Ten pieces inspired by stations and lines of the London Underground.

Christopher Norton writes: “Rob Hall has written a set of pieces using some of London’s underground stations and lines as inspiration. They are unfailingly well-written, interesting harmonically and full of lovely melodies. Suitable for intermediate to advanced players, they will appeal to audiences because they are evocative as well as clearly structured. I heartily recommend them as delightful additions to the contemporary piano repertoire.”

Contents

1. Circle Line
This piece has a nice feeling of momentum as well as excitement. Always inventive, always heading in unexpected but somehow inevitable directions.

2. Angel
A sinuous 3/2 idea creates movement as well as an overall feeling of calm. The piece is harmonically restless (but in a good way!)

3. Elephant and Castle
This starts with heavy-footed (elephant-like) left hand chords which underpin a slightly exotic right hand idea in 4ths and 5ths. The piece builds before a flowing left hand supports a lovely right hand melody. The initial idea returns and dissolves into silence.

4. Metropolitan
This is in a rhythmic style, befitting its name. A positively funky main idea is contrasted with brassy chords.

5. Perivale
This a is a mysterious piece in 3/4, featuring exotic harmonies and leading to maybe exotic destinations. A beautiful main melody takes centre stage before the opening chords return.

6. Seven Sisters
Naturally, this piece starts in 7/8, contrasted with Latin-tinged 4/4 passages.

7. White City
Bell-like chords usher in a plaintive melody underpinned by restless harmonies, creating a mysterious and slightly exotic effect.

8. Stamford Brook
In a flowing 12/8, this piece has a pastoral quality, with the changing harmonies summoning up an ever-changing landscape.

9. Parsons Green
Almost hymn-like (a reference to the parson) with a wonderfully varied harmonic palette. The left hand takes over melodic duties before a serene restatement.

10. Mill Hill East
A long-limbed melody is featured, full of syncopations and triplets , leading to a section in 3/4-6/8 before an extended and serene restatement.