Solo felt piano in A flat minor, moving at a steady 118 with the softened, close-miked attack that muffles the hammers and leaves the room tone audible. The longest cue on the record, it has space to develop from a single repeated figure into a fuller, more hopeful statement, matching its title's sense of an idea taking shape. Suits footage of someone at work alone — sketching, building, writing.
The title cue: felt piano alone in D flat minor at 118, and at 1:48 the most compact statement of the album's idea — beauty found in the noise and imperfection of the instrument itself. Reflective and unhurried rather than sad, with no percussion or strings to compete with dialogue.
B flat minor felt piano at a slightly relaxed 110, nostalgic and distant in keeping with a title that looks a long way back. Two minutes of intimate, softly damped playing with plenty of air around the notes, ideal for archive photographs and memory sequences.
Short E flat minor piano miniature at 110, its Vermont sugaring-season title pointing to something rural, weathered and quietly grieving. Warm felt tone and a tight 1:46 runtime make it useful as a tucked-under bed rather than a feature cue.
C minor felt piano at 110, with a title suggesting something strange, fluid and submerged — the mood here is curious as much as melancholy. Under two minutes, sparse and unadorned, with the muted hammer attack giving each phrase a soft edge.
The fastest pulse on the album at 120 and in C minor, named for the lightless depths of the ocean — the darkest-leaning of these solo piano pieces. Its steady momentum and unadorned felt tone give it a faint undertow of unease, useful where a scene needs sadness with forward motion.
E flat minor felt piano at 118, sharing its key with "Sap And Tears" but running longer and sitting closer to plain sorrow — abandonment, disuse, things left behind. Intimate close-recorded solo playing with room ambience intact, no build to a climax.
The slowest and only major-key cue here: F major at 68, wide open and tender, with long gaps between phrases on the felt piano. The warmth of the tuning and the wistful title make it the album's most consoling moment — regret without bitterness.
G minor solo felt piano at a funereal 84, and at 2:38 the longest and most openly mournful cue on the album. Slow, weighted phrases with the hammer noise softened almost to breath, leaving generous space for narration or dialogue over a scene of bad news.