背著善宰跑陣雨 (Piano Solo) (Lovely Runner - Sudden Shower) (선재 업고 튀어- 소나기)

背著善宰跑陣雨 (Piano Solo) (Lovely Runner - Sudden Shower) (선재 업고 튀어- 소나기) - Musical Analysis with score

Рет қаралды 213

29 күн бұрын

(Original piano solo arrangement, written and recorded Jul 4-6, 2024.)
So I have my finger injured lately so that I can barely play the piano, and I am not a K-drama fan at all, but lately I came across this and was so overwhelmed by this drama that I watched it again and again. Can't help it...must play it asap even though hand is still numb!
I got attracted to this drama because of its funny name. Now I am so moved because there were too many coincidences in this drama that resonates with my life. I feel like reading my own story and it helped me awaken now. So even though this piece has a typical composition approach, which I usually despise listening to (...sorry :P) i want to look at it from a different perspective this time, and I discover the power of music.
Hope you enjoy this interpretation and analysis.
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Intro:
Its a very typical opening but also with a few surprises. The acciaccatura G leading to A (00:09) at a high register brings a refreshing and light start. At 00:17 I added a few more low chord notes to simulate the cymbals rolling sound effect. 00:23 I thought for a while if a double 3rd note would make the voicing sound awkward, but turns out it sounds quite resonating instead. This broke my usual habit of employing notes.
Verse 1:
The singer in the recording has handled several words with a light and airy touch, as well as some spontaneity (e.g. 00:40). I tried to simulate it in those places as well, though myself a more impulsive person by character. I also analyzed where the singer breathed and followed accordingly. All these makes the melody playing more flowing and naturally breathing although without words.
The handling of the accompaniment can also be a reflection of the nature of this piece itself. As the piece is about the person missing the other, and the character is also a gentle man, I think the chords arranged as '1-2-34' (00:26-00:28) is perfect for the feeling of looking forward to (the first two beats) yet hesitating to reach out (the last two beats).
I can also hear love and care in the voice - so I approached this section with a cat-paw like touching so that it would sound more dreamy. Nevertheless the determination shows up as we enter an A chord - I quite like the arrangement of B sliding unto A (00:59), followed by a set of rising chords (1:00-1:03) (which are again actually typical progressions but I don't know why I'm so moved...), ending with several strumming (1:04-1:06). Attempt to use a downward stroke for effect to start the chorus (1:07) - sad though the phone didn't quite catch that sound effect.
Chorus:
Three things that made a great impression on me.
- The way the long note was handled by the singer - its not exactly full of power, but is held with technique.
- The chorus is meant to be more emotional, but the singer - is it because of personality? - I could only describe it as Libra style. That is one feature that made me think for a while how to present it, because it's not my character...
- Harmony (actually its really typical progression, but why I struck me so hard...).
So, features of Chorus...
- The first few beats were all straightforward and manly, but the F aug chord (1:12) makes me want to shower the story with pity and make the chorus not so loud. So I retreated a bit on that sound. Then the chord at 1:17 is a bit Richard Clayderman style, so I would want to sail a little more emotion there. With a climax at A (1:21), sailing back to a sighing chord (1:25), the determination comes again (1:26-1:30) adding to two more strikings (1:32-1:33), but one note would be left - the high G that carries over to the piano solo (doesn't it sound like "When you wish upon a star"? 1:36)
Verse 2
Soon, we are back to that 1:46 diminished 7th chord (which I think was quite overly used in this piece...), but I like how the D was tied up and suspended for some time before being resolved. (1:49-1:53). Soon we transit ourselves to a starlit-like little passage. (1:54). Sadly it stays for only 2 bars and have to return to the louder passage. SAD!
BUT! that D at 1:59 is my favourite of the whole piece. There is only one note, but it can stay tensioned and powerful. I thought for some time how to do it on the piano. Then comes those rising chords again, but this time the singer deliberately did a little delay for the notes, so I tried to simulate it as well to build that tension. I need to nevertheless maintain the harmony also though with sensible voicings, so it was a little juggling there.
Chorus (again): Similar to last time, and highlight that the F aug chord made me once again to want to just cuddle that chord like a baby. (2:11)
(Exceed word limit - continue in the comment)
P.S. I would like to thank the person who ran so many great pop song arrangements on this piano. He makes me realize the beauty of pop songs so that I can write commentaries like this.
Score:
github.com/whaleey/Arrangemen...

Пікірлер: 5

@whaleeym 28 күн бұрын

Figure 8: we have some cliche again - Jay Chow this time? (說好的幸福呢) :D (2:33-2:36). Nevertheless I retained the counterpoint (2:37-2:38) Starting from 2:44 - it's a bunch of guitar strummings and some more counterpoint (in the piece it was echo to the motive which I quite like this kind of arrangement, so I include it into my playing). Last Chorus: I tried to simulate the guitar strumming again though seems a bit too much hahaha (2:56-2:59) This time there were a few variations. Some notes got higher (3:07, 3:11), some got triplet (3:14). To accommodate these changes, my accompaniment also changed accordingly, mostly with voiced octaves and rhythm to back the feeling up. But at the same time won't want to make it too powerful. So I backed off towards the end of chorus. And that G octave is so cliche (3:23). But it works. hahahaha just have to really be in awe how a human mind can be manipulated so easily. Outro: The timing back to the outro - mmm I still don't get how I get it. It's a matter of breathing mmmmm. And the ending. It's again...so Richard Clayderman again -_- but works like a charm. darn it... So this piece is a quite of mix of everything in my mind. I guess it's because it's meant to be just a "make-up" song for a non-existing band, so there were many great ideas that do not have time to expand. But it serves its impact on me... P.S. I think I play with more passion than the original intended it to be. But I guess its also an outpour of my intense emotions felt from watching the drama coupled with the personal experiences that I was and am going through. The arrangement somehow reflects the emotional intensity as well.