

#1

Jose.

 
   
q=60 Softly yet with confidence

  
              
      
pp mf slight attack. ff

Piano


          
      
  
    



11
 
 

               
     

p ppp mf
Pno.
 
 
         
        
   


 
  
   
20
   
 
 
       
      
 
pp

  
mp

Pno. ff

          
            
    


       
     
       
30

   
fff
       
Pno. f
         
   
  



 
   
    
37

  

  
 

 
  
  


mf 

pp p
Pno.
 
 
           
      




 
2

45
 
  
  
   
 

  


pp  
 
Pno. ff
      
 
     



49
    

  


 
Pno. f
 
 
    

Performance Note: The bars rest written in The Space Between #1 form durations of silence which are as important as the notated
pitches and rythms themselves and there fore should be counted accurately and should be treated with confidence
and intent. If possible, the player should remain in a reasonaby deliberate yet comfortable posture throughout
these silences in order to exhibit the corresponding relationship between the sounds and silences.