I would like you to know that through moments of struggle and jubilee this winter I've found great comfort in your music. Not only are an outstanding musician, you provide something others don't. A certain style of subtle patterns that can be detected throughout your work enhance all of the songs in which they exist. These are, in my eyes, inextricably connected, and serve to form a kind of theme song of a character throughout their life like in the movies. I have borrowed your theme and applied it to this particular period of my life and have felt exhilaration when Raindrop's Waltz theme shows up in a more active pacing tempo towards the end of Enemies to Lovers for example. They employ the same energy and yet they're used for different moments. If you accept suggestions, I'd admirably recommend to use this melody in future songs with the tone you wish to use. Thank you for sharing your content and what's more, making it available on MIDI. You're going to be great. :)
Thank you so much for your kind words Carlos! It makes me so happy when others pick up on the little Easter eggs I try to hide throughout my music. I would definitely love to sneak in this theme in a future work!
@JoshuaAalampour Thanks for sharing, Mrm Aalampour. Can you please share how you came up with this melody and the chords and developed them? I'm just starting out as a composer and struggling with creative block and depression. Thanks and hope to hear from you.
I love that I have listened to your pieces so much that at this point I can almost see your habits and composing styles through the similarities in the pieces. You are truly an amazing artist.
OMGG WHO ARE YOU!!! This is my new favorite song, I must say I haven’t been impressed in such a very long time, but you, you are so talented. I wish the best on your career, you really deserve it. Also, I play the piano but I haven’t play it in a very long time, and I’m always looking for inspiration in several artists finding none. And then, I found you, you make me wanna play again. Thank you, really. This might be the first piece I play in a while. ❤ send you the best energy
This just popped up when I was searching for another piece. I am blown away. 2:11 seconds of pure enjoyment. I actually yelled out loud at the end. Genious... I listened to it for an hour over and over again lol..
I listen to ur songs on spotify and honestly i expected u to be WAY more famous than this. Amazing songs ur work deserves way more attention ima pianist too and i inspire to be on ur level one day❤️
i love your music so so so much and you are the most talented composer i’ve ever heard!!! i recommend you every chance i get because it’s all so wonderful, and i’ve loved every song since i heard one! 💕💕💕
I have to say, Chapaeu! This sounds truly Magnificent!! a joy for one's ears if i may say so. Your work remind's me of the beautiful pieces played by the great composer Chopin. And it fills me with great joy to witness that there still are composers like him to find in you who make pieces like these really shine trough. I hope you will continue to make pieces like this in the future. it truly sounds great!!😊
I've noticed alot of people commenting and complimenting the video which i too agree but where's the ideas? The sharing of how well this fits for a villain rising in power for fantasy? The simple line "time to get to work" seems fitting.
una forma de saber que una musica es perfecta es cuando sigue sonando bien en lento = one way to know that a piece of music is perfect is when it still sounds good in slow
@@Anon2310_ Yes it is possible, I've got the first section down. Just practicing the left hand really helps for me, but for the most part just take it slow slow slow, and slowly speed up over time. Hope this helps, you've got this! :D
@@Anon2310_ Update: was just listening to this song, and wanted to check in! Hows it going? I've learned everything except the really crazy part at the end because I don't have a full size piano But on another note, (hehe) I played the rest of it on a huge grand piano at a Civil War re-enactment, and now they want me to start coming every year to play :D
Perfection song, my soul now jump in Star and star be cause for this músic, The great músic of congratulations, I'm you New fan 💜🔎(my inglish is down, I'm are Brazilian). Hugs of koalas for you 💜
I don't know but somehow I sense villainry, some parts are like, idunno , recallection of the past or somethin, then back to villainry fast-forward or could also be some destruction, you know the "all or nothing" type on par with madness. It would be nice to see this in that type of animation.
One question, can this song be used in the background of UA-cam videos? (of course giving credits) or do you have copyright? I ask it to avoid problems later :3
What exactly are you struggling with? I can see arpeggios, scales and fast octaves in the left hand, while the right hand is the same melody that has already appeared, so I suppose it's to do with the left hand. I'll try to list stuff for LH in case you or anyone else needs it
@@liffy6681 are you using a metronome? Can you play each hand in time and in the final tempo you're trying to achieve? Did you start slow and increase the tempo only when you are able to most certainly play it? How well drilled in is each hand? Is it only "I have to concentrate on the motions of the hand" when playing it separately or is it muscle memory? Because you will not be able to fully concentrate on both hands at the same time. I do understand that these questions read as passive-aggressive attacks, but I do not mean them in any way like that, these are genuine questions for you to ask yourself and act accordingly
@@liffy6681 Rules of thumb: - Focus on having a neutrally relaxed hand as much as possible. - Don't be afraid to use your whole body, especially elbows and back. - Don't drown the whole piece in pedal, use finger legato as much as possible and figure out where *and where not* to use the pedal. Fingering: - This very much depends on hand size and flexibility (for eg I have bigger hands and yet my friend with smaller ones can easily play 10ths while I can't). I also do not have the sheet music, and while fingerings are generally more so universally good, it's best you try and make your own that fits you best, especially since you usually don't get pre-written fingerings. Scales: this is one of the basic things in playing music and you should by no means underestimate them nor their difficulty. Do practice it carefully. - For speed, clarity and eveness put out your arm and point with your index; you should see a straight line from the elbow, through the wrist and into the tip. This is a natural position and will keep your wrist more relaxed than rotating it to the side, which in turn would create tension (first general idea at the top). - Drive with your elbow (second general idea is applied here), up/down the scale, in more so a pushing with the elbow position than a pulling from it (note that you don't actually have to extensively push, this is to conjure an image of how it's supposed to look from the outside). - Since this implies a lot of adjacent notes being played fast, you need a lot of finger activity as well. You can try biting into the keys with the tips of your fingers, keeping them curved; just keep in mind that, depending on how you exact that motion, it might produce different sounds. - Fingering: for eg., if you end part of a scale on 5 and need to continue it, it'll be hard to put your thumb on the next note after your pinky, so take that into account; a very common fingering when considering all black keys, let's take B major for eg.: B C# D# E F# G# A#, is to use 1 on B, 2-3 on C#-D#, 1 again on E, 2-3-4 on F#-G#-A# and then back to 1 on B. On a C major you'd use 1 2 3 1 2 3 4. While that might look like a pattern with a finger -> scale degree, but it's more about what you can use on the lower, closer white keys and respectively on the higher, further black keys. For all others you can look at this and figure the fingering yourself, mainly based on the B major one. - When switching hand positions, you will have to move the thumb under or the rest of the hand over. This thing in itself can make the subject of a whole discussion on the anatomy and biomechanics of the hand and arm as a whole, especially below the elbow. In short, keep your hand as neutral as possible (others will say relaxed but truly relaxed you are only in death, that is more accurately called a neutral position, where you feel what is commonly called "relaxation"). You will also have to jump over to the next position while still keeping a legato sound with the thumb switch as much as possible. Arpeggios: I don't have that much - First off you should figure out what fingering to use, and I don't really have any tips on that here, since arpeggios can be really varied. - Especially here because of the generally larger distances between notes, you will have to jump more between hand positions, as opposed to the scales part, but do still try to keep the rest of the hand as neutral as possible to avoid tension (first principle). In the same vein, don't keep your hand stretched, pull the fingers that have already played their notes close and prepare only the following or maybe following 2 notes at once, don't keep your hand stretched forward either. - Again, employ arm rotation when jumping to try to make the notes sound not so detached because of the jump. Octaves: - This greatly depends on hand span (ie. hand size and flexibility, how much of the keyboard you can span with your hand). You can use 1-4 1-5 for octaves if your body permits you, but I'll not consider that for now at least, so that the only option is 1-5 for an octave. - The main takeaway here is loose wrists. I don't know how to teach how to practice this, since when I studied octaves I just did it and then at some point got it, but if there's tension in your wrist you're doing it wrong and going to injure yourself (speaking from experience from before I got it down, my wrists were yelling at me day in and day out). Practice how to rebound from the keys: don't just hit down on them, when you hit the keys, that's force, and it has to go somewhere; since the piano is immovable and solid, most of it will go back into your hand, so use that to bring your fingers and wrist up and back down. Think of dribbling a basketball as the movement, the faster you have to go the lower to the ground the ball is. If your wrist is tight on octaves maybe try it on shorter intervals first, like 6ths or 7ths, moving up when comfortable. You should technically keep your wrist higher, but that doesn't mean keep it above the keys and hit them vertically, just don't let it sink. To wrap it up, don't dribble the octaves from the forearm, just like you couldn't do it on a basketball, do it from the wrist, loose wrist. - I would like to say something about 1-4 1-5 alternating fingering but there isn't a lot to say, just that you can use finger legato like that and that black keys are easier to play, so 1-4 is better on black octaves. Jumps: - The one biggest Eureka moment I had on jumps was what I later heard described as "don't approach jumps like an eagle, but like a frog" (by @yourpianobestie). Basically, if you try to press, release, hover over the keyboard to the next position and press again, you have too many choppy movements, and humans can't move in segments with instant direction change because of inertia, we move much with more rounded movements. That being said, use the idea mentioned in octaves, the rebound. That rebound doesn't have to be vertical, so, after hitting the keys, use a populating motion to the landing end of the jump and rebound from that hit as well (if you have to jump again). That's about all I could think of. Happy practicing!
Your music reminds me so much of Tchaikovsky with its strong sense of grandeur and regret, very nice
That's what I exactly thought ❤
No. It's Chopin who inspired him clearly
I would like you to know that through moments of struggle and jubilee this winter I've found great comfort in your music. Not only are an outstanding musician, you provide something others don't. A certain style of subtle patterns that can be detected throughout your work enhance all of the songs in which they exist. These are, in my eyes, inextricably connected, and serve to form a kind of theme song of a character throughout their life like in the movies. I have borrowed your theme and applied it to this particular period of my life and have felt exhilaration when Raindrop's Waltz theme shows up in a more active pacing tempo towards the end of Enemies to Lovers for example. They employ the same energy and yet they're used for different moments. If you accept suggestions, I'd admirably recommend to use this melody in future songs with the tone you wish to use. Thank you for sharing your content and what's more, making it available on MIDI. You're going to be great. :)
Thank you so much for your kind words Carlos! It makes me so happy when others pick up on the little Easter eggs I try to hide throughout my music. I would definitely love to sneak in this theme in a future work!
@JoshuaAalampour Thanks for sharing, Mrm Aalampour. Can you please share how you came up with this melody and the chords and developed them? I'm just starting out as a composer and struggling with creative block and depression. Thanks and hope to hear from you.
@@JoshuaAalampourAnd any tips on how tomlearn this piece failrt quickly and easily if I'm an intermediate player..Hope to hear more.
I love that I have listened to your pieces so much that at this point I can almost see your habits and composing styles through the similarities in the pieces. You are truly an amazing artist.
Same!!
OMGG WHO ARE YOU!!! This is my new favorite song, I must say I haven’t been impressed in such a very long time, but you, you are so talented. I wish the best on your career, you really deserve it. Also, I play the piano but I haven’t play it in a very long time, and I’m always looking for inspiration in several artists finding none. And then, I found you, you make me wanna play again. Thank you, really. This might be the first piece I play in a while. ❤ send you the best energy
Can’t stop listening!!! Oh, Jesus, this is a masterpiece!
This just popped up when I was searching for another piece. I am blown away. 2:11 seconds of pure enjoyment. I actually yelled out loud at the end. Genious... I listened to it for an hour over and over again lol..
I can’t believe you, your music is so heavenly. This is my favourite piece, I really cannot stop appreciating this.
I am absolutely in love with this piece it’s everything I like
I listen to ur songs on spotify and honestly i expected u to be WAY more famous than this. Amazing songs ur work deserves way more attention ima pianist too and i inspire to be on ur level one day❤️
This is one of the best compositions i have ever heard
Look at how many people you've inspired with this :] that makes me so happy.
(I am one of those people.)
I am teaching myself this piece as a side project to my lesson and jazz band pieces and I am enjoying it so much. Thank you 😊
0:58 that f natural THREW ME OFF
WOW, THATS REALLY SOMETHING, WHAT A GREAT WALTZ AND SO WELL PLAYED. IT SOUNDS HARD TO PLAY ALSO.
I adore this song a lot it’s one of my favourites from u!!
Thank you so much for your compositions and tutorials, I really enjoy all of your pieces, it's precious, thank you Joshua
I can feel the inspiration of the mix of 4 songs here
Thank you so so much!!
I get ptsd because my gamemaster played this everytime my villain showed up, amazing piece btw
UA-cam just recommended your channel to me
After appreciating all your pieces, I was like Damn, subscribe with no hesitation, I love it!!
i love your music so so so much and you are the most talented composer i’ve ever heard!!! i recommend you every chance i get because it’s all so wonderful, and i’ve loved every song since i heard one! 💕💕💕
Poruszyłeś mnie niesamowicie! Twoja muzyka jest piękna! Mam gęsią skórkę i płaczę. Dziękuję!❤ pozdrawiam z Polski.
to super
This is incredible mind blown. 🤯
I have been waiting for this one. Thank you ♡
You play beautifully, thank you for sharing .
I love the way you create full and soft atmosphere. 🥹 So many colours. ♥️
I have to say, Chapaeu! This sounds truly Magnificent!! a joy for one's ears if i may say so. Your work remind's me of the beautiful pieces played by the great composer Chopin. And it fills me with great joy to witness that there still are composers like him to find in you who make pieces like these really shine trough. I hope you will continue to make pieces like this in the future. it truly sounds great!!😊
I find so much inspiration in your compositions. Thank you for being my favorite soundtrack while I work on my Art. 🌺🌹💐
wowww
It's stunning
les montées mains gauches m'impressionneront toujours👏🏻👏🏻👏🏻
Your music is making me feel like a villain in a dark academia novel, thank you 🙏🏽
excellent work !!
PLEASE I AM BEGGING TO THE TRIANON NEXT 🧎♀️🧎♀️🧎♀️
It's my favourite 😢❤
OH MY GODD! I LOVE YOUR WORK SO MUCH!!! THANKK YOUU FOR THISS! I CANT WAIT TO PLAY IT 🔥🔥😭😭😍
I've noticed alot of people commenting and complimenting the video which i too agree but where's the ideas? The sharing of how well this fits for a villain rising in power for fantasy? The simple line "time to get to work" seems fitting.
This is very beautiful
THIS IS MY NEW FAV SONG😊😊♥️♥️♥️
Truly masterful
Beautiful. In all honesty, that is the truth.
una forma de saber que una musica es perfecta es cuando sigue sonando bien en lento
=
one way to know that a piece of music is perfect is when it still sounds good in slow
Thank you! My sister really wanted me to learn this song, and so did I, but nobody had a tutorial on it. On it right now!
@@Anon2310_ Yes it is possible, I've got the first section down. Just practicing the left hand really helps for me, but for the most part just take it slow slow slow, and slowly speed up over time. Hope this helps, you've got this! :D
@@Anon2310_ Update: was just listening to this song, and wanted to check in! Hows it going? I've learned everything except the really crazy part at the end because I don't have a full size piano
But on another note, (hehe) I played the rest of it on a huge grand piano at a Civil War re-enactment, and now they want me to start coming every year to play :D
Almost close to perfection.
Великолепно
I want the note sheet pleeease 😢
It's in the desc
Omg thanks so much
Playing this song right after The Hidden Library, hits different.
Thank You Jesus for music!
❤
Perfection song, my soul now jump in Star and star be cause for this músic, The great músic of congratulations, I'm you New fan 💜🔎(my inglish is down, I'm are Brazilian).
Hugs of koalas for you 💜
I don't know but somehow I sense villainry, some parts are like, idunno , recallection of the past or somethin, then back to villainry fast-forward or could also be some destruction, you know the "all or nothing" type on par with madness.
It would be nice to see this in that type of animation.
1:40 esa parte me pone los pelos de gallina
I love Rick and Mort :--)
It sounds very inspired by chopin's nocturne op. 55
9.5/10
nice, this waltz is in Dmaj??
One question, can this song be used in the background of UA-cam videos? (of course giving credits) or do you have copyright? I ask it to avoid problems later :3
I want to buy the sheet music for this song
I'm learning this rn and the part after 1:39 is hard to do for me...Any idea how i can do it? Like the finger placements?
What exactly are you struggling with? I can see arpeggios, scales and fast octaves in the left hand, while the right hand is the same melody that has already appeared, so I suppose it's to do with the left hand. I'll try to list stuff for LH in case you or anyone else needs it
@@notinla I can do right hand and left hand separately but whenever i try to combine them i just lose rhythm and it becomes a mess...
@@liffy6681 are you using a metronome? Can you play each hand in time and in the final tempo you're trying to achieve? Did you start slow and increase the tempo only when you are able to most certainly play it? How well drilled in is each hand? Is it only "I have to concentrate on the motions of the hand" when playing it separately or is it muscle memory? Because you will not be able to fully concentrate on both hands at the same time. I do understand that these questions read as passive-aggressive attacks, but I do not mean them in any way like that, these are genuine questions for you to ask yourself and act accordingly
@@liffy6681
Rules of thumb:
- Focus on having a neutrally relaxed hand as much as possible.
- Don't be afraid to use your whole body, especially elbows and back.
- Don't drown the whole piece in pedal, use finger legato as much as possible and figure out where *and where not* to use the pedal.
Fingering:
- This very much depends on hand size and flexibility (for eg I have bigger hands and yet my friend with smaller ones can easily play 10ths while I can't). I also do not have the sheet music, and while fingerings are generally more so universally good, it's best you try and make your own that fits you best, especially since you usually don't get pre-written fingerings.
Scales: this is one of the basic things in playing music and you should by no means underestimate them nor their difficulty. Do practice it carefully.
- For speed, clarity and eveness put out your arm and point with your index; you should see a straight line from the elbow, through the wrist and into the tip. This is a natural position and will keep your wrist more relaxed than rotating it to the side, which in turn would create tension (first general idea at the top).
- Drive with your elbow (second general idea is applied here), up/down the scale, in more so a pushing with the elbow position than a pulling from it (note that you don't actually have to extensively push, this is to conjure an image of how it's supposed to look from the outside).
- Since this implies a lot of adjacent notes being played fast, you need a lot of finger activity as well. You can try biting into the keys with the tips of your fingers, keeping them curved; just keep in mind that, depending on how you exact that motion, it might produce different sounds.
- Fingering: for eg., if you end part of a scale on 5 and need to continue it, it'll be hard to put your thumb on the next note after your pinky, so take that into account; a very common fingering when considering all black keys, let's take B major for eg.: B C# D# E F# G# A#, is to use 1 on B, 2-3 on C#-D#, 1 again on E, 2-3-4 on F#-G#-A# and then back to 1 on B. On a C major you'd use 1 2 3 1 2 3 4. While that might look like a pattern with a finger -> scale degree, but it's more about what you can use on the lower, closer white keys and respectively on the higher, further black keys. For all others you can look at this and figure the fingering yourself, mainly based on the B major one.
- When switching hand positions, you will have to move the thumb under or the rest of the hand over. This thing in itself can make the subject of a whole discussion on the anatomy and biomechanics of the hand and arm as a whole, especially below the elbow. In short, keep your hand as neutral as possible (others will say relaxed but truly relaxed you are only in death, that is more accurately called a neutral position, where you feel what is commonly called "relaxation"). You will also have to jump over to the next position while still keeping a legato sound with the thumb switch as much as possible.
Arpeggios: I don't have that much
- First off you should figure out what fingering to use, and I don't really have any tips on that here, since arpeggios can be really varied.
- Especially here because of the generally larger distances between notes, you will have to jump more between hand positions, as opposed to the scales part, but do still try to keep the rest of the hand as neutral as possible to avoid tension (first principle). In the same vein, don't keep your hand stretched, pull the fingers that have already played their notes close and prepare only the following or maybe following 2 notes at once, don't keep your hand stretched forward either.
- Again, employ arm rotation when jumping to try to make the notes sound not so detached because of the jump.
Octaves:
- This greatly depends on hand span (ie. hand size and flexibility, how much of the keyboard you can span with your hand). You can use 1-4 1-5 for octaves if your body permits you, but I'll not consider that for now at least, so that the only option is 1-5 for an octave.
- The main takeaway here is loose wrists. I don't know how to teach how to practice this, since when I studied octaves I just did it and then at some point got it, but if there's tension in your wrist you're doing it wrong and going to injure yourself (speaking from experience from before I got it down, my wrists were yelling at me day in and day out). Practice how to rebound from the keys: don't just hit down on them, when you hit the keys, that's force, and it has to go somewhere; since the piano is immovable and solid, most of it will go back into your hand, so use that to bring your fingers and wrist up and back down. Think of dribbling a basketball as the movement, the faster you have to go the lower to the ground the ball is. If your wrist is tight on octaves maybe try it on shorter intervals first, like 6ths or 7ths, moving up when comfortable. You should technically keep your wrist higher, but that doesn't mean keep it above the keys and hit them vertically, just don't let it sink. To wrap it up, don't dribble the octaves from the forearm, just like you couldn't do it on a basketball, do it from the wrist, loose wrist.
- I would like to say something about 1-4 1-5 alternating fingering but there isn't a lot to say, just that you can use finger legato like that and that black keys are easier to play, so 1-4 is better on black octaves.
Jumps:
- The one biggest Eureka moment I had on jumps was what I later heard described as "don't approach jumps like an eagle, but like a frog" (by @yourpianobestie). Basically, if you try to press, release, hover over the keyboard to the next position and press again, you have too many choppy movements, and humans can't move in segments with instant direction change because of inertia, we move much with more rounded movements. That being said, use the idea mentioned in octaves, the rebound. That rebound doesn't have to be vertical, so, after hitting the keys, use a populating motion to the landing end of the jump and rebound from that hit as well (if you have to jump again).
That's about all I could think of. Happy practicing!
do you have sheet music?
A Russian and a Frenchman walk into a piano bar...
🇮🇷🔥
Grig?
когда дроп
гигигага -)
Foreskin Waltz
잔잔->더욱 잔잔->대폭팔 너무좋아서 유튜브 뮤직으로 하루에 몇번을 듣는지 모르겠다
❤