This song is in the key of B-flat with a moderately slow tempo. I came up with the music for measures 5-8 a few months ago, but I was having trouble figuring out what to write next. It took several attempts to finally expand this into a full song. It’s a very smooth piece with lots of arpeggios. You’ll probably want to use the sustain pedal for most of it. And feel free to vary the tempo a little bit to make it sound more artistic.
This song is in the key of G-minor with two flats in the key signature: Bb and Eb. Make sure you pay attention to all of the clef changes in the left hand. For example, the left hand starts in treble clef and switches to bass clef at measure 8. The section at measure 18 should be played very expressively using subtle adjustments in tempo. Measure 40-50 is a handful. The left hand plays the bass notes and then jumps up to the right hand staff to play more chords. Pay attention to the direction of the stems to figure out what each hand should play. Measure 45-47 is particularly difficult because the left hand plays the bass notes a split-second before the downbeat and then immediately plays with the right hand directly on the downbeat.
I was in the mood for writing a fast song with a busy right hand part. This is in the key of A-major and has three sharps in the key signature. There are a bunch of sixteenth notes in this song, but if you look closely, you’ll find that many of the sections are made up of patterns that are repeated again and again with different chords. Many people make the mistake of trying to learn fast songs at their full tempo. It takes discipline, but try to learn the various sections of this song at a very slow tempo, and then gradually work them up to performance speed.
The opening measures have a lot of fast sixteenth notes and this is probably the most difficult section in this song. I recommend slowing this part way down to figure out exactly how the hands work together. At measure 11 we get a simple verse with a single note bass. The chorus at measure 19 continues with the same left hand rhythm, but we add some chord tones in both hands to fill out the sound. I decided to take the song in a completely different direction at measure 42. I changed to a faster tempo and introduced a new melody that would remain for the rest of the song. This dramatic change of tempo is not something I do very often, but I think it’s effective here.
I tried to write this song with a 50′s rock feel. The left hand has a classic bass line at measure 25 and you should really hammer this out. The right hand melody is played in octaves here with some “filler chord tones” like the F’s in measure 25 and the G’s in measure 27. I wrote a contrasting section starting at measure 57, which should be played softly. I used some different chord flavors to set this section apart along with a new accompaniment style. Then it’s back to rock ‘n’ roll at measure 73.