JOHN CAGE ETUDES AUSTRALES Piano Etudes Australes are thirty-two piano etudes divided into four books, each book having efght etudes. The title comes from Atlas Australis, a book of star maps which was used in the compositional process. Each etude has eight systems notated on two pages. A single system has four staves: the upper two for the right hhand alone, the lower two for the left. Each hand plays its own part and isnot to be assisted by the other. ‘A diamond-shaped bass note at the beginning of the left-hand part of an etude indicates a note to be held sos- tenuto throughout that particular etude. (Rubber wedges are useful to keep the key, or keys, pressed down.) Neither tempo nor dynamics have been notated. Time proportions are given (just as maps give proportional dis- tances); where, asin some of the later etudes, notes to be played could not be clearly written in the allotted space, a beam with stems gives the rhythm and a capital letter (A, B, C, etc.) refers to a loose-leaf Appendix (also bound) where the notes to be played are given. In principle, the point in time of a note (whether closed like the head of a quarter-note or open like the head of a half-note) is its own (and not that of another note, whether played by one hand or the other), and can be read by referring to its center. Notes connected by a stem, on the other hand, are to be played simultaneously, and the stem (rather than the center of the notehead) gives the point in time of the interval or aggregate. An open note is to be held as long as possible beyond the succeeding, closed note, the leap to the next note (whether open or closed) being made at the last possible moment. Where more than one closed note follows an open note, a pedal-like notation is given. The open note is then to be sustained as long as the pedal continues. A closed notchead tied to an earlier closed notehead of the same pitch indicates the end of a sustained sound. A closed notchead followed by a tie that does not lead to a notchead of the same pitch is to be held an inde- terminate length of time. Where, in the later etudes, a note follows another on the same line or space so closely that there is no room for an accidental to precede it, the accidental is placed in parentheses following the note. When the number 8 (meaning octave higher or lower) applies to a single note or aggregate, itis not followed by a dotted line; it appears alone squarely above or below the note or aggregate stem to which it does apply. Notes written forthe left hand above the C two leger lines above the treble clef may be omitted in a performance. Likewise, any notes written for the right hand below the A on the lowest space of the bass clef may be omitted, In a performance the correspondence between space and time should be such that the music “sounds” as it “looks.” However, as in traveling through space, circumstances sometimes arise when it is necessary to “shift gears” and go, as the case may be, faster or slower. ‘The manuscript for Etudes I-VIII was made by Carlo Carnevali; that for Etudes IX-XXXII by Wilmia Ponauer. Jc. 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