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The spiritual successor of my “Umaru Transcendental Etude" piano arrangement. It's finally here.
Three years ago, I once arranged a "Umaru Transcendental Etude" ( • 【Piano】Umaru Transcend... ). After many years, I made another anime song etude, so I want to name it "JamesChouAnime Transcendental Étude No. 2". As an amateur piano player, I taught myself a lot of Liszt's works in high school, including his Transcendental Etude series. It can be said that my playing and arranging style was greatly influenced by Liszt. If the Majo no Tabitabi ED - Haiiro no Saga I wrote last December is the epitome of my personal style, then this piece is a challenge to my limit.
In fact, the arrangement was basically finished two or three months ago, but I hurt my hands due to some bad technical methods while practicing and improvising. But this is not necessarily a bad thing, because under the advice of my friend "drunk sashimi", I gradually mastered a reasonable technical system and ideas for music processing, so this time I put some more effort on the performance. Unlike pianeet's Akiba, this song was "tailored" for myself. Although the difficulty is not low, I can still manage to do it.
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Come back to this arrangement. In fact, I played the Aozora no Rhapsody three years ago, It was my improvised tv size. After the rough finalization, I continued to optimize, and even added some new things until the last moment of recording. Therefore, there may be some slight difference between the sheet and my actual performance.
As a whole, I am still loyal to the structure of the original song when arranging. Since I want to call it a Transcendental Etude, all kinds of difficult techniques are necessary. I added a lot of elements to the prelude of the whole piece. Both hands have to play many levels and lines at the same time, and the rhythm is also quite unusual. It can even be said that when I was writing the intro part , I think most people would close the sheet, haha.
For the first and second verses, I can say that I did my best and added various contrasting elements to make the a big dynamic range.
For example, in the second pre-chorus (1:45), I changed the rhythm of the original song to three beats. On the one hand, I was pursuing change, and on the other hand, it was also to pay tribute to my umaru transcendental etude. 2:27 might be the hardest part since you have to play some fast octaves by your left hand in the area of mid-treble part of the piano which is a little bit anti-biology.
The following bridge paragraph is a cadenza full of fun and challenge. I refer to some textures similar to toccata, and let two hands try to play the feeling of four hands. It is very painful during the recording process, because it is not only necessary to maintain several different layers of sound, while playing fast tremolo and octaves. And the first left-hand bass at the beginning of each measure is a big jump that exceeds more than ten degrees. After I recorded this song for several takes, I was really exhausted, so I had to compromise and choose a relatively better one.
In the ending part , I expanded it a bit and wrote a gorgeous hybrid ending with Chopin and Liszt style. And when I finished playing the last note, I made a temporary intention and added a katsaris jump, and then it succeeded in one shot. So I kept this.
It's a bit too much, and it's really been a long time since I madea full version arrangements. I have been busy with the various affairs of the new studio for the past six months. In the future, we may post some interesting small videos related to the recording studio or evaluations of various equipment. I don’t know if you are interested (doge)
Anyway, thank you all for your watching! See you next time!
Sheet:
www.mediafire....
Original Artist: fhána
Piano ArrangemenT:JamesChouAnimePiano