Piano notes Why Don't We — Unbelievable Sheet Music
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. Plus music notes in the arrangement doesn't copy any existing material.
Piano Player Ability Rating: Beginner
We can't download this pdf anymore.
Unbelievable is composed in a binary verse-chorus form. Both sections are repeated before a short coda.
This song follows the traditional model for the pop form. Its rhythmic basis is sustained throughout, so the LH’s principal duty will be to provide a rock-steady footing.
Unbelievable score requires arduous effort. I will ad an easier one if this page will be popular.
Accuracy in articulation are essential for playing Unbelievable piano sheet music.
Your tone should be warm and gentle fresh energetic and rhythmic. It should impart the lilting feel of a lullaby. Figuratively speaking, you should communicate a sense of comfort, ease, or pleasantness. To sound quietly, keep your fingers close to the keys and do some firm practice from the knuckles.
The articulation in this piece is tricky because it alternates between legato and staccato.
Accent every note, varying the accents each time you play. Once played lightly and up to speed, the ornament should flow naturally.
It’s worth trying out this technique for the entire song.
Among the hardest facets of piano playing is controlling a lightness of attack, and when coupled with playing at a faster speed, a reliable warm-hearted leggiero touch must rank as among the most prized piano skills.
The patterns in verses can become repetitive if not coloured imaginatively and played with rhythmic stamina.
If you are worried about the staccato dots, there is no need to be literal over them: the marking simply means a short release of a finger. Very often a dot is simply a means to shorten the duration of the note; at other times it indicates a sort of accent where we lift the hand but catch the note(s) in the pedal.
Listen to the actual track Unbelievable as you begin to learn the arrangement, in order to balance parts in left and right hands.
In playing any piano transcription of a song, the aim is to give the impression of a singer (the RH) that is being accompanied by a sensitive pianist (the LH). Imagine a duet between a band and a singer, so color the two hands differently. Coordinating the parts may take some time to organise convincingly.
The RH here plays a melody (topline) and the LH provides some harmony (accompaniment). First separate the melody from the accompaniment in the LH. Try singing the melody as you play, so you can mentally separate the topline from the accompaniment in the LH.
Practise slowly at first, giving a distinct emphasis on the topline while playing the accompaniment as gently and as evenly as possible. To begin with, play the melody line by itself to develop a confident mastery over the hands.
Don’t forget to bring dynamic colour to your performance by quickly moving from piano to forte; play every new part with different volume level.
After getting familiar with the RH, focus on the LH. The LH is generally soft throughout. This is one of those pieces where the bulk of the practising will be devoted to an accompaniment.
Feel free to arpeggiate the LH chords especially if you can’t stretch your hand yet.
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.
Make full use of the pedal when calculating how best to present composers’ ingenious harmonies.
Practise the LH alone here to ensure a rich and mellow bass.
While it might seem counterintuitive to use the left thumb to reach down for single bass notes, it ensures a smooth, decisive downward progression. Playing trills in the LH is often best achieved using the thumb.
The Song should sound light, in the tradition of the genre; it will not benefit from being bathed in pedal.
More Piano Sheet Music from Why Don't We
Free and easy piano sheet music with direct digital preview of music notes.
All credits go to songwriters. The arrangement in sheet music is transformative.
Piano Player Ability Rating: Beginner
We can't download this pdf anymore.
How to play this sheet music
Unbelievable is composed in a binary verse-chorus form. Both sections are repeated before a short coda.
This song follows the traditional model for the pop form. Its rhythmic basis is sustained throughout, so the LH’s principal duty will be to provide a rock-steady footing.
Unbelievable score requires arduous effort. I will ad an easier one if this page will be popular.
Piano Playing Method
Accuracy in articulation are essential for playing Unbelievable piano sheet music.
Your tone should be warm and gentle fresh energetic and rhythmic. It should impart the lilting feel of a lullaby. Figuratively speaking, you should communicate a sense of comfort, ease, or pleasantness. To sound quietly, keep your fingers close to the keys and do some firm practice from the knuckles.
The articulation in this piece is tricky because it alternates between legato and staccato.
Accent every note, varying the accents each time you play. Once played lightly and up to speed, the ornament should flow naturally.
It’s worth trying out this technique for the entire song.
Among the hardest facets of piano playing is controlling a lightness of attack, and when coupled with playing at a faster speed, a reliable warm-hearted leggiero touch must rank as among the most prized piano skills.
The patterns in verses can become repetitive if not coloured imaginatively and played with rhythmic stamina.
If you are worried about the staccato dots, there is no need to be literal over them: the marking simply means a short release of a finger. Very often a dot is simply a means to shorten the duration of the note; at other times it indicates a sort of accent where we lift the hand but catch the note(s) in the pedal.
Right Hand
Listen to the actual track Unbelievable as you begin to learn the arrangement, in order to balance parts in left and right hands.
In playing any piano transcription of a song, the aim is to give the impression of a singer (the RH) that is being accompanied by a sensitive pianist (the LH). Imagine a duet between a band and a singer, so color the two hands differently. Coordinating the parts may take some time to organise convincingly.
The RH here plays a melody (topline) and the LH provides some harmony (accompaniment). First separate the melody from the accompaniment in the LH. Try singing the melody as you play, so you can mentally separate the topline from the accompaniment in the LH.
Practise slowly at first, giving a distinct emphasis on the topline while playing the accompaniment as gently and as evenly as possible. To begin with, play the melody line by itself to develop a confident mastery over the hands.
Don’t forget to bring dynamic colour to your performance by quickly moving from piano to forte; play every new part with different volume level.
Left Hand
After getting familiar with the RH, focus on the LH. The LH is generally soft throughout. This is one of those pieces where the bulk of the practising will be devoted to an accompaniment.
Feel free to arpeggiate the LH chords especially if you can’t stretch your hand yet.
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.
Make full use of the pedal when calculating how best to present composers’ ingenious harmonies.
Practise the LH alone here to ensure a rich and mellow bass.
While it might seem counterintuitive to use the left thumb to reach down for single bass notes, it ensures a smooth, decisive downward progression. Playing trills in the LH is often best achieved using the thumb.
Pedal
The Song should sound light, in the tradition of the genre; it will not benefit from being bathed in pedal.
More Piano Sheet Music from Why Don't We
Free and easy piano sheet music with direct digital preview of music notes.
All credits go to songwriters. The arrangement in sheet music is transformative.