The Puppeteer

The Color of the Hours

This piece is intended to convey the full experience of a scene of quiet, tiny waves rustling against the shore of a lake with gentle steady movement, on a calm and pleasant night, with the lights of a distant shore and of the moon and stars dancing quietly across the surface of the water. And as all things must, at the ending chords, the night does end, and as it does, we mourn its passing as we will never be here again.
Incorporating the disparities in rhythm and the harmonies inherent in this work demand the performer’s attention to the downbeat of each measure, and the silences of all the rests throughout and particularly those 8th-note rests of the left-hand.  Practice the left hand, tapping the right knee with the right-hand upon the downbeat of each measure, until this “mid-way downbeat” is learned by rote (that it becomes “heard” in your mind). By this practice of demarking the downbeat, the right hand can more easily negotiate with the wave-like function of the left. It is seldom the left and right hand meet to simultaneously attack their respective notes. But they do meet occasionally, as random things sometimes do. Both not meeting, and meeting together, are intentional and essential to purveying a certain random feel. Despite the specifics suggested with doublets, triplets, quintuplets, and the like, many times simultaneous and sometimes in one hand together, focus should always fall back upon the feeling of the movement of miniature waves striking the shore, and flickering lights on the crests of the waters. Rhythmic perfection is not demanded. This “random” feeling should be perceptible in the performance of this piece. It is, perhaps, the most important aspect of this work.  As such, take this at a pace that seems right to you, and let your mind wander to this quiet corner of the world where nothing matters but the moon and stars.

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