The sketches

What emerges from the sketches is a piece to be based on harmonic tempo templates: A3 - C4 - E4 - G4 - Bb4 - D5 - F5 - Ab5 [3.33-4-5-6-7-9-11-13], - the eight tempi mentioned above. These tempi could be derived from Study 49c where the C Major chord (C4,E4,G5) is often sustained from the up-rushing chromatic scales. There are several sketches where Nancarrow has marked out many pages of manuscript paper with these templates, although he never uses the fastest two (bars divided into 11 & 13)

In one of the folders of un-identified material held at the Paul Sacher Foundation in Basel I found approximately nine items that are definitely or probably related to the Concerto. Some of these are described below:

Movement 1.

A large sheaf of paper with a percussion canon beginning with Timpani, then Congas, Temple Blocks and Wood Blocks. After this the theme from Study 49a appears in modified form on Trombone/Tuba, followed by two further entries (Tpt/Hn? – WW?).

Movement 2

Two large sheafs of paper marked with all tempo ratios up to Ab5. One of these proceeds mechanically, notating an ostinato pattern of 3-3-4-2-4, maintaining the same pitches in each line. It seems that Nancarrow realised that he had made a mistake quite early on pushing one of the lines out by an 1/8^th note. In the second version the ostinati are transposed at various places.

Movement 3

Large paper labelled ‘Con. A3’ (referring to the lowest template?). Introduction to final movement with indications for instrumentation – Bass – Marimba – Horns etc. Percussion follow gradually slower tempi while groups of brass and wind follow gradually faster ones. This fragment ends with a bar of Study 49c.