Angel Beats Piano Sheet

[Telly Piatt]

Prominentlyfeatured in the first episode of the second season of AKB0048, (dat concert scene) this is still one of my favorite series of this winter season so far. I think I went a littlbe bit overboard with the difficulty of this transcription, (especially the last run of the right hand) but I simply wanted to express the high spirit of the original song.

My second sheet is AKB0048 again (because there is still not enough love for AKB0048, seriously, why is this series so unbeknownst among anime fans) featuring the new ending of the second season: Kono Namida wo Kimi ni Sasagu (I dedicated this to you, my tears)

It was a lot of fun to record the piano duet, even the creation of the sheet went very smoothly, despite being my first time scoring a piano duet. In fact, this sheet was written by both of us, me and Tehishter. He scored the draft, while I finished the rest. The sync is not 100% yet, but there will always be room to improve. On our next collab maybe, you will never know. Well anyway, it was really fun, and I want to thank TehIshter again, for realizing the duet, we both have dreamed of. Also, many many thanks to Castlevaniapro, who mastered the audio track for us. Check out his blog too, he is doing really awesome anime remix tracks!

A hauntingly beautiful ED song I instantly fell in love with. Naturally, this is a must-do in my transcribing list. I kept the sheet difficulty rather simple, to express the calm atmosphere of the song. However, there are some parts of the sheet (in bar 12 for example), where you have to play a 10th span chord. You can simply play an octave instead.

This sheet is dedicated for all those people, who have waited years for my arrangement of the Angel Beats! Opening, and their patience should be rewarded with a full version special transcription.

Working!! is a shallow comedy with a shallow premise and shallow characters. I almost lost complete interest at the first episode. How to do Comedy right? See Ika musume.

Baka to Test to Shoukanjuu. At first I genuinely find it funny. The Comedy Anime of the year. But then it recycled the jokes, it became repetitive, nothing fresh came to keep me glued on the screen. I am disappoint. Dropped.

The pacing is terrible as ever and even the animation is worse than before. I really really hoped, it would improve but no, it keeps all the flaws from the first season. Too bad, since I like Misaka and Accelerator. Oh right, and Index, you useless annoying moeblob: I hope you die in a fire.

Sora no woto was probably one of the most memorable Anime this year. The Atmosphere was amazing because tt has a truly fantastic setting, a bunch of interesting characters, and an awesome soundtrack. I love how much details were brought in, (it even has a own wiki). Too bad, it was that short. I am still hoping for a second season.

The two sharp signs are the key signature. They identify the key the piece is to be played in. On the right of the time signature (that's what you call the 4/4) is an anacrusis, an incomplete measure. The curved line over the first six notes tells you to slur those notes (not hold them). This has slightly different meanings depending on the instrument. However, it always means that there should be no break between the notes. They should flow right from one to the next smoothly. The rest (a double-dotted half-rest) indicates that the first voice should be silent for a minim plus a crotchet plus a quaver (or 3 and 1/2 beats). The following quaver is the last 1/2 beat of the measure.

The key signature instructs you to sharp or flat certain notes unless otherwise specified. In this case, all F's and C's are sharped unless they have an accidental (sharp, flat, or natural) next to them. This also tells you that the key is D major or b minor. Either the D note or the B note is the tonal center of the piece.

The anacrusis is an incomplete measure. In this case it lasts only half of a beat. To keep the piece balanced, the last measure will be only three and a half beats long. Think of it as taking a half of a beat from the last measure and tagging it in front of the first measure.

The slur is played in various ways. On wind instruments, it is played by not tonguing between the notes. On stringed instruments, the bowing direction is not reversed between the notes. On the piano, the first note is held to slightly overlap the second note. All of these techniques have the effect of making a smooth transition between the notes. The opposite would be a sharp staccato.

The rest is a half rest with two dots, as you see. The first dot tells you to add half of the length of the rest to the rest.The second dot tells you to add half of the half to the rest (a quarter). So, a double-dotted rest lasts 75% longer than its respective rest.

With the rest being 3 and 1/2 beats long and there being four beats in a measure (in this piece), there is 1/2 of a beat left over. Because a beat in this piece is a crotchet, half of a beat would be a quaver and that is where you get the quaver F#.

To elaborate a bit on the key signature (since you asked)...if there were only two # (sharp) signs, the music would be in the key of D, with an F-sharp and a C-sharp to be played throughout the music.

There can be up to 7 sharps (or flats, which look like a flattened, lower-case 'b') in the key signature, and they always appear in the same order: sharps are FCGDAEB. Flats appear in the reverse order: BEADGCF. The symbols are always on the lines or spaces of the notes they identify as sharp or flat. Maybe you already learned the staff lines and spaces? Treble clef lines are EGBDF (Every Good Boy Does Fine), with FACE in the spaces. Bass clef lines are GBDFA (Good Boys Do Fine Always), and ACEG (All Cows Eat Grass) in the spaces.Before you try to start playing, be sure you understand all the music basics. There are lots of great music theory books available (check your local instrument retailer or go online) that will help you teach yourself. Try one in the Hal Leonard series. They are pretty self-explanatory. Good luck.

The line that extends across each series of notes is called a slur. It indicates that those notes form a phrase, and should be played so that they are connected together. You do not need to sustain every note you play until the end of the slur; it simply indicates a melodic line.

This is different from a tie, which connects two or more of the same note written in series, simply by extending the rhythmic duration. This is being done to connect the chord on beat 4 of bar 1 so that its duration extends through bar 2.

The double-dotted half rest (which has a duration of three and a half beats) at the top of bar 2 is kind of a weird editorial decision, but it indicates a second voice, so that the rhythmic durations in that bar do not collide. It does not affect the F#-A chord. If there was no rest there, then the whole-note chord would have to be an eighth-note shorter to make room for the F# eighth-note pickup to bar 3. The way it's written, that bar has a bottom voice that plays the F#-A chord for four beats, and a top voice that rests until playing in the last eighth-note in the bar. Do note, however, that some editors would have considered that to be obvious, and left out the double-dotted half rest.

We kind of just answered this with the last question, but it bears repeating that the names of note durations (half, quarter, eighth) are relative to a 4/4 bar (the C at the beginning of the piece is shorthand for 4/4 time). It's a bit counter-intuitive when you get into other time signatures, but that's just the way it is. A note with one flag on the stem lasts for half a beat, but it is called an eighth-note, because it takes up one-eighth of the duration of a bar of 4/4 time. So, assuming we're still talking about bar 2 or 4, the double-dotted half rest above the whole note indicates that there is a second voice above the whole note, thus none of the rhythm of that voice will conflict with the whole-note chord below it.

1..The 2 hash signs refer to 2 notes which will remain a semitone higher than normal for this piece. Imagine an F note (on piano) as the white one to the left of 3 blacks - this F gets sharpened and is now played as the left one of the 3 blacks.

The eighth note at the beginning is a note that is just applied before the first measure as a pre-addition (prelude) before the first measure starts. This could be written by a double-dotted half pause first to give a full measure, but how you see here is more common when it's just a sort of quick prelude into the first full measure.

If you look at the very last measure of the entire piece, you will probably see that the last measure is missing one eighth in it, which is just a technicality required to have everything sum up to a set of full 4/4 measures.

As indicated in previous point, the first note has duration only one eighth, but the bow above means that all the notes under the bow will hang together (not separating them with a noticeable attack). You see that there is an extra bow on the last quarter note in the measure that ties over to the whole note in the next measure, which means that this is basically the same note that should be played as one without separation.

The double-dotted half measure is to fill the void before the eight note preluding the next measure. This is to not conflict with the whole notes below on the same line in that measure. This way of doing it normally indicates a separate voice, but is here done to indicate that the eight should be played before the two whole notes end because they should last throughout the entire measure.

To explain the dots: Without the dots, the pause would be half a measure (2 beats). Each dot say that the duration should be added by half the length of the previous noted. This means that the first dot will add the duration of half of the half pause (which is a quarter). Now the total is 3 beats. The additional dot means also add half of the quarter, which is an eighth. The result would then be a duration of 3.5 beats. The last 0.5 beat is the eighth note at the end to add up to the full 4 beats in the measure.

Another way of saying this is: (a mathematical approach)

The pause is 1/2 + 1/4 + 1/8 = 7/8

The eighth note is 1/8. Then it is easy to see that a pause of 7/8 plus a note of 1/8 adds up to 8/8, which is one whole.

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