 his wee The ‘eye hal oars Nat withthe corer! tle ‘noe ele ete bia ering. ‘Aad decent oud trot he sa,: 12 ETUDES FOR PIANO Book I 1 William Bolcom Contracts of touch and dycanics, over and under band technige in 8 ama Slowly, mysteriousy(d 4.7)Sauothess of eve pasagework in oth bands, Noa spopertional. Pace long notes gait roonng oes lacementof note at atm gies pot of ‘ack, “Aecidentatssppiy ony to notes they immediately precede, abou caurtny caneiatons ate pone Flowing, underground (Gi - 120) ‘abgoluely even te pedal 7)3. A tady i ono, Nataton Is roportont pio tanger than J, 7m tonge than J, is ongor than ts tervie, soko spacing Yea 2D Thee TTT means grace-mote groups witout roguetty of rythm, FERD mesos with 1 FEEL means ionger vues, payed without regularity, roughly according to the spaciag cf the Sonorous Mourne A aes sity of syth. SS ee tors Wane sre ep ty, ae10 ‘A steno tne ageast varus types of avompasinect ‘With contained expression (J. eamtable 7 2, ak fe ste a Be dye hg sa am mt. Ta ape oe rng Bidsha Book II - S agsost & myn mongou. Ale, utated agit ecomptcinec, any ween serag centres nf peda, Tranquil(d-c-73, myptic gull 4-2, my a r —* | Thi moma xa ‘i pat yoshi ¥, sghy ene os ge rngy fre > SNS Yooie meal 4 > were scot lata vty wiih gi ar6 6. ‘ettvepotton: at ensures are qua lace solo within hem according to spacog. Ue of forearm in swe ‘ano, seaas ete fit of tho hand (aces) nota are upto the peroroes) Scherzino - Variations 7 ln, owt writ. Some of antde of oe SP tt et ott parm, “ew mlw pee he 9) Q sents smn GP eri oie gh rue tate, 2 aoa8 : ‘ad sifting teat seteing and contracting witnutdestoyieg baad pit, fa"Senersan,smootheess of passage from one band othe cbr Senta sot is uration wat. Accidents apy ely witha beamed grey. Fast and declamatory; ferociously (2-62) eee “ae io sah wooo | we wTThad oS)apoco rt yoo accel. res. poco a pocoCon forza, pochissimo pit mosso ‘ h eyBronseas and contel of tae Softly, very slowly is _e Pes Pet. Pet, Pa. 1) Ths Hd sk in M1, ge sn nde ae ant sh, Mt ie fo ech wba,Asa apply frock mana,2s Book III 9. ‘continu tomelewithoot cease, Exereae tn retsation. Roative notation, as in Etude No. 6. ‘Tremolando (S2nds as fast os possible) us wt sees a soc op Petal go throughouta rer10. Gestures Leape me of rotate pedal Spode of phrases on‘gentres” and spacing between them are left tothe dacretion of the performer. He. may. llminate ‘ertia' gestures” aocarding to hie tare, Ho may ot nwever, haage te oder of the"gesturet? Ths clades coatrllod ty predetrainaon, on chon ‘sist sul net hin“getures” in edvesce nad work cue seae of propertioaally pleasing speed ad paciage, cork ont str wll take a tpeech tad lan thors to roppreas, sme to detain tov, others tobe shed for effect, ato. The performer Wil ied some"getares as com Sle thoopht, athe as depeadent guteie. Hale eade no bo played tapactely, It shouiéetaraliy bare © different shape aaa isto aed is part of the srl, fy acveven norm)Clangorous! is = ay w = 1 Veer ala ttn i eat‘ie OR teyo Fed.ose sh___@ gp, Pe.° ih. Aiythmsy Uphtnese of touch, Sustetond rin with staccato Very rhythmic, ight d-.0 = be12. Apotheosis In memoriam Béta Bartsk ‘es of reat proportional and free stytnate station. Custer, use of lside of plage. Yared types of touch, “Pereaté™» percussive touch 2 olde pase 1. on keyboard Slow, with majesty fre na ca = 7 re RE] ee ee ee Alittle faster accel LSP Cc ee ing $$} bainModerate tempo w)9 9As fast as possible a eee ait au] r___To te pawn, — Se