【FULL】[Piano] 小さな恋のうた Chiisana Koi no Uta (The Angel Next Door Spoils Me Rotten ED)

♫ 小さな恋のうた ♫
𝄞『お隣の天使様にいつの間にか駄目人間にされていた件』ED
𝄞 アーティスト: 椎名真昼（CV. 石見舞菜香）

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
ヘ(￣▽￣)/♫•*¨*•.¸¸♪
♫ Chiisana Koi no Uta // Little Love Song ♫
𝄞『Otonari no Tenshi-sama ni Itsu no Ma ni ka Dame Ningen ni Sareteita Ken』// The Angel Next Door Spoils Me Rotten ED
𝄞 Artist: Mahiru Shiina (CV. Manaka Iwami)
𝄢 Arranged by kaire 🎹
𝄢 楽譜/Sheet Music:
https://drive.google.com/file/d/1Qcq-64INtf3RBNb9l4PIqJkCf8v_69OM/view?usp=sharing

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
Thanks for listening to this arrangement! Here, help yourself to some cookies~~
( ˘▽˘)っ🍪🍪🍪

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
Original Arrangement:

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
ヘ(￣ω￣ヘ)
Additional Commentary
This Take 2 arrangement (T2) was compelled by a viewer request for an “easy version” of the piece, a challenging arrangement of which I published 2 weeks ago, to which I will refer as T1. In T2, the overall texture is not as thick as in T1 and many LH leaps have been eliminated. Octave passages have been reduced and ornament phrases have been replaced with simpler melodic ideas, such as in 00:33 and 00:45.
𝄡
The first chorus features a single melody line and a simple accompaniment, with a LH secondary melody appearing at 01:15. The more manageable LH part allows for a more reflective atmosphere to propagate in 01:24. The gracefulness is passed down in the RH sixths intervals and lighter LH accompaniment in 01:34. In contrast, T1 uses a heavier accompaniment to fortify the bassline for a bolder ending statement.
𝄡
For the second verse, the LH melody leap at 01:45 present in T1 is removed so that the melody is kept at a reasonable middle range. The LH running passages in 01:50 have been replaced with a rhythmic accompaniment to build a cuter character. Note that the guitar line in 02:02 has been preserved from T1.
𝄡
The second chorus is almost identical to the first, with an addition of a harmony voice in RH, and a simpler cross-hand at 02:34. The continuous RH line featuring the B♭ – C – E♭ motif in 02:44 from T1 has been split into bite-sized call-and-response phrases.
𝄡
The final chorus at 03:24 does not seem to offer any surprises at first, until 03:34, where the RH leaps in T1 have been made easier through the removal of the lower harmony voice in RH and inclusion of simple but tense LH rhythmic chords. We finally get the melody stated in octaves at 03:44, though the texture is kept reasonably thin with dynamics under control throughout in preparation for 04:03 where the A♭ – E♭ – C – E♭ motif from 01:24 reprises. At this point T1 creates a broad atmosphere by spanning a large range on the keyboard, in particular the overwhelming LH leaps are supposed to be handled “professionally” to keep a steady pulse and demonstrate “emotional maturity” of some sorts, though admittedly this is incredibly challenging. In T2, the motif is instead juxtaposed over the rhythmic LH to create a sense of intensity, and even a sense of intimacy, which is different from T1. This intensity is even allowed to continue in 04:13 until the LH reaches the falling bassline A♭ – G – F – E♭ – D♭ at 04:15, and just like before, the piece ends with a delightful spark of cuteness.

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
(￣▽￣)ノ またねー
𝄡 Till we meet again!

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
#ピアノ #お隣の天使様にいつの間にか駄目人間にされていた件 ＃お隣の天使様 #椎名真昼 #小さな恋のうたピアノ
#piano #pianomusic #jpop #anime #animusic #animemusic #animesong #animeending #tenshisama #angelnextdoor