The first étude of “Quaderno per Daniel” is called “12 Circles”. It is a recreation inspired by Johann Sebastian Bach’s Prelude in C major (BWV 846), which is present as an inalterable and continuous movement of sixteenth notes, as well as at the duplication of each motif resulting in a repetition of each measure. The ètudes’ harmony owes to Keith Jarrett’s improvisational style and Maurice Ravel’s constructivism based on sevenths and ninths, whereas its pulse comes from a varying rhythmic meter across consecutive measures. The continual downward modulation toward the immediate degree below, which characterizes “12 Circles” generates a structure that initiates with measure 60 being the same as the first measure, yet transposed downward by a single semitone. In this way, twelve repetitions occur using the same transposition structure, each one 59 measures in total. Thus, the structure empowers the player with the freedom to change the piece’s dynamics and phrasing over the course of its harmonic and phraseological development.

“12 Circles” also offers improvement for the player’s manual dexterity. Their hands’ posture may

improve gradually over the course of practicing this ètude, creating greater finger independence

and strength. The transposition of the piece also works as a technical exercise in fingering.

The present version contains all 12 possible iterations including the return to the first measure. The piece ends with three repetitions of the last measure, fading away. The player has the option of ending the piece at any iteration by repeating the last measure as desired, fading away.

The first étude of “Quaderno per Daniel” is called “12 Circles”. It is a recreation inspired by Johann Sebastian Bach’s Prelude in C major (BWV 846), which is present as an inalterable and continuous movement of the sixteenth notes, as well as at the duplication of each motif resulting in a repetition of each measure. The ètudes’ harmony owes to Keith Jarrett’s improvisational style and Maurice Ravel’s constructivism based on sevenths and ninths, whereas its pulse comes from a varying rhythmic meter across consecutive measures. The continual downward modulation toward the immediate degree below, which characterizes “12 Circles” generates a structure that initiates with measure 60 being the same as the first measure, yet transposed downward by a single semitone. In this way, twelve repetitions occur using the same transposition structure, each one 59 measures in total. Thus, the structure empowers the player with the freedom to change the piece’s dynamics and phrasing over the course of its harmonic and phraseological development.

“12 Circles” also offers improvement for the player’s manual dexterity. Their hands’ posture may

improve gradually over the course of practicing this ètude, creating greater finger independence

and strength. The transposition of the piece also works as a technical exercise in fingering.

The present version contains 3 iterations of the original D-centered piece.