Conlon Nancarrow - List of Works

1. Studies for Player Pianos

2. Pieces for Performers

3. Transcriptions for Ensembles

4. Transcriptions for Two Hands

5. Transcriptions for Four Hands (One Piano)

6. Transcription for Four Hands (Two Pianos)

7. Transcription for Seven Hands

1. Studies for Player Pianos with YouTube adresses

The Studies for Player Piano are merely characterized briefly below. Detailed analyses may be found in Kyle Gann, The Music of Conlon Nancarrow. Cambridge, UK: Cambridge Univ. Press, 1995.

No. 1

Circa 1949–50. Published in New Music in 1951 under the title Rhythm Study No. 1. Polyrhythmic composition with more than two hundred time changes.

YouTube: Conlon Nancarrow, Study for Player Piano No. 1

Nos. 2a–d

2a: Circa 1950. Slow blues with two bass parts in tempo ratio of 3:5.

Conlon Nancarrow, Study for Player Piano No. 2

2b (x): Didactic Study of 2a. Same melody line but bass parts in tempo ratio of 5:9, 1980.

2c (y): Didactic Study of 2a. Same melody line but bass parts in tempo ratio of 4:7, 1980.

2d (z): Didactic Study of 2a. Same melody line but bass parts in tempo ratio of 5:7, 1980.

No. 2A

Circa 1950. Player piano arrangement of the fourth movement of the Suite for Orchestra (circa 1945).

Conlon Nancarrow, Study for Player Piano No. 2A

No. 3

A photocopy of a Study No. 3 is held at the Lincoln Center Library. It is apparently not identical to the Boogie-Woogie Suite.

No. 3

Five-movement Boogie-Woogie Suite. 3a is probably Nancarrow’s first composition for player piano; 1949–50.

3a: Over a boogie-woogie bass at racing speed tower as many as seven melodic layers or rhythmic structures.

Conlon Nancarrow, Study for Player Piano No. 3a

3b: Blues. A twelve-bar ostinato in the bass is repeated ten times and superimposed with various melodic lines.

Conlon Nancarrow, Study for Player Piano No. 3b

3c: Lively blues with canonic passages.

Conlon Nancarrow, Study for Player Piano No. 3c

3d: Leisurely jazz piece.

Conlon Nancarrow, Study for Player Piano No. 3d

3e: Racing boogie-woogie, similar to 3a.

Conlon Nancarrow, Study for Player Piano No. 3e

No. 4

Another jazz-influenced composition with canonlike elements.

Conlon Nancarrow, Study for Player Piano No. 4

No. 5

Strict rhythmic figures in the bass are superimposed with rapid runs and chordal motifs. Two-part harmony at the beginning but ending in thirteen parts.

Conlon Nancarrow, Study for Player Piano No. 5

No. 6

Essentially three-part harmony with tempo ratios of 4:5:6. Bluesy.

Conlon Nancarrow, Study for Player Piano No. 6

No. 7

At six minutes, this is one of the longest and most complex of the early studies. Striking rhythmic structures alternate with lyrical passages. The eight-part composition ends with racing arpeggios.

Conlon Nancarrow, Study for Player Piano No. 7

No. 8

One of the most important of Nancarrow’s early studies and the first to use techniques that would later become central: canon form and continual changes in tempo. Most of the composition is in three parts. It was also the first time Nancarrow dispensed with bar lines and conventional notation (the duration of the notes is indicated by lines behind the note heads).

Conlon Nancarrow, Study for Player Piano No. 8

No. 9

Varied meters and tempos, with predominately in the ratios 3:4:5 and with ostinatos in the bass and treble ranges.

Conlon Nancarrow, Study for Player Piano No. 9

No. 10

The last of his compositions to be influenced by jazz throughout. A blues melody sounds above a series of chords in the left hand. Despite its rhythmic complexity, this piece, with its quiet dynamics, is one of Nancarrow’s most melodic works. Originally in ABA form. The first section was dropped in the revised version now considered authoritative.

Conlon Nancarrow, Study for Player Piano No. 10

No. 11

Isorhythmic study using a technique from fourteenth-century motets (talea). On the first page of the manuscript, which still uses conventional bar lines, there are thirty time changes.

Conlon Nancarrow, Study for Player Piano No.11

No. 12

Nancarrow’s most emotional study, influenced by Spanish flamenco. Melancholy flamenco melodies are accompanied by stylized guitar arpeggios and the rhythmic clapping of flamenco dancers.

Conlon Nancarrow, Study for Player Piano No. 12

No. 13

Preliminary study for the Seven Canonic Studies (Siete piezas canónicas) Nos. 13–19, which were originally united as Rhythmic Study No. 13. Nancarrow never published the music for this study.

Conlon Nancarrow, Study for Player Piano No. 13

No. 14

Canon 4/5. The first part begins at tempo 88; shortly thereafter the second part enters, two octaves and a fifth higher, at tempo 110.

Conlon Nancarrow, Study for Player Piano No. 14

No. 15

Canon 3/4. Two-part canonic study with a tempo ratio of 3:4. The voices are three octaves apart and the faster meter alternates between the two parts, so that they begin and end together.

Conlon Nancarrow, Study for Player Piano No. 15

No. 16

Canon 3/5. Three-movement canonic sketch.

Conlon Nancarrow, Study for Player Piano No. 16

No. 17

Canon 12/15/20. Three-part canon.

Conlon Nancarrow, Study for Player Piano No. 17

No. 18

Canon 3/4. Two-part canon. The second voice begins in the treble clef only after the first has gone a third of its way, but it is 1/3 faster so that it catches up to the first voice for the final chord. The work can be seen as a precursor of Study No. 40b.

Conlon Nancarrow, Study for Player Piano No. 18

No. 19

Canon 12/15/20. Three-part canon with the same tempo ratios as No. 17. The entries of the second and third parts is timed such that the three voices end together.

Conlon Nancarrow, Study for Player Piano No. 19

No. 20

Beginning with No. 20 Nancarrow abandoned the standard system of bars for good, usually notating the durations with lines behind the note heads. No. 20 is a study in note durations with as many as eight parts with the pitches very close together. It was probably written around 1965 but is strikingly similar to Ligeti’s Monument for two pianos, which was written in 1976.

Conlon Nancarrow, Study for Player Piano No. 20

No. 21

Canon X. Strict two-part canon with the voices moving a different speeds. The bass part begins slowly with a twelve-tone row at about four notes per second. Shortly thereafter the treble part begins at a speed of thirty-nine notes per second. Whereas the bass part accelerates continuously, the treble part decelerates at the same rate until both voices reach the same pace around the middle of the composition. Then the bass part overtakes the treble part and the piece ends with a hurricane of sound in the bass part at 120 beats per second. 1961.

Conlon Nancarrow, Study for Player Piano No. 21 (Canon X)

No. 22

Canon 1%, 1½%, 2¼%. A three-part canon in which the parts accelerate at different rates: the lowest voice by 1%, the second voice by 1½% and the third voice by 2¼%. Until the middle the speeds increase constantly, but then they decelerate at the same rate until they return to their initial speeds at the end.

Conlon Nancarrow, Study for Player Piano No. 22

No. 23

This mostly two-part composition has three parts in the middle section only. As in Study No. 21 Nancarrow exploited the possibility of constant acceleration and deceleration. The treble part has a monophonic series of notes that accelerates until it is ’unplayable.’ Following a rallentando, the composition ends slowly and quietly.

Conlon Nancarrow, Study for Player Piano No. 23

No. 24

Canon 14/15/16. Predominately tonal three-part canon. In the middle section the voices condense into aggregates of sound such as rapid repetitions, chains of trills and glissandi.

Conlon Nancarrow, Study for Player Piano No. 24

No. 25

One of Nancarrow’s few compositions in which he dispensed with strict form. Although it contains canonic elements with voices in different tempos, it is dominated by a rhapsodic character. It is thus one of Nancarrow’s most varied compositions. Arpeggiated harmonic series open the work, which exploits all the possibilities of the player piano. Racing series of pianissimo notes produce clouds of sound. Several aggregates of sound suggest that Nancarrow used graphic elements when punching the roll. The frequent changes in dynamics and the use of the sustaining pedal are notable. The piece ends in a tornado of sound at two hundred notes per second with the right pedal held down.

Conlon Nancarrow, Study for Player Piano No. 25

No. 26

Canon 1/1. Seven-part canon with a tempo ratio of 1:1, notated with whole notes with no rhythmic differentiation.

Conlon Nancarrow, Study for Player Piano No. 26

No. 27

Canon 5%/6%/8%/11%. The composition begins with an ostinato at a fixed speed around which are grouped as many as eight parts at different speeds, in some cases accelerating or decelerating. Nancarrow saw the ostinato as the ticking of an ontological clock (world clock) with events running along beside it at different speeds.

Conlon Nancarrow, Study for Player Piano No. 27

No. 28

A complex experimental composition. The parts do not accelerate continuously but rather in established steps. For the musical material Nancarrow employed scales at different speeds. He introduced chords at regular intervals to provide a temporal orientation.

Conlon Nancarrow, Study for Player Piano No. 28

No. 29

Originally planned for prepared piano (à la Cage). This study has as many as eight parts with staccato repetitions of notes at various speeds. The work recalls the ticking of clocks at different rates. Nancarrow never grew to like the piece and once commented: ’I should have thrown it away a long time ago, but I never had the heart.’

Conlon Nancarrow, Study for Player Piano No. 29

No. 30

For prepared piano, circa 1965. Because Nancarrow had problems with the preparation, he ’rejected‘ this composition and returned to unprepared piano. A example of a preparation may be found in Kyle Gann, The Music of Conlon Nancarrow, page 172. The composition was never notated, though Nancarrow did make a recording, which has since been released by Other Minds on OM 1002-2. For a recording on Dabringhaus & Grimm (MDG 645 1403-2), the preparation was done by Steffen Schleiermacher following Nancarrow’s instructions.

Conlon Nancarrow, Study for Player Piano No. 30

No. 31

Canon 21/24/25. This three-part canon has three movements: fast, slow, fast. The lyric middle movement is framed by two rhythmically structured sections.

Conlon Nancarrow, Study for Player Piano No. 31

No. 32

Canon 5/6/7/8. Whereas in the previous studies a specific speed was assigned to each part, here Nancarrow breaks with that scheme and various speeds ’wander‘ between the parts.

Conlon Nancarrow, Study for Player Piano No. 32

No. 33

Canon . Two-part canon with a tempo ratio of the square root of two (1.414 . . .) to two. This was Nancarrow’s first use of an ’irrational’ tempo, that is to say, the layers have no common denominator. Even so, the different speeds are not restricted to specific parts: rather they alternate between the parts such that the two voices begin and end together. Calmly striding series of chords determine the character of the composition for long stretches and only at the end does it become livelier. Nancarrow considered Study No. 33 to be one of his most important studies. Circa 1968.

Conlon Nancarrow, Study for Player Piano No. 33

No. 34

Canon 9/10/11. The individual voices are subdivided into units of 4/5/6.

Circa 1969.

Conlon Nancarrow, Study for Player Piano No. 34

No. 35

A composition complex rhythm heavily influenced by jazz. Circa 1979.

Conlon Nancarrow, Study for Player Piano No. 35

No. 36

Canon 17/18/19/20. An example of different fixed speeds in specific voices. In this four-part canon all four parts are absolutely identical, apart from their speed. The first part begins in the bass at tempo 85, followed by the second at tempo 90. The third part begins at tempo 95 while the last part, the treble voice, is at tempo 100. The faster parts pursue the slowest one and around the middle of the composition all four parts meet. Then the faster voices overtake the bass part and the fourth voice ends first, followed by the third and second parts. The slowest voice, the bass, concludes the work. Circa 1970.

Conlon Nancarrow, Study for Player Piano No. 36

No. 37

Canon 150//160⁵/₇//168¾//180//187½//200//210//225//240//250//262½//281¼. At about ten minutes, this is the longest of Nancarrow’s studies. Twelve-part canon with twelve different speeds that correspond to the ratios of the vibrations in the notes of a chromatic scale. Nancarrow considered Study No. 37 to be his most important composition. 1969.

Conlon Nancarrow, Study for Player Piano No. 37

No. 38

Renumbered No. 43.

No. 39

Renumbered No. 48.

No. 40

Study for two synchronized player pianos.

40a: Canon  for one player piano.

Two-part canon with a tempo ratio based on the irrational natural constants e (2.718....) to pi (3.142....) with many chromatic glissandi.

Conlon Nancarrow, Study for Player Piano No. 40

40b: Canon  

Four-part double canon for two synchronized player pianos. Piano 1 plays 40a. Piano 2 enters about twenty seconds later and also plays 40a, but more quickly, so that Pianos 1 and 2 reach the final chord at the same time. Circa 1975. Premiere with two synchronized player pianos on October 14, 1994 in Donaueschingen.

No. 41

Canons for one and two player pianos.

41a: Canon  for the first player piano

41b: Canon  for the second player piano.

41c: Canon for the two synchronized player pianos

Both canons are played by both player pianos according to a precisely determined tempo scheme. Premiere with two synchronized player pianos on March 20, 1995, at the Westdeutscher Rundfunk in Cologne.

No. 42

Study with ten different tempos. Commissioned by Betty Freeman. Premiere on November 2, 1981, in Los Angeles.

Conlon Nancarrow, Study for Player Piano No. 42

No. 43

Originally No. 38. Two-part canon with tempo ratio of 24/25. Commissioned by Steirischer Herbst for the IGNM-Festival in Graz in 1982.

Conlon Nancarrow, Study for Player Piano No. 43

No. 44

Aleatory Round for two player pianos. In contrast to Nancarrow’s other compositions for two player pianos, this piece is aleatoric in character. Commissioned by Betty Freeman; completed in 1981. Premiere on December 6, 1982, in Los Angeles.

No. 45

Betty Freeman Suite. This work, originally in five movements, was written in 1982–83 and was premiered on January 30, 1984, in Los Angeles. Later Nancarrow decided the twenty-minute piece was too long, so he rejected three of the five movements and wrote a new movement. This three-movement version is considered a second Boogie-Woogie Suite.

45a: A “limping” boogie-woogie bass runs through the whole composition—Nancarrow called it a “spastic rhythm”; above it move highly defamiliarized jazz melodies.

Conlon Nancarrow, Study for Player Piano No. 45a

45b: Slow blues with complicated tempo ratios of 3/4/5/7.

Conlon Nancarrow, Study for Player Piano No. 45b

45c: High point of the three-movement version. In this study Nancarrow uses a technique that goes back to the American composer Henry Cowell: After rapid chromatic glissandi unplayable by human hand, most of the notes are suddenly muted; only a few of the notes resound as a chord. Cowell used this technique in Aeolian Harp. 45c begins with such a glissando followed by a “spastic rhythm” from 45a.

Conlon Nancarrow, Study for Player Piano No. 45c

45d: See Abandoned Study No. 45 “Discard.”

No. 46

Complex study with tempo ratios 3/4/6 and unusual rhythms (“spastic rhythms”), written between 1984 and 1987.

Conlon Nancarrow, Study for Player Piano No. 46

No. 47

Canon 5/7 with racing arpeggios and chains of trills, written prior to 1984.

Conlon Nancarrow, Study for Player Piano No. 47

No. 48

Originally No. 39. Complex composition for two player pianos with tempo ratio of 60/61. 48a and 48b are two ’autonomous’ compositions. 48c combines both these works on two player pianos. Commissioned by the European Broadcasting Union. Premiere on May 12, 1980, Radio Bremen. Premiere with two synchronized player pianos on October 17, 1997 in Donaueschingen. 1975–77.

No. 49

49a–c: Three Canons 4/5/6. With this three-movement, jazz-influenced composition Nancarrow applied (unsuccessfully) for the Grawemeyer Prize. The relatively simple tempo ratios could certainly be performed by today’s orchestras. For that reason Nancarrow wanted to rework this piece into a three-movement work for player piano and orchestra. Ultimately he was not able to realize this desire. Nancarrow used the same tempo ratios and the same thematic materialin all the movements. Circa 1987.

49a: Fast, complex movement. The three parts enter one after the other, beginning with the slowest part, the bass. The connection to Nancarrow’s jazz past is clearly audible.

Conlon Nancarrow, Study for Player Piano No. 49a

49b: Jazz-influenced slow and quiet movement.

Conlon Nancarrow, Study for Player Piano No. 49b

49c: A fast and complex jazz movement.

Conlon Nancarrow, Study for Player Piano No. 49c

No. 50

Player Piano transcription from Piece for Small Orchestra No. 2. Circa 1987–88.

Para Yoko

Nancarrow’s last composition for player piano. It is a piece with several parts at various speeds but not a strict canon. 1991.

Conlon Nancarrow, Para Yoko

For Ligeti

Nancarrow’s present for Ligeti’s sixty-fifth birthday. Premiered on October 17, 1988 at the Hamburgische Staatsoper. Nancarrow used older compositions for this work. Felix Meyer of the Paul Sacher Stiftung identified the work as a rejected part of Study No. 3.

Conlon Nancarrow, Piece for Ligeti

Abandoned Study No. 1.

This roll, which was found among Nancarrow’s papers, served as the basis for the first movement of the String Quartet No. 3. Now—like the other abandoned studies—in the collections of the Paul Sacher Stiftung.

Abandoned Study No. 2.

This composition served as the basis for the second movement of the String Quartet No. 3.

Abandoned Study No. 3.

This composition served as the basis for the third movement of the String Quartet No. 3.

Abandoned Study No. 4.

Corresponds to the third movement of the String Quartet No. 3 from bar 252 onward.

Abandoned Study No. 5.

An unidentified composition found among Nancarrow’s papers.

Abandoned Studies Nos. 1, 2 and 4 are also referred to as Trilogy A, B and C.

Abandoned Study 45, “Discard”

This roll, which was found among Nancarrow’s papers and is now in the collection of the Paul Sacher Stiftung, was apparently rejected by Nancarrow when ordering the movements of the Betty Freeman Suite (No. 45).

Contraption

A composition for Trimpin’s IPP (Instant Prepared Piano), a mechanical, computer-controlled, prepared piano. Nancarrow specified the tempo ratios and Carlos Sandoval worked out the piece. 1993.

Others

Nancarrow transferred his Sonatina, two movements from his First String Quartet and Tango? to piano rolls.

Piece for Tape

Circa 1949 Nancarrow experimented with tapes. He recorded various drum sounds, cut the tape into pieces and reassembled the parts in a rhythmic arrangement.

Musique concrète

Circa 1948 Nancarrow experimented with a mechanical percussion orchestra. It did not live up to his expectations, but he made a recording before disassembling it.

       Pieces for Performers

Suite for Orchestra

Circa 1945 (Piece for Large Orchestra)

Canons for Ursula

Commissioned by Ursula Oppens. Two of the three canons were premiered by Ursula Oppens in New York in 1989. In these canons, written in 1988, the parts proceed at different speeds. Two of the canons were published by Boosey & Hawkes in 1992.

Canon A: 5/7 (published by Boosey & Hawkes as Canon A)

Canon B: 6/9/10/15

Canon C: 2/3. (published by Boosey & Hawkes as Canon B)

Piece for Small Orchestra No. 1

Circa 1940. Premiere on August 26, 1982 in Aptos, California, under Dennis Russell Davis. Smith Publications, 1990.

Piece for Small Orchestra No. 2

1986. Commissioned by Betty Freeman for the Continuum Ensemble. Premiere on April 16, 1986, New York. Smith Publications, 1988.

Three Movements for Chamber Orchestra

1993 (with the assistance of Carlos Sandoval)

Prelude and Blues

For piano, circa 1935. Published in New Music Edition in 1938.

Toccata

Circa 1935, first published in New Music Edition in 1938. Originally for piano and violin. Because it was so difficult to perform, Nancarrow punched the piano part for player piano around 1978. First performed in Berlin in 1980.

Sarabande and Scherzo

Circa 1935. For clarinet, bassoon and piano. Sonic Art Edition, 1990.

Septet

Circa 1939. UA 1940 in New York. For clarinet, alto saxophone, bassoon, violin, viola, contrabass and piano, three movements. Considered lost, but part of it was discovered in Nancarrow’s studio in 1990 by Jürgen Hocker. Eight pages of the manuscript (the beginning of the third movement) are still lost. Sonic Art Edition, 1994.

Sonatina

For piano, circa 1940. Premiered in 1951 by James Sykes. The original version for piano two-hands was published in 1986 by C F Peters. The same house published a transcription for piano four-hands by Ivar Mikhashoff.

String Quartet No. 1

Written circa 1942 for the Lener Quartet which was active in Mexico. Premiered by the Saarbrücker Streichquartett on May 20, 1982, in Saarbrücken. Smith Publications. Nancarrow created a player piano version of the first and third movements.

String Quartet No. 2

Apparently only fragments of sketches from the 1940s survive.

String Quartet No. 3

Completed in 1987 to a commission from the Westdeutscher Rundfunk. Premiered on October 15, 1988, by the Arditti Quartet in Cologne. Canon in tempo ratios 3/4/5/6. Smith Publications, 1990.

Tango?

For piano, 1984. Nancarrow’s contribution to Ivar Mikhashoff’s International Tango Collection. Premiered in September 1984 by Ivar Mikhashoff in Toronto. Quadrivium Music Press, 1986.

Three Two-Part Studies

For piano, circa 1935. Was considered lost but was discovered in Nancarrow’s studio by Jürgen Hocker in 1990. Premiered (parts 1 and 2) by Ivar Mikhashoff on June 29, 1991, in the Philharmonie in Cologne. Edition Peters, 1993.

Trio No. 1

For clarinet, bassoon and piano. Written around 1943 at the suggestion of Rodolfo Halffter. Premiere of the first movement in the Almeida Festival on June 8, 1985 in London. The second and third movements were “discovered” in Nancarrow’s studio by Jürgen Hocker. Smith Publications 1991.

Trio No. 2

For oboe, bassoon and piano. Premiered on November 23, 1991 in New York by members of the Continuum Ensemble.

Transcriptions for Ensembles

Conlon Nancarrow

Study No. 34, arranged for string trio, circa 1988. Manuscript. Renotated by Graeme Jennings.

Dorrance Stalvey

Nancarrow Suite. Transcriptions of Studies Nos. 14, 26 and 32 for piccolo, oboe, clarinet, bassoon/contrabassoon, horn, trumpet, bass trombone, tuba, percussion (xylophone, marimba, vibraphone and glockenspiel) and piano. 1983.

Ivar Mikhashoff

Transcriptions of Studies Nos. 1, 2, 3c, 5, 6, 9, 12, 14, 15, 18 and 19 for various ensembles. Schott Music International.

James Tenney

Transcriptions of Studies Nos. 1, 2A, 3c, 6 and 16 for small orchestra. Schott Music International.

Wolfgang Heisig

Canon. Study No. 26, Transcription for small orchestra. Premiere on December 7, 1989 in Döblen. Manuscript.

Paul Usher

Studies for Player Piano No. 31 and 33, arranged for String Quartet.

Raaf Hekkema

Studies for Player Piano:

No. 2 (ob, cl, alto sax, bn, b-cl)

No. 3b (ob, cl, alto sax, bn, b-cl, pf)

No. 3c (two versions: ob, cl, alto sax, bn, b-cl and ob, cl, alto sax, bn, b-cl, pf)

No. 3d (two versions: alto ob, cl, sop sax, bn, b-cl and alto ob, cl, sop sax, bn, b-cl, pf)

No. 4 (ob, basset horn, bn, pf)

No. 6 (ob, cl, alto sax, bn, b-cl, pf)

No. 7 (ob, cl, alto sax, bn, b-cl, pf)

No. 10 (ob, cl, alto sax, bn, b-cl, pf)

No. 11 (ob, cl, alto sax, bn, b-cl, pf)

No. 12 (alto ob, cl, sop sax, bn, b-cl, pf)

No. 14 (alto sax, b-cl, bn, pf)

No. 15 (ob, cl, alto sax, bn, b-cl)

No. 16 (piccolo sax, ob, cl, bn, pf)

No. 18 (alto ob, cl, sop. sax, bn, b-cl)

No. 20 (ob, cl, alto sax, bn, b-cl, pf)

No. 26 (piccolo sax, ob, cl, bn, b-cl, pf)

Transcriptions of the Player Piano Studies for Piano

Study No. 3 d (Yvar Mikhashoff, 1986).

Study No. 15 (Yvar Mikhashoff, circa 1986).

Transcriptions for Four Hands (One Piano)

Study No. 3b (Amy Williams, 2001).

Study No. 3c (Amy Williams and Helena Bugallo, 1998).

Study No. 3d (Yvar Mikhashoff, 1986).

Study No. 3d (Amy Williams, 1999).

Study No. 4 (Erik Oña, 1998).

Study No. 6 (Erik Oña, 1998).

Study No. 9 (Helena Bugallo, 2001).

Study No. 14 (Helena Bugallo, 2000).

Study No. 15 (Yvar Mikhashoff, 1986).

Study No. 18 (Erik Oña, 1998).

Study No. 19 (Helena Bugallo, 2000).

Study No. 20 (Helena Bugallo, 2004).

Study No. 26 (Helena Bugallo, 2000).

Study No. 32 (Helena Bugallo, 2004)

Transcription for Four Hands (Two Pianos)

Study No. 2 (Pierre-Laurent Aimard, 2004)

Study No. 6 (Thomas Adès. 2007)

Study No. 7 (Thomas Adès. 2007)

Study No. 9 (Pierre-Laurent Aimard, 2005)

Study No. 16 (Eric Oña, 2003).

Study No. 20 (Eric Oña, 2003).

Transcription for Seven Hands

Study No. 26 (Nancarrow, 1988).