Beauty, melancholy, sadness and tenderness. All this in one pièce, in one of the most important moments of world cinema.
What else to say?
and finally THE PIANO
DOWNLOAD THE PIANO SCORE THROUGH THIS LINK
Just an advice… when you will click you will be lead to abcmusic.net. There you will find many links but that of our interest is Download schindler’s list theme free sheet music that is positioned next to an arrow. Ok? 😉 Here, instead, there is a good harmonic analysis of the composition.
Interview with Andreas Kern e Paul Cibis (Piano Battle)
Piano City Milan 2012
by Michele Guerrini and Giulio Cinelli
Piano Battle is one of the formats that the new Piano City Festival has created to spread out the love and culture of piano music.
Piano Battle is a true fight, a duel of feelings and souls. Of tastes and passions. It’s the land where two german pianists: Andreas Kern and Pual Cibis
challenge each other with pop covers, jazz, soul, rock, and classical compositions. No rules, only six rounds, and the power of audience around them.
During the fight everything is allowed and the result is a great explosion of energy where creativity, culture, entertainment are one thing.
To understand better the world behing the piano battle, here you are our short interview with the two duellists, before their performance at the Piano City Festival in Milan.
Some time ago I discovered this beautiful version of the Massive Attack famous song.
Brad Meldhau is a great artist that came from classical music and became an importa jazz musician since the ’90s.
Under the harmonic and mental influence of Bill Evans Brad formed his first trio, with that he began to re-discover the world of creative\avant pop music.
Teardrop by Massive Attack is without doubt one of the most successful “cover” he has composed.
Talking of cover songs is inappropriate, Brad creates a whole new world of sensations and feelings around the original composition, giving birth to new atmospheres.
5:31 of pure slow beauty. One of the gretest moment of the english band that crossed the world charts with the album “Mezzanine” (from which “Teardrop” comes from).
Many videogames and tv series adopted this song, but I would like to focus your attention to this piano version. Good performance (even though the final part is quite strange).
To find the transcription you have to enter the video page and click the link in the description on the right of”Sheets”.
Today is the right time to remember Ennio Morricone, one of the greatest composer of all times. Outside is cloudy, it has rained all the morning even though summer is coming close. It is a perfect time to reflect and dream.
“Love Affair” is awesome for its sweetness and softness, music like clouds, like pure souls…
Here you are a beautiful performance to the piano
Let emotions and dreams flow into you and your skin….
Use the download button to download the piano score
After the death of this great artist, we would like to commemorate him and the high value of his music bringing to you the beautiful and immortal piano sheet of Caruso.
Lucio composed it few time after a visit to an hotel in Naples. There he discovered the sad story of the worldwide famous tenor (that slept in that same hotel) and of his sad death. Lucio was so impressed that decided to write a song in memory of him, in 1986.
The song is considered one of the most beautiful of the last century.
Here the piano sheet
The tempo of the score is quite fast, it’s an Allegretto, which has metronome variation that ranges from 150 to 180.. So it’s very fast.
Throughout all the duration of the theme,the right hand doesn’t raise from the piano. It must be raised only at 1/8 pause.In other words, right hand is raisend only during the pauses, the rest is always legato.
In opposite, left hand plays double notes at the beginning. Here the lower one is maintened for all the duration of the beat. On the contrary, the higher note (E) leans upon an other note (F). For the left hand is fundamental to respect the legato in order to give a sense to right hand.
The piece is in 6/8. It means that each beat is composed of six octaves that are divided into 2 units 1/4 with a point each (3 octaves). In this way we fing the accent on the first and the fourth movements of the beat.
The Allegretto begins with p(piano) , and in the fourth beat (right Hand), We find the C# legato with D. This is a slur,so the first note must be slightly stronger of the other. To the end of the composition, the theme is taken up, this time with an f(forte) that announces the brilliant conclusion.
Here is the eighth song from Cesi-Marciano. The song is composed by our great Italian composer Muzio Clementi and is in C major with a tempo of 2/4. The speed of the song is a “Allegretto“.
The piece is rich in phrasing but poor in dynamics, therefore the latter loses precedence over phrasing. In the video you can see well when to remove the hand, keeping near you both the sheet music and the video.
The left hand plays always “legato” except when there are pauses, while the right hand has frequently “portamento” and phrasing slurs. We could say that with every beat, the right hand must be raised.
The dynamic has always a great importance in a song, but in this one, it is rather negligible since it is almost non-existent. The piece then, with the exception of some beats, should be played with a soft timbre.
There are no other peculiarities…
Throughout the first and second line, the left hand has no phrasing. It should only bother to play the notes in full value, while the right hand, for phrasing reasons, has little portamento slurs on the 2d and 4th beat of each staff. Obviously these slurs are accompanied by an hairpin that indicates a diminuendo on the second note.
In the last staff is introduced the phrase slur for the left hand, and the hand must be raised every 2 beats.
The piece begins with a p (piano) that then becomes f (forte) on the pivotal part of the theme. Obviously for each portamento slur is specified the dim(diminuendo).
The theme, within the piece, is reprised several times and always has the same dynamic: p, dim, dim, f/p (forte piano), dim, dim, f / while in the last staff we have a major change: mf, dim, f.
I find this fourth piece far easier than the others previously seen, the tempo is moderate and, moreover, in this song there are notes with very high values.
Although the tempo is moderate (metronome 108-120), I recommend to play the entire piece at 144 (this means that each note of the right hand match up to 2 metronome beats).
There is no particular fingering to follow, because the piece is almost spread on 5 notes.
However, it must not to be underestimated because this piece helps developing the expressiveness, of which certainly there is plenty in this track!
In this track we must imagine a dialogue, a cross-talk, and if you listen well, the melody seems describe a perfect conversation. In the song there are 3 speakers. The speaker A which includes the beats n° 1-2-9-10, the speaker B which includes the beats n° 3-4-11-12 and the speaker C which includes the remaining others (5-6-7-8-13-14-15-16). Whenever the speaker changes, the hand must be raised. Now we can imagine this kind of dialogue between the characters:
A: Today I went to the park.
B: With whom did you go to the park?
C: He went to the park with me!
A: We went a bit around
B: Around is a bit too general
C: We visited the castle and then we returned home.
See how funny it is?
The 3 partiesinteract among them, there isn’t a clear separation; the key theme is composed by the first 2 beats and is further developed through a very specific scheme. Therefore, give expressivity even to a piece as simple as this one, and if you consider it carefully, you’ll notice that it is really nice! 😉
The left hand, while A and B talk, plays legato notes, while it recovers upon the arrival of C and then plays again legato until A and B return to the dialogue.
The dynamic in this piece ranges from “p” (piano) to “f“(forte).
The piece plays piano at the beginning, during the dialogue between A and B, but increases suddenly to forte as soon as C enters the scene (just like it happens in operas!). Once C said what he had to say, he gives way again to A “retreating” with a diminuendo.
This song is very well-known. It is Mozart’s and it is tricky. For a successful execution of the piece is essential to respect the fingering. Especially in some sections such as the 5-6 beats with the right hand or the 1-2 beats with the left hand. A wrong fingering could really compromise the execution.
Many beginners are skeptical about following the fingering.
Actually, it is the most important thing to respect in a score. Only with a bit of time and with experience, you will notice that the designated fingering is the safest and most comfortable, in short, the most suitable to our hand (none in the world has hands of equal length and thickness, so only in some very rare cases, it is advisable to change the fingering).
The respect of the phrasing is always important, but in this piece is not as essential.
The left hand could play almost always legato with the exception of certain points, while the right hand plays legato only on beats n° 3, 7, 8, 12 (on the twelfth, there is an appoggiatura),15, 16, 19, 20, 23, 24.
In short, the right hand must legato only when the octaves are played.
In this piece, the dynamic ranges from “p“(piano) to “ff“(fortissimo), so you must regulate it well. If nothing else, the piece begins with the “mezzoforte”, that means you have to play with average strength.
Starting with “mf” is really a benefit because that way, you can adjust the dynamic beat after beat, until you get the mechanism of the piece. On the beats n° 17-18, there is a “crescendo” that goes from f to ff , then back to mf.
Listen to the performance to get an idea of the right dynamic to use.