URTEXT: MENELISIK EDISI BUKU MUSIK - by: Jelia Megawati Heru (Staccato, January 2018)

“URTEXT"
MENELISIK EDISI BUKU MUSIK

by: Jelia Megawati Heru

Staccato, January 2018

Tidak seperti musik kekinian, dimana setiap orang bisa membuat versi piano cover atau vocal cover nya sendiri dan mengunggahnya di youtube. Kebebasan performer Musik Klasik untuk menghidupkan musik kembali, mempunyai batasannya sendiri. 

Pada era Classical, niat dan usaha komposer dalam menulis sebuah komposisi sangat dijunjung tinggi dan sebuah komposisi dari maestro Musik Klasik diperlakukan seperti warisan budaya yang agung dalam Musik Klasik. Oleh karena itu dibutuhkan partitur musik yang mendukung, agar musik yang dimainkan otentik, pas sesuai dengan porsi, dan pesan “sponsor”.

Ada banyak partitur dan edisi buku musik yang beredar di pasaran. Sebut saja mulai dari edisi Schirmer, Henle Verlag, Wiener Urtext, Peters Edition, Dover, dan masih banyak lagi. Mengapa ada begitu banyak edisi? Apa perbedaan suatu edisi dengan edisi yang lainnya? Edisi manakah yang cocok untuk kebutuhan musisi profesional dan guru musik? Simak selengkapnya dalam artikel kali ini!

VARIASI EDISI MUSIK

Ada banyak versi partitur musik (music sheet/score) dari berbagai penerbit. Setiap variasi edisi disajikan untuk tujuan dan kebutuhan khusus. Misalnya partitur musik dengan penambahan fitur cara memainkan melodi dengan teknik tertentu, tanda dinamika, artikulasi, tempo yang presisi, akan sangat memudahkan proses belajar pemain dalam berlatih.

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COLOR YOUR MUSIC! Tips Mengajar Musik dengan Warna - by: Jelia Megawati Heru (Staccato, October 2016)

“COLOR YOUR MUSIC!”

TIPS MENGAJAR MUSIK DENGAN WARNA

by: Jelia Megawati Heru

Staccato, October 2016

Di tengah padatnya jadwal, panas, dan macetnya kota Jakarta yang bikin stress. Banyak orang yang mencari solusi alternatif untuk menyalurkan energi negatif mereka. Beberapa memilih olah raga, ada juga yang memilih mendengarkan musik, ada juga yang pergi berlibur keluar kota, dan ada pula yang jadi korban mode dan shopping hahaha… Tapi ya kita tidak bisa setiap minggu jalan-jalan liburan, shopping, dan ngopi di café melulu, dong? Bikin bangkrut! Lantas bagaimana? Terinspirasi dari manfaat terapi mewarnai yang sedang marak, artikel kali ini akan mengangkat topik mengajar musik dengan warna.

TERAPI WARNA

Akhir-akhir ini buku mewarnai bagi orang dewasa menjadi trending. Banyak orang yang mereguk manfaat dari seni visual ini. Selain fun, mewarnai dapat membuat seseorang merasa nyaman, santai, dan belajar untuk fokus. Ketidakmampuan untuk fokus seringkali merupakan gejala dari kecemasan atau stres. Walau mewarnai tidak dapat menyembuhkan penyakit, namun mewarnai dapat membantu mengurangi gejala tekanan fisik dan emosional secara signifikan. Karena sifatnya yang terapeutik seperti meditasi, warna sering digunakan mengekspresikan hal tidak bisa dilukiskan dengan kata-kata. Misalnya: depresi, demensia, kecemasan, dan PTSD (Post-Traumatic Stress Disorder).

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LAVENDER'S BLUE (DILLY, DILLY) - Music Sheets & Lyrics (OST. Cinderella)

"LAVENDER'S BLUE (DILLY, DILLY)"

MUSIC SHEETS & LYRICS

OST. CINDERELLA

"Lavender's Blue," (perhaps sometimes called "Lavender Blue,") is an English folk song and nursery rhyme dating to the 17th century, which has been recorded in various forms since the 20th century.

A hit version of the song, sung by Burl Ives, was featured in the Walt Disneymovie, So Dear to My Heart (1948) and was nominated for an Academy Award for Best Original Song. It was Ives' first hit song and renewed the song's popularity in the 20th century. Other hit versions of the song were recorded by Sammy Kaye and Dinah Shore. In 1955, Jazz pianist Jack Pleis recorded it for his album, Music from Disneyland.

Source: 

Wikipedia 

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Piano Sheets from TV Series "DEXTER"

PIANO SHEETS FROM TV SERIES "DEXTER"

An important part of the television series Dexter is the music. Without it to set each appropriate mood, fans would be watching something not nearly as captivating as it has been for the past eight seasons. Various artists lend their music to the show to be used and with no doubt, the original score is truly amazing and worthy of the franchise. Thanks to Daniel Licht and Rolfe Kent. 

DEXTER MUSIC THEME

This is the theme best associated with the opening title sequence. The theme music for the Showtime series DEXTER was composed and recorded in August 2006. An interesting task, as it was to be both sly and witty yet dark and with a hint of Miami about it. So it features guiro, latin percussion, and also Turkish saz and a vaguely reggae beat. It was all timed to match the opening title sequence.

Kent's widely praised opening theme utilizes an eclectic selection of European and Asian instruments, including ukulele, piano, bouzouki, trumpets, pizzicato strings, electric piano, saz, and tambour, set to an Afro-Cuban beat. 

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PIANO SHEETS & LYRICS "FOR THE FIRST TIME IN FOREVER" (OST. FROZEN)

"FOR THE FIRST TIME IN FOREVER"

(OST. FROZEN)

VIDEO
 

LYRICS

"For The First Time In Forever" (with Kristen Bell)
 
[Anna:]
The window is open, so's that door
I didn't know they did that anymore
Who knew we owned eight thousand salad plates?

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PIANO SHEETS & LYRICS "DO YOU WANT TO BUILD A SNOWMAN?" (OST. FROZEN)

"DO YOU WANT TO BUILD A SNOWMAN?"

(OST. FROZEN)

"Do You Want to Build a Snowman?"
is a song from the 2013 Disney animated film Frozen. It is sung by Anna.
The composers are Kristen Anderson-Lopez and Robert Lopez.

LYRICS

5-Year-Old Anna: 

Elsa? (knocks)
 

Do you want to build a snowman?
Come on, let's go and play!
I never see you anymore
Come out the door
It's like you've gone away

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PIANO SHEET & LYRICS "LET IT GO" (OST. Disney's FROZEN)

PIANO SHEET "LET IT GO"

(OST. DISNEY'S FROZEN)

Disney's FROZEN tells the story of two sister princess, Elsa (voiced by Idina Menzel) and Anna (voiced by Kristen Bell). Elsa has the power to create ice and snow out of thin air, but after a childhood accident with her powers, her parents decide to hide the family away and keep the powers a secret from her younger sister.  

ABOUT THE SONG "LET IT GO"

 In "Let It Go," Menzel shows off her powerful voice that won her a Tony in 2004 for Wicked. It also reveals some of Elsa's more ascetically pleasing snowy powers. The song earned a Golden Globe Award nomination for Best Original Song. 

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Piano Sheet Mr. Bean's Theme (Original & Animated Series)

PIANO SHEET: MR. BEAN'S THEME 

(Original & Animated Series)

ABOUT MR. BEAN

Mr. Bean is a British comedy television programme series of 14 twenty-five-minute episodes written by and starring Rowan Atkinson as the title character. Based on a character originally developed by Atkinson while he was studying for his master's degree at Oxford University, the series follows the exploits of Mr. Bean, described by Atkinson as "a child in a grown man's body", in solving various problems presented by everyday tasks and often causing disruption in the process. Bean rarely speaks, and the largely physical humor of the series is derived from his interactions with other people and his unusual solutions to situations.

The title character, played by Rowan Atkinson, is a childish and self-centered buffoon who brings various unusual schemes and contrivances to everyday tasks. He lives alone in his small flat in Highbury, and is almost always seen in his trademark tweed jacket and a skinny red tie. He also usually wears a digital calculator watch. Mr. Bean rarely speaks, and when he does, it is generally only a few mumbled words which are in a comically low-pitched voice. His first name (he names himself "Bean" to others) and profession, if any, are never mentioned. In the first film adaptation, "Mr." appears on his passport in the "first name" field, and he is shown employed as a guard at London's National Gallery. In Mr. Bean's Holiday, however, his name is listed on his passport as "Rowan", the actor's first name.

Mr. Bean often seems unaware of basic aspects of the way the world works, and the programme usually features his attempts at what would normally be considered simple tasks, such as going swimming, using a television set, redecorating or going to church. The humor largely comes from his original (and often absurd) solutions to problems and his total disregard for others when solving them, his pettiness, and occasional malevolence.

Mr. Bean "Piano Player"

ORIGINAL SERIES

The first episode of the original Mr. Bean series starring Rowan Atkinson was first broadcast on 1st January 1990. Since then Mr. Bean has become known all over the world. Created by Rowan Atkinson, Richard Curtis and Robin Driscoll, there were only 14 episodes ever made.

The original series emerged from Rowan Atkinson's stage revues of the 1980's which featured the silent odd-ball. Rowan Atkinson's comic acting genius has created a highly original work for television. The Mr. Bean series has been sold to 190 territories worldwide and has won an International Emmy and the Golden Rose of Montreux.

ANIMATED SERIES

In 2002 the character was transformed into an animated series of 26 half hour episodes. The series remains entirely faithful to the original Mr. Bean, with the character still living very much in the real world. Rowan Atkinson provides all of Mr. Bean's vocal sounds.

The Animated Series has heralded a new era for one of the UK's most successful characters of all time. Rowan Atkinson worked on the transformation to animated character and acted out every episode in front of the cameras so that the animators could capture the unique movement of Britain's most infamous character.

Characters from the original live action series included Mr. Bean, Irma Gobb, Teddy, and the mysterious driver of the Reliant Supervan, with the new addition of Mrs. Wicket, Bean's landlady, and her evil cat Scrapper.

The series again featured little actual dialogue, with most being either little sound bites or mumbling and mild slapstick. Rowan Atkinson provided the voice for Bean; additionally, all of the animated Bean actions are taken from Atkinson himself.

ORIGINAL VS ANIMATED SERIES

Like the live action series, there isn't much talking. But I think it's wonderful that Rowan Atkinson supplies what mumblings there is for Mr. Bean. And you've got to love his horrid landlady Mrs.Wicket when she yells "BEAN" at the top of her lungs. (She makes him do all the house and yard work and her grocery shopping; does she give him a break on the rent?!) The plots are terrific.

The animation style is brilliant. Very refreshing. Kind of a retro style with regards to the simplified backgrounds. Really nice colors. The trees are like the ones in Looney Tunes or Pink Panther cartoons. The characters are superbly drawn, capturing the rubbery facial expressions of Rowan Atkinson. I like the heavy outlines on the characters to set them off from the backgrounds, and I find it amusing that their feet aren't attached to their legs, lol.

Mr. Bean "Learn How To Play Piano"

Mr. Bean "Having a Piano Lesson"

There are some clear differences between live action and animated "Mr. Bean" material, which is not a bad thing. "Mr. Bean: The Animated Series" has less of the realistic sitcom style that the original series has, and sometimes has more of a fantasy touch to it, an example being the episodes involving Bean having encounters with animals, definitely cartoon-style animals. Since this is a cartoon, it makes sense that it has more cartoon-style qualities. The show also has different theme music (piano music instead of choir music this time). The two also have their similarities. Like before, the humor here is pretty visual. The animated Mr. Bean does make more sounds and mumble more than the original live action version of the character does, but it's still mostly about the visual humor, and as a fan of the original series, it's a must watch series!

THE MUSIC

Mr. Bean features a choral theme tune written by Howard Goodall and performed by the Choir of Southwark Cathedral (later Christ Church Cathedral, Oxford). 

The words sung during the title sequences are in Latin:

• Ecce homo qui est faba – "Behold the man who is a bean" (sung at beginning) 
• Finis partis primae – "End of part one" (sung before the advertisement break) 
• Pars secunda – "Part two" (sung after the advertisement break) 
• Vale homo qui est faba – "Farewell, man who is a bean" (sung at end)

Watch "Ecce Homo Qui Est Faba"

The theme was later released on Goodall's album Choral Works. Goodall also wrote an accompanying music track for many episodes. The first episode of Mr. Bean did not feature the choral theme tune, but instead an up-beat instrumental piece, also composed by Howard Goodall, which was more an incidental tune than a theme. It was used while Bean drove between locations intimidating the blue Reliant, and as such, was sometimes heard in later episodes whenever Bean's nemesis is seen.

Mr. Bean "Chariots of Fire" with London Symphony Orchestra

(Opening Ceremony of London 2012 Olympics)

Mr Bean featured in the opening ceremony of the London 2012 Olympics playing the Chariots of Fire theme (by Vangelis) with the London Sympony Orchestra. The arrangement for the event was by Howard Goodall.

Download the piano sheet of Mr Bean's Theme (animated series) Page 1 & Page 2

Download the MP3 of Mr Bean's Theme (animated series) HERE

Listen to the music & sibelius film score HERE  

Watch Mr. Bean's Theme

 

 

LYRICS "ECCE HOMO"

Ecce homo qui est faba 

Ecce homo qui est faba 

Vale homo qui est faba 

qui est faba qui est faba 

Vale homo qui est faba 

Vale homo qui est faba 

qui est faba 

Translation: 

Behold the man who is a bean. 

Farewell the man who is a bean.

 

Download the piano sheet of Howard Goodall "Ecce Homo" HERE

Download the MP3 of Howard Goodall "Ecce Homo" HERE 

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Piano Sheets & Lyrics "Misty Mountains" (OST. The Hobbit)

"MISTY MOUNTAINS"
(OST. THE HOBBIT: Unexpected Journey)
- Song of the Lonely Mountain - 

PIANO SHEETS & LYRICS 

"Far Over the Misty Mountains Cold"
is a poem found within the chapter "An Unexpected Party" of The Hobbit.

The song is called “Misty Mountains (Cold)”
composed by Howard Shore, written by J. R. R. Tolkien.
A song of returning to Erebor is sung by Thorin Oakenshield - the Heirs of Durin 
(Richard Armitage) & the dwarves during the Unexpected Party at Bag End.
Neil Finn also sings a variation of the song entitled "Song of the Lonely Mountain"
in the ending credits of the film. 

Thorin Oakenshield

 
Thorin's harp... was a beautiful golden harp, and when Thorin struck it the music began all at once, so sudden and sweet that Bilbo forgot everything else, and was swept away into dark lands under strange moons, far over The Water and very far from his hobbit-hole under The Hill....

The dark filled all the room, and the fire died down, and the shadows were lost, and still they played on. And suddenly first one and then another began to sing as they played, deep-throated singing of the dwarves in the deep places of their ancient homes....

watch the video here:

LYRICS of "MISTY MOUNTAINS"
Far over the Misty Mountains cold,
To dungeons deep and caverns old,
We must away, ere break of day,
To seek our pale enchanted gold.

The dwarves of yore made mighty spells,
While hammers fell like ringing bells,
In places deep, where dark things sleep,
In hollow halls beneath the fells.

For ancient king and elvish lord
There many a gleaming golden hoard
They shaped and wrought, and light they caught,
To hide in gems on hilt of sword.

On silver necklaces they strung
The flowering stars, on crowns they hung
The dragon-fire, on twisted wire
They meshed the light of moon and sun.

Far over the Misty Mountains cold,
To dungeons deep and caverns old,
We must away, ere break of day,
To claim our long-forgotten gold.

Goblets they carved there for themselves,
And harps of gold, where no man delves
There lay they long, and many a song
Was sung unheard by men or elves.

The pines were roaring on the heights,
The wind was moaning in the night,
The fire was red, it flaming spread,
The trees like torches blazed with light.

The bells were ringing in the dale,
And men looked up with faces pale.
The dragon's ire, more fierce than fire,
Laid low their towers and houses frail.

The mountain smoked beneath the moon.
The dwarves, they heard the tramp of doom.
They fled the hall to dying fall
Beneath his feet, beneath the moon.

Far over the Misty Mountains grim,
To dungeons deep and caverns dim,
We must away, ere break of day,
To win our harps and gold from him!

The wind was on the withered heath,
But in the forest stirred no leaf:
There shadows lay be night or day,
And dark things silent crept beneath.

The wind came down from mountains cold,
And like a tide it roared and rolled.
The branches groaned, the forest moaned,
And leaves were laid upon the mould.

The wind went on from West to East;
All movement in the forest ceased.
But shrill and harsh across the marsh,
Its whistling voices were released.

The grasses hissed, their tassels bent,
The reeds were rattling--on it went.
O'er shaken pool under heavens cool,
Where racing clouds were torn and rent.

It passed the Lonely Mountain bare,
And swept above the dragon's lair:
There black and dark lay boulders stark,
And flying smoke was in the air.

It left the world and took its flight
Over the wide seas of the night.
The moon set sale upon the gale,
And stars were fanned to leaping light.

Under the Mountain dark and tall,
The King has come unto his hall!
His foe is dead, the Worm of Dread,
And ever so his foes shall fall!

The sword is sharp, the spear is long,
The arrow swift, the Gate is strong.
The heart is bold that looks on gold;
The dwarves no more shall suffer wrong.

The dwarves of yore made mighty spells,
While hammers fell like ringing bells
In places deep, where dark things sleep,
In hollow halls beneath the fells.

On silver necklaces they strung
The light of stars, on crowns they hung
The dragon-fire, from twisted wire
The melody of harps they wrung.

The mountain throne once more is freed!
O! Wandering folk, the summons heed!
Come haste! Come haste! Across the waste!
The king of freind and kin has need.

Now call we over the mountains cold,
'Come back unto the caverns old!'
Here at the gates the king awaits,
His hands are rich with gems and gold.

The king has come unto his hall
Under the Mountain dark and tall.
The Wyrm of Dread is slain and dead,
And ever so our foes shall fall!

Farewell we call to hearth and hall!
Though wind may blow and rain may fall,
We must away, ere break of day
Far over the wood and mountain tall.

To Rivendell, where Elves yet dwell
In glades beneath the misty fell.
Through moor and waste we ride in haste,
And whither then we cannot tell.

With foes ahead, behind us dread,
Beneath the sky shall be our bed,
Until at last our toil be passed,
Our journey done, our errand sped.

We must away! We must away!
We ride before the break of day!

"...there is much else that may be told." — Glóin

download the piano sheet, click HERE

download the MP3, click HERE

 

 

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Vivaldi "Rain of Tears" for Guitar Piano Duo

 Vivaldi's "RAIN OF TEARS"

Arrangement for Guitar Piano Duo

by Michael Gunadi Widjaja & Jelia Megawati Heru

RAIN OF TEARS

Standing in the rain,
standing all afraid,
who knows how to cure all my pain?

I drop these tears because I fear,
even though this rain is trying to make me clear,
for this moment is silent and now I hear,
the pain that managed to last all this year.

You were not there to see my pain.
I will never see love quite the same.
The rain drops to the ground,
like tears from my heart falling without a sound.

My eyes still shine bright,
but I still have this will to fight,
even to this great height.

My Love...
If tears could build a stairway and memories a lane,
I'd walk right up to heaven and bring you home again 

"RAIN of TEARS" 

Sento in seno ch'in pioggia di lagrime 

(I feel within a rain of tears)
from: Tieteberga and Il Giustino
by Antonio Vivaldi
Rearr. by Jelia Megawati Heru & Michael Gunadi Widjaja

 Hear Vivaldi "Rain of Tears" HERE 

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"Kemben" - The Exotic Indonesian Piano Composition

"KEMBEN" 

THE EXOTIC INDONESIAN PIANO COMPOSITION

by: Michael Gunadi Widjaja

Kemben becomes the central theme of this composition. 

In other words, it is about the sensuality of woman. 

The sensual part, but always covered. 

As a matter of composition, this composition develops an affection of women sexual charm.

The composition consists of three parts:
• Opening
• Keroncong romance
• Dangdut hot

The opening used the pentatonic. The concept is a “Manunggaling Kawula Gusti” or “Mandala” - from a small universe evolved into a more complex conception of the valuable (adiluhung). Theme of primo 1 is repeated with varied rhythmic, that enriched by secondo 1, primo 2, and secondo 2. Octave parallels are intended to give the impression of a theatrical, that: this is a veil of life - women, with their charm of sexual.

The second part - Keroncong Romance, is about the nature of women. Timid creatures, spoiled, soft, and gentle. The impression is woman who wears kemben, walking apace, squinting eyes, a faint smile, and her hair is slightly damp.

The third part - Hot Dang Dut, describes woman as timid creatures, spoiled, soft, smooth, but in the sublime way it can be wild in lust and sexual dreams. That is why in this section is used a "deconstructive" landscape. Because when she is in lust and wild sexually, there’s no more norm, no more rules - only a single and static harmony to indicate a state of "trance" in crisis lust. 

In Javanese tradition music composition, there’s typical this kind of harmony in DOLALAK of Banyumas, Sintren of Tegal, and Jathilan of Solo. Impressions in this section are: woman with kemben, seated, with her hands holding the hair, exposing a hairy armpit as a reflection of the wild lust. Then the women were swaying in a trance state, covered with fragrant sandalwood, while the kemben sags.

Hear "KEMBEN" HERE
 

Get the score HERE

"KEMBEN"

(for two pianos, eight hands)

by: Michael Gunadi Widjaja

Performed by: Golden Fingers Piano Ensemble

Pianolicious Moment @ Istituto Italiano, October 7th, 2012

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Medley Indonesian Folk Songs for Piano Ensembles

Medley Indonesian Folk Songs
"Soleram - Warung Podjok - Yamko Rambe Yamko"
(for two pianos, eight hands)
Arr. Michael Gunadi Widjaja

This Medley is arranged for Golden Fingers Piano Ensembles

in soft opening Taman Budaya Tegal, Central Java

ABOUT GOLDEN FINGERS PIANO ENSEMBLES

Golden Fingers Piano Ensembles is directed by Jelia Megawati Heru.

She created event that showcased the young teachers 

that she developed to participate in her music program. 

The Golden Fingers is not just a usual piano ensembles group, 

but a pilot project to implement the concept of “Music from Passion”. 

Jelia believes that the piano ensemble is not only about playing piano together, 

but it is an actual effort to liven up the music.  

Golden Fingers Piano Ensembles was invited by 

the Tegal Council of Arts on March 4th, 2012 at Taman Budaya Tegal, Central Java 

– as the soft opening for the most representative cultural arena theater of the city 

with capacity of 1000 seats, professional lighting, and stage. 

Read Golden Fingers Piano Ensembles Reportage

on KAWAI Newsletter No. 29, 2012 (distributed all over the world):

http://piano-ensembles.blogspot.com/2012/06/golden-fingers-kawai-newsletter-no-29.html

Listen "Medley Indonesian Folk Songs" HERE 

Get the score HERE

MEDLEY INDONESIAN FOLK SONGS

"Soleram - Warung Podjok - Ramko Rambe Yamko"
(for 2 pianos, 8 hands)

Arr. Michael Gunadi Widjaja

Pianolicious Moment @ Istituto Italiano, October 7th, 2012

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Jelia's Twinkle - Twinkle Little Stars ala Indonesia

  "JELIA's TWINKLE"
(for two pianos, eight hands)
by Michael Gunadi Widjaja

The TWINKLE TWINKLE LITTLE STAR

is one of the most famous songs for many decades.

Its origin is a lullaby. A Nursery song with the lyric of old English poem, 

that created by Jane Taylor.

COMPOSITORICAL NOTES

(from Mr. Michael Gunadi Widjaja)

The melody of this piece is stepping in common interval. 

So children can relatively easy to sing out this piece. 

The harmony structure seems like giving some kind of “open space” to being explored. 

This may be one cause of why the twinkles composed in many different forms of music, include as a lesson song.

Jelia asked me to make an attractive and unique arrangement 

for this twinkle that contains love, passion, 

and true friendship among her Suzuki colleagues. 

So I choose a popular music format for theme structure with kind of dissonant chordal. 

It expresses the meaning that friendship is not always going to be smooth.

In the second movement, 

I used one of the early Jazz form “RAGTIME” 

as a manifestation of dynamic relation.

In Jazz someone can share the musical passion 

to each other in jam session, just like friendship.

In the third movement, there is Dang Dut. 

Focused on the fact that it may contain many tradition elements. 

As if to remind that friendship never be loose from its cultural root. 

In the other side, Dang Dut is sexy, erotic, and passionate. 

In other words, this is Jelia’s Twinkle, 

 that has a lot of side – 

still has the virtuosity in true friendship, 

but also very passionate and exciting.

I call it a composition, even the theme is not mine.

Format: Piano Ensembles - 2 pianos, 8 hands 

Listen "Jelia's Twinkle" HERE  
 

Get the music score HERE

"JELIA's TWINKLE"

(for 2 pianos, 8 hands)

by Michael Gunadi Widjaja

Pianolicious Moment @ Istituto Italiano, October 6th, 2012

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ANGRY BIRDS Theme for piano four hands

ANGRY BIRDS THEME

(for one piano four hands)

Arr. by Michael Gunadi Widjaja

The re-arrangement of Angry Birds Theme. It's a cut off.

Because the theme only appears on phrases, 
that's essential and represents character of the piece.

There's some funny technique, 
like damper the piano strings and plucking the piano strings.

This work is for Jelia's Pianolicious Moment Concert on October 7th, 2012.

Something new for what she did to create attractive and innovative piano moments. 

Listen "Angry Birds Theme" for 1 piano 4 hands HERE
 

ANGRY BIRDS THEME

for one piano, four hands

Rearr. Michael Gunadi Widjaja 

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