This week’s video is a piano arrangement of Hello by Evanescence. I transcribed just the piano part of this years ago, but decided recently to include the vocal and cello parts on the piano.
It was an interesting one to work on – it’s a highly personal song for the writer, Amy Lee, as it’s about her sister dying. The original track only has one vocal part to reflect that – no harmonies or backing vocals. I retained this in my arrangement, rather than varying the different verses and choruses by harmonising the melody or reinforcing it with octaves.
The piano part of the original track is already quite interesting – nothing hugely complex to draw your attention away from the singing, but with enough variety not to be boring. The song effectively arranged itself for solo piano – I didn’t have to do much to it, just occasionally remove notes from the accompaniment so as not to clash with the melody. Let me know what you think of it!
This week’s video is another performance of one of my own compositions, Loss. It’s my take on a funeral march/death scene, which I released last year on my solo piano album, Let the Journey Begin!. The slow tempo is pretty standard for this kind of music, but I experimented with using phrases of varying lengths, so as not to have it feel too measured – I wanted the instability of losing someone.
The piece starts off very diatonic, but as it goes on there is more chromaticism and countermelodies are introduced, so although there’s repetition of the main melodies and long sections over a tonic pedal, there’s always something new being introduced to add variety and interest. I’m believe that repetitions are a useful tool when writing music, but I’m not a fan when they’re used unnecessarily or if they don’t add anything new to a piece.
It’s been several weeks since I last posted a video – I’ve been working on quite a few things musically, but didn’t have anything finished. This week’s video is a performance of my composition, Innocence. This is one of my favourite pieces from my album, Let the Journey Begin!, as I feel that I captured the feeling I was aiming for succinctly.
I had to work on my technique for this one, as I discovered that my arpeggiated chords were nowhere near as good as I’d thought previously – I had to thoroughly explore how to play them well enough to be accurate while dropping them into the main melody. There’s still some work to do before they’re really good, but I’m happy with how they developed during my practice.
I learnt a lot about different arm movements that can help or hinder rolled chords and how some of them can be combined to make them easier. Developing a technique that allows us to express ourselves as we want can take a long time and there’s always room for improvement but it’s a fascinating journey!
My latest video is a combined version of two of my compositions – An Ill Presence (orchestrated) and To Arms! (rock version). They were originally written as a pair and were released that way on my solo piano album, Let the Journey Begin!.
When I was working on the orchestrated and rock versions, I made and released them one at a time, and while I think they can stand alone, I also thought it would be good to recombine them as originally intended. Music can take on a different feeling depending on the context that it’s in, which is why the original release had them combined into one track, and why I released a whole album rather than individual singles.
This week’s video is an arrangement of the music from the opening cutscene of Onimusha 2, arranged for four hands. I’ve been wanting to make for a while, but felt like I needed to do some simpler arrangements before jumping into this one. I specifically decided on two pianos rather than four hands on one piano so that one part could use the sustain pedal without interfering with the other – this is very important in this piece as some parts are very percussive.
This is the first time I’ve arranged a piece for four hands. It was a great learning experience but I’m sure that someone with more experience could make an even more interesting version of it. I plan to do more arrangements like this in the future, in addition to more for a single player.
Hi, everyone! This week’s video is a performance of the Main Theme from the South Korean horror film, Memento Mori. Specifically, this is the piano solo version from the soundtrack, with some of the repeats removed.
I’m currently working on a piano arrangement of the full, orchestral version of this piece, but wanted to do this version as well, to highlight its simple beauty.
This week’s video is an orchestrated version of one of my piano pieces, An Ill Presence. As with the previous orchestrations I made, I leant a lot from this. I limited myself to violin, flute and oboe in addition to the piano part. I’m happy with the result, though feel like I need to learn more about the production side of things as occasionally it sounds a little muddy.
My wife drew the colourful tree that I used as an image for the video. I asked her for a tree with unnatural colours and I’m really pleased with the result!
I had a request on YouTube to create a ‘tutorial’ video for something that I played and I’m looking for some feedback. Tutorial in this meaning was having the notes coming from the top of the screen and landing on the keyboard, as is a pretty popular way of doing things.
I’m curious to know how people find it – the person who requested it said it was perfect for their needs, but I’m going to be making more videos like this is the future and would like to know how easy it is to follow for other people. Does the glow around the falling lines detract from the clarity? Are the colours for each hand easy to follow? That kind of thing.
Hello, everybody! I have a performance video this week – the main theme from survival horror game Tormented Souls. It’s the first thing that plays when you boot up the game and I’ve spent time just listening to it on the main menu before playing the game as it has such a nice atmosphere.
It’s not a complex piece – just four chords: Am – F – G – Em. It loops round those four chords for the vast majority of the piece, but the melody starts off fairly structured and eventually becomes looser and feels more improvisational.
Part of arranging this piece was deciding how to condense the other instruments on to the piano and which ones to miss out. The end of the original track has a build up, with more instruments joining in until it finishes – I decided to fade out once the original melody returns, as I don’t think I could have done justice to all of those instruments with only two hands. A duet or arrangement for two pianos might work well for it.
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