BABYMONSTER - Sheesh (Piano Solo)

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BABYMONSTER - Sheesh music score download (Piano Solo)

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分析 Analysis:

Certain types of pop songs have more raps or speaking words, which are harder to reproduce on the piano. To overcome the limitation, rather than trying to imitate by playing some rhythmic notes on the chord which usually does not sound nice, I choose to adapt it on piano by creating melodies over the rap part.

00:00 Bar 4: The "motif" (kind of) on the right hand is a representation of the spoken lyrics "Baby I'mma monster" which has no pitches. This motif, formed by the notes Bb A C# D E, will appear in other places and forms in the piano arrangement too.

00:07 Bar 5-8: The left hand crossing can feel little bit awkward on the wrist for the high notes. One can experiment with the arm crossing movements including angles and height to find the comfort positions to play especially the high notes delicately.

00:14 Bar 9-12: The left hand widely-spanned arpeggios is challenging at such speed. Since this is a piano arrangement, a slightly amount of time flexibility is allowed when playing the strong beat. A tight (and low) grip on the left hand can also help securing the note positions.

00:21 Bar 13-15: The sustained sound in the original song is portraited by the left hand tuplet, which produces the push to the third beat. The neighboring notes in these 3 bars also create the tightness feel more than using only pure chord notes.

00:28 Bar 17-19: The bass note on each beat of the left hand makes these bars more rhythmic. And the more intense drum beats of bar 19 is represented by a descending scale of the left hand, as a more pianistic way. (Note: on Bar 19 I choose to use a C# instead of a D on the melody to align with the dominant chord)

00:35 Bar 21-27: The chorus features the word "sheesh" being "spoken". While the right hand plays the background melody, the words "sheesh" is played as the "motif" (Bb A C# D Eb) by the left hand. In bar 22, the highest note can be played with more emphasis on F# instead of the G. In bar 24, the notes can be played by more finger pedals for the sticky effect on the notes without being too blurry, that is delaying the release of the fingers between notes thus creating a pedal effect by using only the fingers.

00:48 Bar 29-45: The full rap passage is adapted on the piano with melodies create, and with clashy notes esp. seconds sometimes to make the sound more rhythmic than harmonic. To create additional contrast, bars 31-40 can be played with pedal, and the subsequent bars 41-45 without pedal.

01:12 Bar 43-46: A little bit of "word painting" is used here: "Vroom vroom" as arpeggio downwards, "pump pump pop" all as clashing seconds, "click clack click" as thirds, "put'em up to the sky" as notes climbing up, "high high high high" as clashy chord from left hands of higher and higher octaves.

01:46 Bar 63-70: the new section starts decorated as triplets and played in expressive way. In the piano solo arrangement such expressive can be exaggerated with rubatos to show a clear contrast since lyrical moments are rare in this whole song.

02:13 Bar 79: When the music slows down to the final section, the spoken word "Baby I'mma MONSTER" is again illustrated by the same music motif. The two slashed lines is called a caesura, which is a musical notation which indicates a short pause. This is to follow the original song where a slight delay is observed.

02:19 Bar 81-84: This time the spoken lyrics is "played" by the left hand in the rhythmic sense. Arranging this way keeps the music engaging and sounds natural without trying to imitating the actual spoken words, which is almost guaranteed to fail.

02:33 Bar 85-89: The motif is used in the left hand beat 1 and 2 (Bb A C# D E) in this last phrases of the song. The additional bass notes A on beat 3 is to follow the original song to gives a little stronger rhythmic boost.