Performance Guidance for the Piano Music of William Lennox.

The notation was developed through Piano Music No.1 to No.4 and settled in form in Piano Music No.5.

The aim of the notation is to bring out a dynamic development in the harmony and to enhance a natural rhythm.

Apart from some of the developmental compositions (PM 1-4) dynamics are not specified in the notation. This is to encourage from the Pianist a level of interpretation that gets nearer to the heart of the composition.

These compositions are about the development of harmony, in general any dynamic change would be gradual.

These pieces are not experimental – they are really in the classical form of development variation and resolution, but the melodies and development are over a shorter time scale than in classical music.

With the exception of some of the compositions after Piano music No.27, the rhythm of these compositions fundamentally aperiodic and is dictated by the understanding of the harmonic control (in the early compositions this was a reaction to the over ambition of rhythmic definition which had the upper hand) This does not mean there are no periodic areas for instance in the heavy chordal areas of Piano Music No.22 and No.23, but in general the rhythm is natural.

Because of the fast rate of melodic development – in order for that to be expressed and expounded then the tempo should allow for this realisation.

These compositions are essentially for live performance with the pianist being able to move elegantly across the piano using a high hand lift – these compositions use the full range of the piano in short time scales this should be achieved

with a flowing movement in a relaxed manner and an underplayed facial expression..