Print and download in PDF or MIDI. Made by LadySunleth. Print and download in PDF or MIDI lg Made by jchoi Free Haru Haru piano sheet music is provided for you. Haru Haru is a song by South Korean male group, Big Bang.
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More comments means more uploads and newer sheets. Way For Love Superjunior. GD goes through a period of jealousy, heartbreak you see him smashing things etc. DBSK- doushitekimi wo suki natte shimattandarou 2. You are commenting using your Twitter account.
My email is included. Bi again, and Thanks. Thank so much for your efforts! I hope you can help me. Then just mirotic, my little princess, puple line, snow prince and replay. LOL September 16, at 6: You played it too fast —. Big bang ft 2NE1 Lollipop 4.
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I am really crap at piano but still want to learn this music on piano This is so amazing. In early summer , I was walking with a Japanese friend in Ueno Park in Tokyo, where a festival happened to be in full swing.
We wandered into the open air theatre, and on the stage we saw what was to me an astonishing performance. A Japanese man in a kimono, hakama, and high wooden geta sandals was playing the violin and singing at the same time. In between pieces he talked. The performance, however, stayed with me. What was this man doing in his Japanese attire but with a Western musical instrument?
The enka of the Meiji period were political protest songs, often topical and satirical. From around the time of the Russo-Japanese War it became fashionable for enkashi to accompany themselves on the violin. Musically untrained as they were, their playing style was hardly refined, but it did develop from unison accompaniment of the singing to a more elaborate playing style with prelude, interlude and postlude, as can be heard in recorded examples from the s.
First and most obviously there was the high profile of Japanese violinists on international stages since the s. The most famous is probably Midori b.
Luther Whiting Mason himself, invited in to teach, train teachers and develop teaching materials at the Music Investigation Committee Ongaku Torishirabe Gakari , played the violin when he taught singing classes.
By he was selling his mass-produced instruments nationwide. Fourth, despite the obvious importance of the violin in the history of Western music in Japan, most research into the history of Western music has prioritized singing. There are good reasons for this. Singing was taught systematically in elementary schools from the s and popular songs were a field where traditional preferences and new Western elements blended in a way that did not happen so easily with instrumental music.
The story of the introduction of Western music in modern Japan has been told before, so a brief summary will suffice here. The Meiji government from the s onward systematically introduced Western music. The main channels were the military, the gagaku musicians of the imperial court and the public education system. The musical instrument of choice for teaching in schools was the keyboard, most commonly in the form of the reed organ the piano remained unaffordable until well into the twentieth century , but failing that the violin was used and became one of the most widely disseminated if not the most widely disseminated Western instruments in Japan.
Geisha threw away their shamisen and took up the violin instead — although apparently mostly in order to pose for picture postcards. Enterprising individuals published scores of Japanese traditional melodies in Western notation or taught them, one by one, for a fee.
The violin, played in a kimono and kneeling in the traditional way, became part of ensembles together with the koto Japanese zither and shamisen three-stringed plucked lute.
Graduates from the Tokyo Academy of Music had nothing but contempt for this practice. They perceived it as desecration or an aberration by the merchant classes in Osaka — although contemporary programmes of concerts show that the practice was popular nationwide.
Intellectuals, however, writers, professors and their students, took up the violin as an instrument of Western music.
By playing the violin they could physically practise Western civilization as it were and indeed even re-create a piece of it. Certainly, part of Western music needs to be savoured not only with the ear but with the body. The s and early s saw a major leap forward in the dissemination of Western music, partly as a result of increasing wealth and the expansion of the education system.
Equally important was the fact that Japan was increasingly part of a global community. In the realm of music, this is evinced in the success of Suzuki Violins and Yamaha pianos Yamaha Torakusu started his business at around the same time as Suzuki, producing and distributing reed organs chiefly for the education market: from he also manufactured pianos in exporting to markets formerly in German hands and in the fact that the Japanese became major consumers of imported gramophone recordings of Western classical music.
Other indications are the increasing number of foreign artists performing in Japan as well as Japanese musicians taking an active part in international exchanges. To be sure, once Germany had recovered from the First World War, many instrument producers won back their share of the global market and the international successes of Japanese musicians between the two world wars are largely forgotten.
Nevertheless, the fact remains, that many developments in this period prefigured those of the late s and the s.
Many of the visiting artists were European refugees, first from the Russian revolution and then from the Nazis, and quite a few of them ended up staying for several years, providing Japanese music enthusiasts with world class live performances and teaching them just when they had reached the stage where they could benefit from it most.
Ono Anna was one of the first to insist on teaching young children.
She taught in Japan for 40 years and her influence as a teacher can still be felt today. Courtesy of Ono Anna Memorial Society: www. Looking at Japan between the world wars reveals that Japanese violinists often were the heirs of Jewish violinists in a direct way as their pupils.
In this way, developments in Japan parallel the history of classical music in North America, which likewise owed much to the influx of European refugees another parallel is the veneration of Germany and Austria as the heartlands of classical music.