of the sostenuto selective sustain in the lowest notes is occurring 00:15-:21 on the footage of the live performance. At approximately 00:22 I reach into the strings to strike the low string cluster with the palm of my hand, whilst rattling the highest strings. I then play the magpie call with the left hand whilst continuing the ‘shells’ rattle on the highest notes,F8.

Wilbung –magpie Ngninyah- coming down and buruwan – up Yenmala – let’s walk Bangun- making something

Cue 2 & 3: mm.8- 10 The arpeggiated triadic phrase originally heard in Timelines is improvised and understated. The titled words are sung ‘Guya nay lun’ (Std.rec 00:56; perf. 00:54)

Cue 4: mm. 11 A striking difference in the Stuart piano timbre occurs at 1:08 after a short abrupt fortissimo bluesy phrase, both the dolce and una corda pedals are engaged fully for the soft double triad chords. This is a clear indication of the wide dynamic range of the Stuart soundscape.

Guwuwi ngalawayu naa… wawa… nin birrung-wa gili-bu
Come here sit look… at… the stars on shining⁴⁵¹
‘Naala ni nin’ – look see
‘Guwuwi ngalawayu’- come here sit, look

Cue 5 &6: mm.12-14 . The Timelines arpeggiated triadic phrase is repeated in F major, and the title is sung again.

Cue 7: The ‘gospel’ piano vamp- improvisation and clapping sticks. The improvising in the live performance (2:14). The lowest notes C0 of the Stuart 102 keys, are struck aggressively producing a percussive non-traditional piano sound.

Cue 8: soft reflective arpeggiated sound – using both the dolce and una corda pedals.

Naala ni nin mari nawi garragarang-wa, Garrawuy wumara waru nin mari nawi, wumara dane nin guyanayulyung nura-wa.
Look see the big canoe on the sea, white cockatoo flying in and around the big canoe, flying for ol’ people on country⁴⁵²

Cue 9+10: mm.19 The Barrabul-la chant is improvised on the piano, referencing closely phrases from the E. Collins transcription of Bennelong and Yemmerawanne’s performance in 1793. Richard Green improvises Barrabul-la in a ‘proclamation’ style in both the std.rec 3:20 and perf. 3:03.Green’s vocal line on Barrabul-la marks an interesting contrast to the E. Collins transcription. His interpretation brings the chant into the present day… with a sense of urgent importance.In the studio recording, the piano mixes the magpie call with the double triad chords to accompany Barrabul-la .

^{451     3} Richard Green, Dharug Dalang,19th October 2015.
⁴⁵²Ibid.