Piano notes Dan + Shay, Justin Bieber — 10,000 Hours Sheet Music
Starts like Lean On, doesn't it?
Here is a new song in my piano sheet music archive. The original amateur interpretation of a tune. This sheet music is created in a transformative manner. The arrangement doesn't copy any existing material.
Piano Player Ability Rating: Intermediate
To print sheet music save the PDF
This transcription has two voices in the RH — an accompaniment and a topline. Give this highest voice, the melody of 10,000 Hours, a beautifully graded, warm tone. Use slightly flatter fingers and imagine that you are trying to pull the sound from the keys rather than striking at them. Play this accompaniment as gently and as evenly as possible. Your thumb should do little more than brush the note in a small circular movement.
Think about the destination of each phrase that Dan, Shay and Justin Bieber sings — build steadily towards these points, and allow them a little space to bring out their expressive beauty. Try singing the melody as you play, so you will continue separate a topline music notes from the accompaniment notes in the RH.
Coordinating the parts may take some time to organise convincingly, but make full use of the pedal when calculating how best to present 10,000 Hours’s ingenious harmonies.
Listen to the actual 10,000 Hours song as you begin the arrangement, in order to balance parts in left and right hands. Imagine a duet between a music band and the vocalists, so color the two hands differently.
10,000 Hours piano transcription certainly benefits from the added warmth of the pedal, but keep control of your pedalling and listen carefully for any smudges.
In the pre-chorus (bars 6-9) patterns can become repetitive if not coloured imaginatively and played with rhythmic poise.
Save a full weight and depth of tone for the chorus (bar 10 and so on). Get your hand in position for each chord before playing it. A relaxed wrist will help you to balance chords so that all three notes sound at the same time.
Feel free to arpeggiate the LH chords here to add some volume without raising it in bars 40—44.
The coda (bar 45 to the end) requires a full tone and a slight deceleration over the final two bars; place the last chord with a rich, powerful sound and a decisive touch. Pedal carefully in this section.
If you are worried about the staccato dots (as the Bb chord in the bar 2), there is no need to be literal over them: the marking simply means a short release of a finger — we lift the hand but catch the chord in the pedal. Remember that we use the right pedal for two main reasons; to join sounds the hands alone cannot join, and to add resonance and colour to our sound. Imagine playing staccato in a very resonant place like a large church or cathedral. The building itself would act as a sort of pedal, each sound swimming in the acoustic of the space even after the next sound has been produced. This blending of sounds is one of the prime functions of the sustaining pedal. If we are playing in a dry acoustic (a dead piano in a heavily furnished room, for example), we will use more pedal; if we are faced with a boomy piano in a cavernous hall, we will use less. As always, let good taste prevail, and let your ear be the ultimate guide.
More Piano Sheet Music from Justin Bieber
Free and easy piano sheet music with digital preview.
All credits go to the songwriters. The arrangement is transformative.
Here is a new song in my piano sheet music archive. The original amateur interpretation of a tune. This sheet music is created in a transformative manner. The arrangement doesn't copy any existing material.
Piano Player Ability Rating: Intermediate
To print sheet music save the PDF
Playing ideas.
This transcription has two voices in the RH — an accompaniment and a topline. Give this highest voice, the melody of 10,000 Hours, a beautifully graded, warm tone. Use slightly flatter fingers and imagine that you are trying to pull the sound from the keys rather than striking at them. Play this accompaniment as gently and as evenly as possible. Your thumb should do little more than brush the note in a small circular movement.
Think about the destination of each phrase that Dan, Shay and Justin Bieber sings — build steadily towards these points, and allow them a little space to bring out their expressive beauty. Try singing the melody as you play, so you will continue separate a topline music notes from the accompaniment notes in the RH.
Coordinating the parts may take some time to organise convincingly, but make full use of the pedal when calculating how best to present 10,000 Hours’s ingenious harmonies.
Listen to the actual 10,000 Hours song as you begin the arrangement, in order to balance parts in left and right hands. Imagine a duet between a music band and the vocalists, so color the two hands differently.
10,000 Hours piano transcription certainly benefits from the added warmth of the pedal, but keep control of your pedalling and listen carefully for any smudges.
In the pre-chorus (bars 6-9) patterns can become repetitive if not coloured imaginatively and played with rhythmic poise.
Save a full weight and depth of tone for the chorus (bar 10 and so on). Get your hand in position for each chord before playing it. A relaxed wrist will help you to balance chords so that all three notes sound at the same time.
Feel free to arpeggiate the LH chords here to add some volume without raising it in bars 40—44.
The coda (bar 45 to the end) requires a full tone and a slight deceleration over the final two bars; place the last chord with a rich, powerful sound and a decisive touch. Pedal carefully in this section.
If you are worried about the staccato dots (as the Bb chord in the bar 2), there is no need to be literal over them: the marking simply means a short release of a finger — we lift the hand but catch the chord in the pedal. Remember that we use the right pedal for two main reasons; to join sounds the hands alone cannot join, and to add resonance and colour to our sound. Imagine playing staccato in a very resonant place like a large church or cathedral. The building itself would act as a sort of pedal, each sound swimming in the acoustic of the space even after the next sound has been produced. This blending of sounds is one of the prime functions of the sustaining pedal. If we are playing in a dry acoustic (a dead piano in a heavily furnished room, for example), we will use more pedal; if we are faced with a boomy piano in a cavernous hall, we will use less. As always, let good taste prevail, and let your ear be the ultimate guide.
More Piano Sheet Music from Justin Bieber
Free and easy piano sheet music with digital preview.
All credits go to the songwriters. The arrangement is transformative.