A sequel released eight years after the first piece, expressing the same restrained sadness.
The second piece arrived eight years after the first Piano Tears, bringing restrained sadness into its piano melody.
It has been included again in the full-length piano album *Left Behind*.
“Two things I like in particular about this track. It shows a very clear sense of phrase structure making the listening experience really simple and enjoyable. Also, the "B section" or second idea shows the artist took risks, harmonically speaking. And to add a third compliment, the performance is very good. ”
Two things I like in particular about this track. It shows a very clear sense of phrase structure making the listening experience really simple and enjoyable. Also, the "B section" or second idea shows the artist took risks, harmonically speaking. And to add a third compliment, the performance is very good.
“Un très beau morceau de piano solo, joué délicatement, plein de finesse de mélancolie. Sur le mix, peut-être que vous pourriez régler les aigus à la baisse car dans mon casque de mixage ça sonne un peu trop fort/violent pour une écoute optimale. Mais sinon j'aime beaucoup!”
A very beautiful solo piano piece, played delicately, full of finesse and melancholy. On the mix, maybe you could lower the treble a bit because in my mixing headphones it sounds a bit too loud/harsh for optimal listening. But otherwise, I really like it!
“very delicate and emotional sounding piece. the melody flows smoothly and freely. to me the melody has a sort of sadness to its tone, a longing of sorts which pulls at the heart. great dynamic range here to exemplify the track. wonderful performance”
very delicate and emotional sounding piece. the melody flows smoothly and freely. to me the melody has a sort of sadness to its tone, a longing of sorts which pulls at the heart. great dynamic range here to exemplify the track. wonderful performance
“La melodía, junto al arpegiado, transmite una gradable sensación de calma e intimidad. Sin embargo, una vez expuesto el tema y su variante, la repetición domina y la obra pierde fuerza expresiva.”
The melody, alongside the arpeggiated sections, conveys a pleasant sense of calm and intimacy. However, once the theme and its variation are presented, repetition dominates and the work loses expressive power.
3 pages of piano music · 1 page of copyright and usage information
Piano and arranged versions organized by release order.
A closer look at the score
The first difference from its predecessor is the 3/4 meter. A melody moving in eighth notes for one bar and lingering on a long note in the next exchanges breaths with ascending left-hand broken chords. The opening Cm-centered progression clearly contrasts brief movement with sustained notes. A descending phrase beginning with a rolled chord at f gives this simple material greater expression.
From bar 29, the three flats are canceled and the harmonic center shifts. Later, a figure resembling the opening reappears over Am–Em–Dm–Am. The rhythmic shape remains recognizable while the pitches and harmonic setting change. The final rit. and fermata hold an Am chord. Beyond being a sequel, the score establishes its own flow through triple meter and tonal shifts.