Hidden Truth

• Write the right hand an octave lower in measures 20–52 for the middle-plus-high register. Singleton pitches move down too, preserving their original pitch in the upper reed.
• Add preset-chord accompaniment in 20 measures (17, 21, 22, 24–30, 32–38, and 41–43), using B♭ minor, G♭ major, F7, F major, D♭ major, F minor, and E♭ major.
• The pattern is eighth-note root, eighth rest, eighth-note root, half-note preset chord, eighth rest. The chord begins on beat 2-and.
• Stacked, labelled left-hand chord tones represent one preset button. This is a harmonic reduction, not a literal transcription; some added and seventh colours are omitted.
• Keep Lean’s reduced repeats elsewhere. No forced chord guess for the ambiguous G-root or suspended F passages, and no added chords in measures 45–52.
• An optional detuned middle reed may join in measures 45–52 if the instrument allows it. The audition and MIDI use +10 cents as an example, not measured tuning.
• Return to clean middle at measure 53.

These are arrangement studies, not performer-verified final editions.

• All bayan variants retain 61 measures, 4/4, the source key signature, and quarter-note tempo changes of 105, 102, and 103.
• No free-bass converter is assumed. Root-button and preset-chord voicings depend on the instrument.
• The score reader plays written pitches with a general accordion sound; it does not interpret reed-registration instructions. Use the A/B/C audition for approximate coupled-reed playback.
• The audition uses fixed hand balance and does not reproduce every dynamic, bellows direction, or final diminuendo. MIDI timbre depends on the player.
• Detailed fingering, bellows shaping, and playability still need a real play-through.