Free Electone sheet music and registration data for 何日再相見.
Since I didn’t share drum data for my previous Electone post, this would be my first proper Electone music post for this year.
Am sharing this too for all Electone students and keyboardists currently trapped at home because of COVID-19 quarantines and lockdowns. I wouldn’t dare remotely claim myself to be giving out Electone tutorials. But I hope to at least provide you with some supplementary materials to kill time with. 🙂
As for TVB’s Return of the Condor Heroes 1983, this was one of my favourite Wuxia drama series from the early 80s; I was sooooooooo obsessed with watching it on VCR. The novel was also the second “full” Wuxia saga that I read in 1989. In fact, I was so obsessed with finishing the novel, I forced myself to learn Traditional Chinese characters. (FYI, unlike Hong Kong, Singapore uses Simplified Chinese characters. Neurotic me insisted on reading the Hong Kong version)
Yeah. Back in those app-less days, “learning” Traditional Chinese meant having a musty dictionary beside me, and checking it every few minutes. Believe it or not, I persevered in this arduous task, in the end taking months to finish reading the whole saga. As a subsequent pat-on-my-back, could I share that for my O-Level Chinese composition paper, I wrote half my story in (very untidy) traditional script?
I was such an imp back then. I’m also lucky in that whoever graded my paper didn’t fail me outright. Oh wait, I got an A1 for the subject!
PS: I’m not bragging with my tale. I’m trying to put across the point that anyone can pick up anything as long as one perseveres. To those stuck in coronavirus lockdown, why not take this opportunity to修煉 (cultivate) at home and learn something new?
Yamaha Electone Sheet Music and Registration Data for 何日再相見 (The Return of the Condor Heroes 1983)
Warning! The registration and Finale PrintMusic files are zip files! You might need to disable your virus/malware protection before downloading.
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- Like what I did for most songs last year, this arrangement is based on the original Teresa Cheung recording. I’d say it’s at least 90 percent of that.
- There’s nothing too difficult about it, except for the arpeggio accompaniment in the beginning bars. On that, I’d probably could have gotten the motifs to play as a pad/phrase effect given some investigation. But I thought, oh why bother? It’s good left-hand drill.
- Further on (2), I will shamefully confess it took me a while to get the arpeggio right! Other than giving me a sore wrist, I kept going out of time! I eventually managed to do it by taking small breaks in between drills, and slightly stressing the beginning note of each count. Sitting slightly to the right of the bench helps to relieve wrist strain too.
- I did a “dirty” trick here. Because of the arpeggio, I couldn’t play any lush chords. To overcome this, I programmed one pedal voice to include strings i.e. strings with individual AWM layers detuned to form a chord. In my registrations, these voices are called Gaao Yam. You know, as in 九陰真經, one of the supreme manuals in the Condor Trilogy.
- Joseph Koo compositions in the 80s are pretty standard in structure, and that’s always some sort of strings lead-in before the chorus. In this case, it’s Registration 7 and I’m aware I could have “under” programmed the Spiccato strings. I personally prefer it to be softer but if you think the excitement is lacking, just jack up the brilliance.
- About the choir sounds … Like what I mentioned in my notes for Pegasus Fantasy Ver. Omega, there’s sadly no proper S-female choir aah sound on the Electone Stagea. If you find my settings to be too … shrieking, or detached, please fiddle with effects and brilliance, and reverb.
- After completing recording, I realised that the S-Pi Pa sound in Registration 12 ought to be played with the left footswitch pre-activated, then slowly released. Done correctly, this allows the strumming to slowly fade in. Please experiment! (Remember to activate the footswitch first)
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