Ventus

By Lukas Stanley
Performance Notes for Ventus

In this piece, the second line of the grand staff (which traditionally represents notes played by the left hand) represents a texture which
is performed by both hands. Notes which are found inside cells are to be played in a random order, continuously as indicated by the
lines following the cell. With regard to these lines, the top line indicates the right hand and the bottom line indicates the left hand.
These are sometimes segregated from each other when changing independently of one another, but when they change simultaneously
they are represented in one cell. There is one instance, on page five, where the texture is divided into two separate staves for clarity.

Notes in the texture should be played evenly, without emphasizing certain pitches unless indicated. The performer should play one
note at a time per hand, and avoid creating any sense of regularity in rhythm. Indication to cease playing the cell is when the line
stops.

There are five tempo indications that create a spectrum for this texture:

Slowly: Individual notes are easily distinguished.

Moderately: Individual notes are distinguishable, but notes should follow after one another in a consistent way, not leaving
noticeable gaps in sound.
Texture: The notes are happening quickly, so they are impossible to distinguish, but there is still a calmness in the fingers. The
blending from the pedals aids in creating this texture.
Fast: The texture has a lot of momentum, but is not yet as fast as possible.
As Fast as Possible: The texture becomes frantic.

The top line of the grand staff represents the melodic information. In order to simultaneously play the texture and the melodic line, the
performer must drop one hand out of the texture for as brief of a moment as possible, play the indicated note or passage in the top line,
and return it to the texture. If done quickly enough, the movement should be inaudible because of the blending from the pedal.

Note: The tempi and dynamics that are indicated for the texture are always independent of the melody.
Until page seven the piece is written in proportional notation. Each line is approximately twenty seconds in duration, as indicated by
time markings in the right margins. There is no need for the performer to perform these durations with exact precision they can be
approximated. Time markings are still included in parentheses for reference once the piece becomes metered.

At times, ties are used to indicate resonance of sound while no new notes are being sounded:

The sustain pedal should be held down for the duration of the piece.

It is recommended that this piece is performed with a page turner or from memory to minimize disturbance of the texture.

Groups of smaller notes with a slash through the beams should be played as fast as possible:

Notes in the top staff that do not necessarily fit in with a larger phrase
structure are indicated with a tie going to nowhere, showing that their
sound continues to vibrate:

Decrescendo al niente (fade to nothing):

 Page 1

Solo Piano Ventus

Lukas Stanley


# # 0:20
&
Texture
#
RH

& #
p sempre
LH

sempre

# # # #
# # #
0:40
&
f f

&

#
# 1:00
&
f f Slowly accel. poco a poco

#
#
rit. Moderately
&

Lukas Stanley 2015

Page 2
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P
(accel.) Texture

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Page 3
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 Page 4
3:20
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 Page 6

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Page 7

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Page 8
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 Page 9

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 Page 10 (11:35)

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 Page 11

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