關於 gone 鋼琴 譜 ，我們在網路上蒐集到這些相關的討論、資訊與評價

《人生十大奢侈品》
這些防疫在家的日子，我真體會了2017華盛頓日報所說的人生十大奢侈品：

一、生命的覺悟與開悟/ the awakening and enlightenment of life
二、一顆自由、喜悅與充滿愛的心/ a heart free joy of love
三、走遍天下的氣魄/ gone through the spirit
四、回歸自然/ return to nature
五、安穩與平和的睡眠/ safe and peaceful sleep
六、享受真正屬於自己的空間與時間/ enjoy own space and time
七、彼此深愛的靈魂伴侶/ love soul mate with each other
八、任何時候都有真正懂你的人/ ever truly understand
九、身體健康，內心富有/ healthy body and inner rich
十、能感染並點燃他人的希望/ infected and ethos of the others

我總深信真正的富有是內在的豐富。更是感謝這些防疫在家的日子，讓我更加走入內心，感受這些奢侈品帶來的幸福...
這十大奢侈品，你有幾項呢？
對我而言，好多點都非常有感，也許這些奢侈品正是這場瘟疫要全人類學習的吧！
現在，你們正在追求哪幾項呢？😇💕

*******************
Veronica 古典創作專輯《遙遠的地方》2021金革音樂發行😊

博客來連結🔗 https://bit.ly/3uQWEm3
誠品連結：https://www.eslite.com/product/1003266752682011554000

《英倫四季》鋼琴創作樂譜：https://www.jingo.com.tw/one_album?i=12821

正版樂譜下載/Download:
https://m.mymusicsheet.com/veronicayen/33899

#人生十大奢侈品 #內在的豐足
（photos from 寫真書 Veronica歐洲奇幻音樂之旅：https://www.books.com.tw/products/0010626132 ）

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

剛結束與蔡佳璇老師合作的演講、重溫CPE巴赫留下的珠璣箴言；
這兩天除了準備出國演出以及下個樂季的曲目之外，也忙著與才華洋溢的編輯小朋友們想盡辦法完成各自分配到的特刊文章，想起了先前看過的攝政時期的諷刺漫畫，突然好想念十八、十九世紀的勇氣浪漫，還有聰明的尖酸刻薄。

每個時代都有擁抱勇敢興革、對世界懷著好奇與熱情的人，當然有時候這樣的熱情也來自於對於反動的、冷漠的、蠻橫的惡意貶損的反抗。

在這幅收藏於大英博物館數位典藏的、曾經流傳轉載相當時日的1809年的漫畫〈農夫吉爾斯和太太向鄰居們炫耀放學回家的女兒貝蒂〉中，我們看到好多令人莞爾一笑、也頗有「即視感」的線索。

富有的農人吉爾斯的客廳中，我們看到右手邊有自高高天花板垂掛下來的窗簾（可見的家中真有錢，大家若去過莎士比亞的住處就知道，只有有錢人才會炫耀地將天花板拉高，在寒氣逼人的英國，這樣的建築就是有錢能吃飽飽、生得起火的家庭才能有的設計），畫面左邊有一味盯著譜〈'Bluebells of Scotland Sung by Mrs Jordan—O Where & O Where is my Highland Laddie gone'〉、自彈自唱胖嘟嘟的貝蒂身旁有她喜悅驕傲之情溢於言表的父母。這對吉爾斯夫婦胖胖壯壯的、看起來脾氣蠻好的，衣著倒是不豪奢。另一邊站著一位稍微苗條、衣著似乎較為時尚、手上還拿著扇子的小姐。在鋼琴底下有一本《加泰蘭尼歌曲集》。牌桌旁坐著三位老婦人，桌上有一幅刺繡／畫上有「B. Giles」的字樣。一位阿桑睡著了，而另兩位顯然聊八卦聊得開心得不得了。吉爾斯家中的兒子雖然打扮得很入時（看他的襯衫與撲了粉的假髮），卻相當不自在地靠著窗站著，看著客廳中的人們、雙手抱胸；正走進客廳的是一個少年貼身男僕拿著堆滿酒、酒杯和食物等的托盤走進來、蛋糕都快掉下來了。地上還坐了一條意興闌珊的狗。
牆上有陳腔濫調的名言佳句裝飾畫，也有繡了雙飛鳥與一箭雙心的「1808年，16歲的貝蒂˙吉爾斯作」的繡畫。

藝術作品道出了理想、希望、也能刻畫瞬間的冷酷、並記下令人省思的事實。

‧ 凡事太認真不見得是好事 真心難買早知道 看不清虛情 換不到真心 一切都是自己想太多
‧ 走不出的出口 不走心的心房 只不過一廂情願 聽錯弄錯搞錯 不如猜透看透不想多說
‧ 大嘻哈導師饒舌高材生 #熊仔 認證 創作資優生 #Ray黃霆睿 信手捻來強強聯手 絕對不只隨便說說

這首歌特別用比較 Lay back（延後）的方式創作，呼應一個人只是在隨便說說那種敷衍、不肯定的態度。而熊仔的rap更是不按牌理出牌將Lay back的彈性發揮到一個極致，強烈表現出那種若有似無的不確定感。加上RGRY隨地取材即點綴出各種意想不到的音色，根本把大家耍著玩，就這樣嘻嘻哈哈但不隨便地完成了「隨便說說」。

@Ray 黃霆睿
@熊仔
#隨便說說
#fff
#全專輯正式發行

🎶《fff》線上收聽：https://stars.lnk.to/fff
🎶 追蹤Ray 黃霆睿：https://linktr.ee/rayhuang

🛒《 fff 》實體專輯購買：
相信音樂線上購物：https://bit.ly/Ray0729
滾石購物網：https://bit.ly/3y9T6Nr
博客來：https://bit.ly/3761hys
誠品音樂：https://bit.ly/3BNTfs6
五大唱片：https://bit.ly/3761tha
佳佳唱片：https://bit.ly/2UVGHyq

-

▍隨便說說 Whatever

多少天 多少月 訊息傳整天
沒有日 沒有夜 跨越換日線
時而甜 時冷豔 讓我懸著念
一點一滴的讓我淪陷

有時圓 有時缺 像陰晴的月
心海潮汐高低 因你更迭
為妳墜 下的淚 映著你的皎潔
始終撈不起你的冷冽

為什麼當初你不把話說清楚
留了一絲希望只想把我禁錮
傻傻付出 執迷不誤

為什麼當初你不把話說清楚
要我怎麼完成一個缺角拼圖
突然醒悟 一切太過離譜

原來一切只是隨便說說
原來一切都是我想太多
在沙漠 等待著 ㄧ抹彩虹
原 來 是 海市蜃樓

原來一切只是隨便說說
原來一切都是我想太多
忍著痛 當朋友 早該看破
你 我 字典 版本不同

當你甜言蜜語甜度高過全糖
我就該及早意識到這關係 並不健康 你的
激情是沙士 氣泡是發誓
當氣泡散了 留下糖水 我獨自擦拭

計劃為你隨時變 你卻說你沒時間
諾言沒實踐過 有時又直接失聯
its the same ，story 總是說是非自願
剖開自尊掏出肺腑之言 你卻當我隨便說

原來一切只是隨便說說
原來一切都是我想太多
在沙漠 等待著 ㄧ抹彩虹
原 來 是 海市蜃樓

原來一切只是隨便說說
原來一切都是我想太多
忍著痛 當朋友 早該看破
你 我 字典 版本不同

原來一切只是隨便說說 （隨便說 隨便說）
反正一切只是隨便說說（say no more say no more）

原來一切只是隨便說說（隨便說 隨便說）
反正你也只是隨便說說（隨便囉 then I'm gone）


【音樂製作團隊】
作詞 Lyrics｜Ray 黃霆睿、熊仔
作曲 Composer｜Ray 黃霆睿、熊仔
製作人 Producer :｜熊仔、rgry
編曲人 Arranger｜Ray 黃霆睿、rgry
和聲 Backing Vocal｜Ray 黃霆睿
錄音師 Recording Engineer｜Ray 黃霆睿、rgry
錄音室 Recording Studio｜七段
混音師 Mixing Engineer｜rgry
混音錄音室 Mix Studio｜七段


【影像製作團隊】
Production Company製作公司｜GJ94 Film Studio

Special Appearance 特別演出｜熊仔
Lead Actress ｜席惟倫 Riko

Director導演｜Ai Chen、Jizo
1st A.D.副導演｜林小光Light Lin
Director of Photography 攝影指導｜Boru
Gaffer燈光師｜陳又銘Leo Chen
Production Designer美術指導｜廖建凱Kai Cola
Editor剪輯師｜Ai Chen
Colorist / VFX 後期特效調色師｜Boru
Typography標準字設計｜Howl
Line Producer 執行製片｜林知融Lin Chih
1st A.C. 第一攝影助理｜林易群Kimono
2nd A.C. 第二攝影助理｜孫梓軒 Sun, Tzu-Hsuan、戴俊宇DAI,JYUN-YU、林保鈞Lin pao chun
Best Boy 燈光助理｜黃信淵XinYuan Huang、吳政勳Zheng-Xun Wu、鄭嘉JHENG,JIA、李建宏 Jian Hong Li
Set Decorators 美術助理｜黑水Audrey Sun
P.A. 製片助理｜杜德修Tu te hsiu、Cindy H

Photographic Equipment 攝影器材 ｜鏡頭銀行 Lensbank


‥‥訂閱・相信‥‥‥‥‥‥‥‥
▶ 訂閱相信音樂YouTube官方頻道
– MV首播、新歌搶先聽、獨家花絮
http://bit.ly/YTBinMusic​

按讚相信音樂官方FB Like on Facebook
– 官方訊息公佈、即時照片
https://www.facebook.com/ibinmusic

電影"一個巨星的誕生"片尾女主角(Lady Gaga)唱給男主角(Bradley Cooper)的歌,
I’ll Never Love Again我不會再愛了! 希望你們喜歡我的大提琴+鋼琴演奏 :)
►訂閱 Miemie Music Studio:
IG: @miemie_music_studio
FB: https://www.facebook.com/miemiechen718
美拍: http://www.meipai.com/user/1023701691
bilibili: https://space.bilibili.com/287757521
微博: https://www.weibo.com/1865240797/
喜歡Miemie的音樂可以到這些平台支持哦!

琴譜請到pressplay網址中訂閱($200台幣), 完成後即可獲得下載連結, 及每月最新樂譜^^
►PressPlay: https://pressplay.cc/MiemieChen

原版音樂: https://www.youtube.com/watch?v=dYM5lMOxtP4
歌詞來源: https://ppt.cc/f2Byjx
(歌詞翻譯)
Wish I could / 我多希望當時
I could have said goodbye / 能夠好好道別
I would have said what I wanted to / 我能說出心裡的話
Maybe even cried for you / 甚至為你流下眼淚

If I knew it would be the last time / 若我早知道那是最後一次
I would have broke my heart in two / 我必定會傷透了心
Tryin' to save a part of you / 並且竭力將你挽留

Don't wanna feel another touch / 我不想要他人的撫摸
Don't wanna start another fire / 我不願再燃起愛火
Don't wanna know another kiss / 我不需要別人的親吻
No other name falling off my lips / 也不需要誰的陪伴
Don't wanna give my heart away / 我不想再將我的心
To another stranger / 交給另一個人了
Or let another day begin / 我不想讓新的一天到來
Won't even let the sunlight in / 就算只是一絲陽光
No I'll never love again / 我想我不會再愛上別人了
I'll never love again / 我不會再去愛了
Ooouu
Oh

When we first met / 當我們初次相見
I never thought that I would fall / 我從未想過我會深深愛上你
I never thought that I'd find myself lyin' in your arms / 也未想過自己會依偎在你的懷裡
Mmmm mmmm
And I wanna pretend that it's not true / 而我想要欺騙自己
Oh baby that you're gone / 你並沒有真的離去
Cause my world keeps turnin' and turnin' and turnin' / 因為我的世界雖不停轉動
And I'm not movin' on / 我的心卻未曾跟進


Don't wanna feel another touch / 我不想要他人的撫摸
Don't wanna start another fire / 我不願再燃起愛火
Don't wanna know another kiss / 我不需要別人的親吻
No other name falling off my lips / 也不需要誰的陪伴
Don't wanna give my heart away / 我不想再將我的心
To another stranger / 交給另一個人了
Or let another day begin / 我不想讓新的一天到來
Won't even let the sunlight in / 就算只是一絲陽光
No I'll never love / 我想我不會再愛上別人了

I don't wanna know this feeling unless it's you and me / 我不想再品嚐愛情 除非是曾經你我共有的
I don't wanna waste a moment / 也不想浪費當下的時光
Hoo
And I don't wanna give somebody else the better part of me / 更不想將更好的自己交給別人
I would rather wait for you / 我寧願在這裡等你
Hoo

Don't wanna feel another touch / 我不想要他人的撫摸
Don't wanna start another fire / 我不願再燃起愛火
Don't wanna know another kiss / 我不需要別人的親吻
Baby unless they are your lips / 除非吻上的是你的雙唇
Don't wanna give my heart away / 我不想再將我的心
To another stranger / 交給另一個人了
Or let another day begin / 我不想讓新的一天到來
Won't even let the sunlight in / 就算只是一絲陽光
Oooo I'll never love again, love again / 我想我不會再愛上別人了
I'll never love again / 我不會再去愛了
I'll never love again / 我不會再去愛了

I wouldn't want to swear I can / 我不會向自己承諾再去愛
I wish I could but I just won't / 即便我想 我也做不到
I'll never love again / 我想我不會再愛上別人了
I'll never love again / 我想我不會再去愛了
Who oo oo oo oo
Hmmm

#Ladygaga #Cello #一個巨星的誕生

Sheet Music / Website：http://music.coms.asia
Subscribe：http://subscribe.coms.asia

#鋼琴教學 #琴譜 #SheetMusic #鋼琴 #Piano #Tutorial #Synthesia