This fascinating piano piece of many contrasts is dedicated to pianist Roger Woodward, who premiered it at a concert of Takemitsu's works included in the 1973 London Music Digest.

Concerning the unusual title, the composer has written, "To be sure, the title For away is a strange one. While it is a personal gift of mine to Roger Woodward, it is at the same time my expression of extolment and offering to the Galaxy of Life - a galaxy that is not the sole domain of mankind". Thus, it would seem, that this piece concerns (is "for") the rest of the universe out there ("away") that is not particularly about the existence of humankind. The piece seems to depict this balance as it moves from intimate, meditative gently obsessive repetitions of single notes from chords that are contained within the small range of an octave or two, to large and dramatic gestures that spread almost the entire range of the keyboard.

The harmonies are built in general around the form of an augmented chord with a major seventh, a chord that played at any volume nevertheless maintains an inherent tension. The piece begins very quietly with passages that state a central chord in various kinds of grace note arpeggios. Notes of the current chord or suspended notes from the previous chord are then gently reiterated in a free, non-pulsing way. There is a fascination with the notes E and B-flat. This spreading of tones from the central chord becomes gradually wider and wider in range until it extends over 5 octaves by the bottom of page 2.

There is an equal mix and contrast of strictly subdivided and notated rhythms (large gesture) and even rhythm grace note groupings (intimate reiterations) until page 6. The pedaling (indicated in a logical manner, not usually employed by other composers, as Right, Middle, and Left) is complex and subtle. Then the obsessive reiterations take over with interior motion until some magnificent, Messiaenic chords interrupt the flow, and the music returns to the opening. The da capo material is treated to a new kind of elasticity and elaboration (until the final chord employing 11 of the 12 chromatic tones) ... in true Japanese aesthetics, we have returned to the beginning but it is never the same; to quote an old Zen parable, " Men are still men and mountains are still mountains ... the difference is that our feet are a little above the ground".

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