Winter Walk

(From The Solo Piano, Overcome)

Transcription by RE5 David Nevue

   
                             
 
Lonely ( = 50) or lower


  


               
              

3


   

   
                            

5

    
   
(ped. simile)

      
            
           

7


  
rit.

 
      
                      
   
9

   
       
 
 a tempo

  
 

                 
       
 
12

         
         
   

               
              
 
   
15

   
             
   

             
            
       
18
1.

             
         
       

2
                
     
 
21 2.


 
 a tempo

       
rit.


 


                               

23

 
    

 
                     
    
25

   
  
 a tempo



rit.

  


    
                  
    
27

       
            
    

3
             
      
          
 
30

         

     
   

                        
      
     
33

   
                 
     

             
               
       
36
1. 2.

      
                    
      

    
   
        

     
    
   
 

39


            
        


        
  

4
            
             
   
42


    
 
                
   


    
    

 
              
      
rit.

  
45

 
             
   

       
                                        

47

   
     
 a tempo

 
  
               
   
50

   
  
 


rit.

 