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.
I’m not entirely sure what genre this fits into. It kind of has a “World Music” feel to it. There are a lot of syncopated rhythms, which might look really complex at first. If you’re having trouble counting them out, try listening the video or audio a couple more times. These rhythms are what give the piece it’s distinct flavor, so it’s important to be accurate. If the four-note chords are too much of a stretch for you in measures 25-32, just leave out the bottom note.
This song is in B-flat Major with two flats in the key signature. After a short intro, the verse begins at measure 6, which contains a lot of syncopated chords. The chorus begins at measure 22. It utilizes a bigger range, but the accompaniment is sparse. Then it’s back to the intro music at measure 30. The sections are then repeated with a few extra ideas thrown in (like measure 42-49).
This song has two flats in the key signature. That means we need to change every B into a B-flat and every E into an E-flat. You won’t see a big flat sign in front of every B note and every E note, you just have to remember.
There are a lot of tied notes in this song, especially in the right hand. Remember that when you tie two notes together, it’s really like combining them into one longer note.
Use the sustain pedal a lot in this song. It will help you connect all the notes and create the right sound. Reset the sustain pedal whenever the left hand changes to a different chord.
This song starts easy and gets progressively harder as you go through the song. The section starting at measure 57 is the most complex.
This song has a lot of syncopation, which means rhythms that are played off the beat. Look at measure 5, then look at measure 7. They almost the same, but in measure 7 you go to the G a half a beat earlier. The same thing happens in the left hand in measure 15, as well as a few other places in the song, so watch carefully.
The only place you really need to use the sustain pedal is the section starting at measure 57. It helps fill out the sound and make this section seem bigger. You can use it during other sections, but only if you think it sounds good.