Ear-copy techniques for arranging BABYMETAL for piano

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• Piano teacherNishioka Yumiko
  [Profile] She has studied at Yamaha Music School since childhood and has honed her musical skills. Graduated from Hokkaido Sapporo Kita High School (general course). Graduated from Hokkaido University of Education, Sapporo Campus, Faculty of Arts and Culture, Music Course. Currently a Yamaha Music School instructor at Elm Gakki Co., Ltd., director of Ishiyama Higashi Music School, and active as an accompanist for choral and vocal music as well as in her own musical activities. She also composes and narrates for the storytelling unit “Piano Storia,” arranges children’s songs for the sheet music site “Doyo Gakufu Warabee,” and has arranged BABYMETAL’s “Ijime, Dame, Zettai” for piano, expanding the scope of her activities.[Teaching Experience] She has 16 years of teaching experience. As a system instructor at Yamaha Music School, she has taught students ranging from age two to seniors. She has provided practical music instruction required for obtaining kindergarten and elementary school teaching licenses at Hokusho University. With conviction and passion, she is committed to advancing Ishiyama Higashi Music School.[Qualifications] First-class junior high and high school teacher’s license (Music). Yamaha Piano Performance Grade 3. Yamaha Electone Performance Grade 4. Yamaha Teaching Grade 3.[Awards] 2004: New Artist Prize, Tokyo International Association of Arts. 2007: Encouragement Prize, PTNA Piano Competition (Duo Division). 2007: Asahikawa City New Artist Prize (Piano Division). 2008: Encouragement Prize, ANP All-Japan Piano Duo Competition. 2008: Encouragement Prize, Young Artist Piano Competition (Two Pianos Division). 2008: Asahikawa City New Artist Prize (Ensemble Division). While these are listed, what matters most is maintaining a heartfelt attitude toward performance and a drive for improvement.[Teachers Studied Under] Studied piano under Kayoko Shimoge, Yumiko Akiyama, Tomoka Sasaki, Emika Ninomiya, and Katsushi Ishibashi.[Affiliations] Member of the Tokyo International Association of Arts, Felice Gakuyukai, and HIMES Artists.[Blog] On the significance of piano performance and music education: http://ihmusichappy.blog.fc2.com/[YouTube] Doyo Gakufu Warabee: https://www.youtube.com/channel/UCvv2tm3e8_-T02tZM2Hx_xA[Contact] ishiyamahigashi.music@gmail.com

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First, just listen passively.

A favorite song is the kind of thing you do without being told, right?

Therefore,You should practice unfamiliar pieces all the moreIt is.

By the way, when I was new to metal, I probably listened to each song at least 50 times.

I kept rewinding the same song over and over—maybe I listened to it about a hundred times.

Traveling by car was the best option.

Anyway, I have to listen to a lot of them.

It’s fine even if you do it while doing something else.

The task of 'listening' that meticulously searches for and picks up every sound itself

This is the task of listening to each part using earphones or headphones and transcribing it into sheet music.

By part, I mean that the instrumentation varies depending on the song, but as an example: vocals, guitar, bass, drums, and keyboard.

In my case, I ultimately finish it as a grand staff—that is, a two-staff score for piano—so when I transcribe it, I forcibly fit it into those two staves (haha).

If I use many systems, it takes more paper, and when I play while reading it, I have to turn the pages many times... Thinking about that, I end up putting up with it and writing in the cramped space.

Because you need to concentrate on each individual point of sound, a quiet environment and physical stamina are required.

Night can never do it.

I'm so tired that I can't spend the next day comfortably.

When the harmony is too complex and the sounds are dense, doing ear training while picking out the notes on the piano is also effective.

Also, when it's too fast to catch, don't push yourself—use the Walkman's 0.75x or 0.5x playback feature.

SONY / Walkman S Series 8GB Blue NW-S14/L

http://kakaku.com/item/K0000699031/images/

A way of listening that focuses on the overall sound, assuming it will be played on the piano.

This will be an important final way of listening.

I’m always working while playing the piano.

Rather than capturing every sound, I listen with the aim of conveying an impression close to what I heard, while also sensing the feeling of playing the piano.

I stop and play, take notes, and repeat that until I reach the end.

Using the sheet music made in step 2 as a guide, play while making selections about what to include or omit.

Because it requires concentration across a broad range, this way of listening is something you can never do while driving—even in an in-car environment that also involves wide listening.

The engine noise is quite distracting as well.

Since you need to listen with good overall sound, it’s effective to listen to audio played from the speakers toward the entire room.

Bluetooth connectivity between Sony's Walkman and ONKYO's CD RECEIVER CR-U3 is convenient.

You can listen to audio from ONKYO while operating the Walkman itself, instead of using a remote.

ONKYO / X-U3 (W/B) CD receiver system compatible with iPod/iPhone/iPad & Bluetooth

http://www.jp.onkyo.com/

Things to do last

After I’ve created a piano arrangement and can play it, I keep playing it on the piano over and over—especially while listening and singing the guitar improvisation—until it’s complete, pursuing it to the point where there’s nothing left to change.

By the time I can smoothly play the finished piece, guitar improvisation is like humming—actually, I sing (lol).

If I do it at home, the people around me get super annoyed, but at a live show I can do it as much as I want (lol).

This is the most fun place.

Hardly anyone sings along with a guitar ad-lib even at live shows, so it satisfies my desire to have it all to myself.

Those were the tips for transcribing by ear that I had in mind.

It was mainly about the environment and the approach to listening—how was it?

Enjoy your piano life!