四手聯彈琴譜下載 Piano Four Hands Sheet Music Download：
演奏片段 Piano Recording：
00:00 Bar 1-4: Primo's ornaments mimic the sound of the bagpipes. The grace notes are fast and cripsy. The left hand plays the grace notes at the same moment as the first of the right hand grace notes.
00:18 Bar 6-15: The meter of the phrase has to be denoted as 4/4 + 2/4 + 4/4. It is wrong to denote it as 4/4 + 6/4 because 6/4 implies a compound time signature with beat division every 3 beats. Using 4/4 + 3/2 is not suitable either because the pulse is a crotchet level (3/2 means that we feel a minim as one beat).
00:24 Bar 8, 11, 14: The duration of the silence needs to be carefully controlled, both in Secondo's crotchet rest and Primo's melody endings.
00:47 Bar 17-26: Very similar to the previous except with an inner line added to Secondo's right hand, which is played softly while maintaining the overall phrasing direction.
01:04 Bar 23-25: The addition of the lower register in Secondo's left hand with the doubling octave of Primo LH and Secondo RH creates a more sonorous sound.
01:20 Bar 29-33: The chorus is written with interweaving 16th notes as accompaniment. Both pianists need to listen to each other to ensure the individual phrases are tightly connected together.
01:35 Bar 34-35: Note the sound of the "subito p", with the use of arpeggio octave in the melody. The 16th notes in Primo LH helps connect the music to the ending high note, otherwise the music may sound dull (lots of waiting) due to lack of lyrics and videos.
01:41 Bar 36-39: The Secondo RH has to play softly while letting the bass stand out a little bit supporting the melody and Primo LH's harmony.
01:54 Bar 40-43: High crystal-like 16th notes are added starting from the music break. It also reflects the appearance of dew, waterfall, river and sea as in the music video.
02:06 Bar 44-52: The melody is now played by Secondo RH, with Primo playing high 16th notes with both hands (distribute the notes to both hands as you wish). Notice the effect produced by the octave on the 3rd beat of bar 46 in Secondo LH, similar effect is also used in chorus on the 3rd beat of bar 30.
03:09 Bar 66: The drop in bass to lower F prepares for the next section, the bridge.
03:17 Bar 69-75: In the bridge, the original music has a repeated figure played by the piano of B flat and F each bar. In a pure piano rendition, the single notes will appear too distant and disconnected, therefore I have filled the whole part with 16th notes, creating an atmosphere similar to the previous sections. While the notes seem to be easy to play, it is difficult to play the notes evenly and smoothly with a sense of phrasing.
03:35 Bar 76-81: The last chorus is more rich in sound compared to the previous times: the octave bass in Secondo RH with the thicker chords in the beats of Primo RH. While more notes are added to this last chorus, they are not meant to be played in a rhythmic way, i.e. not to feel the beat. Instead, these richer notes are used to create an atmosphere for the music, there still has to be a strong sense of musical direction, e.g. the directions brought by the smooth bass lines.
04:05 Bar 86: A slight rubato may be applied. The extent of the rubato needs to be carefully done due to the limitation of the rhythmic accompaniment and the original melody. It also takes practice for the pianists to get used to how they want to perform the rubato.
04:24 Bar 92: An "ad lib" phrase is added for Primo to end the song. I feel it is necessary otherwise the music will end with several long chords that last for 4 bars, which is not desirable when the music video (and the sound of the nature) is not present.