Satie: the ending

Written changes

Choose a written change to play up to three bars from each passage.

1. A · b. 33
   B · b. 41The change comes one bar in. After the shared G over bass E in bars 32 and 40, the tune’s F♯ becomes F♮ and the bass moves from F♯ to E. The chord also changes: A–C♯–F♯ becomes A–D–F–A, with an octave between the As.Play the change
2. A · b. 34
   B · b. 42The tune rises, with B–C–F in place of B–A–B. The left hand changes at the same point, replacing B–D–F♯ over low B with A–C–F over low E.Play the change
3. A · b. 35
   B · b. 43In bars 35–⁠36 C♯–D–E rises twice; in bars 43–⁠44 E–D–C falls twice. Low E stays beneath both versions. The C♯ in the chords becomes C♮, and the F♯ in the second bar becomes F♮.Play the change
4. A · b. 36
   B · b. 44Satie’s diminuendo starts on D, the second beat of bar 36; on the return it starts later, on C, the third beat of bar 44. The first fade ends at the chord in bar 38, the second at the final chord in bar 47.Play the change
5. A · b. 37
   B · b. 45The long F♯ in bar 37 becomes F♮ in bar 45, at the same height and for the same three beats. Beneath it, low E, the inner B–E movement and the A–D then B–D–G chords stay unchanged.Play the change
6. A · b. 39
   B · b. 47One note changes the last chord. After the same A–C–E–G in bars 38 and 46, F♯ becomes F♮, so that D major in bar 39 becomes D minor in bar 47. The Ds and As are held unchanged; both chords last three beats.Play the change

Timing and volume

Differences between the two passages come from the score, the players, their instruments and the recording.

The 39 matching bars take 93.2 seconds on return and 88.2 seconds the first time — 6% longer.