At this point the piece develops a very thick texture, with the original left hand figure played in both hands in varying registers.
The melody is a "rising quasi-military" idea, interspersed between replications of the left hand figure, the mostly two-note melody being a strong unifying element.
The theme of the first section is played entirely in minor thirds, accompanied by a left hand figure of open fifths and octaves.
The piece is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a tenth interval.
The close-up view (right) obtained by horizontal and vertical 45° rotations of the left hand figure shows similar Tat AFF4 (red/dark red-blue/light blue) interactions in independent complexes.
The central left hand image of Figure 2 shows the case where no chemical is used as the input (left hand side) and the activator is used as the other input (right hand side).
Underpinned by pounding left-hand figures, these imparted a special kind of bonhomie, while the lack of bombast made Silver exceptionally convincing as a blues pianist.
From the opening piece, an early Scriabin prelude, Ms. Wang played this Chopinesque music, all rippling left-hand figures and dreamy melodic lines, with a delicacy, poetic grace and attention to inner musical details that commanded respect.
Mr. Iyer's left-hand figures and patterns provide a center of gravity; his right-hand lines and flurries collude or clash with Mr. Lehman's tart saxophone, which can ooze and smear into microtonal crevices.
His 10-minute dissection of the 1945 hit Since I Fell for You – begun delicately in flicks and hints, hurried and leaned on by assertive left-hand figures, then turned dreamy in an unaccompanied episode – sets the standard for the set.
