Diary of a Song: Secrets

This is the tenth of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my latest album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.


(From the artwork in the CD booklet)


There really is no huge story behind this song and why I chose to arrange it for my album – other than the fact that I love the group OneRepublic and think that their music is utterly amazing. It is also very musical and classical in some respects.  For example, when I listened to the cello part on their recording of “Secrets”, in my head I heard influences from the Bach Cello Suite in G.  Hence the reason I decided to incorporate themes from the Suite into my rendition of “Secrets”.

I will say though – that when I was writing this arrangement, I really felt strongly that I wanted this song to stand alone great as a SOLO PIANO work, and not just a great song with orchestration (as on the CD).  I arranged the song with a very sweet, almost whimsical introduction to the song before it gets to the “meat” of it (where the cello comes in).  I’ve heard many people tell me that it sounded very Danny Elfman-ish.  Well, thank you.  I take that as a great compliment because I like his work very much.


Here is a behind-the-scenes look at the recording session for “Secrets”, featuring the young talented cellist Stephanie Yose.  She was 16 years old at the time of this recording, and now she has gone on to play at BYU with a full ride cello scholarship.

The talented Glen Gabriel did the beats and effects on the recording.  All other piano and orchestration was yours truly.

I’ve always thought it would be neat for Ryan Tedder of OneRepublic to hear my version of his song, but so far I’m not sure that has happened. During Grammy voting season I did come into contact with the founding member of the band.  He had emailed me to talk about his latest album and we had some conversations over email – as we both had entries on the ballot last year.  I asked him if he wouldn’t mind passing the song along to the band to hear. But as we all were caught up in the onslaught of Grammy madness, I never did hear back. I’m sure my song got lost in the mad rush and it possibly never got forwarded on.  *sad face*.

But as promised – I have sheet music for you guys!  Better late than never right?  It took me a while to get the publishing license from Hal Leonard via Sony Music Publishing.  But I’ve got it now. I also had to transcribe the song a bit because my version that I play on stage is a cello + piano version and so there are chunks of the song where I sit there and have measures of rest while the cello plays.  And so I had to go back and rewrite the solo piano version to fill in those measures.  It’s finally all finished now and the sheet music is up on my website for only $3.95.  I hope you pianists enjoy it! It’s really one of my favorites to play.




Link to Jennifer’s Store for the “Secrets” Sheet Music.


Buy the full Illumination MP3 album on Amazon, or the physical album with autograph from Jennifer’s Website.


Hey, Can I Get Your Orchestral Back-Up Tracks?

1186258_10151574329411689_801381861_nQ&A TIME. I get asked almost on a daily basis if I would be willing to sell or distribute my backup orchestration tracks to people so that they can perform my songs with them for their own recitals, concerts, etc.

I sell almost all of my original compositions from all 3 albums on my website in SOLO PIANO form. I write all of my music as piano solos to start, and it is only usually after I’ve finished a song where I will add orchestration to it if I feel it needs it. I will then spend numerous hours to compose, come up with and record the orchestrations to my music. I do all of my own orchestrations. I am my own producer.

The only parts I do not do myself are beats/effects which I typically recruit help from a circle of talented musical colleagues. For example, on my album “Illumination”, I had Swedish based composer, Glen Gabriel, fill that task for me. If I have featured soloists on any songs of course those are added in later on as well. And then I have a sound engineer who then adds their magic to the album with the proper mixing and mastering. But as for the orchestrations, I mostly do those myself.

With that said, when it comes to performing my music, I totally get why many of you would want to perform the solo piano pieces with the orchestrations. If I were in your shoes I totally would want to have that power to perform with on stage or for my recital as well! It is a rush.

However, I am sorry to say I DO NOT SELL OR DISTRIBUTE THE ORCHESTRAL BACKINGS FOR MY MUSIC AND PROBABLY NEVER WILL. These are my babies. The reason for this is simple: It is because I use my orchestral backups for when I perform in my own concerts. If I sold my original back-up tracks, there would be little reason for me to put on concerts and perform my music for you guys because there would be plenty of other people who would be performing “my concert” everywhere else.  Not to mention the amount of work I put into these orchestrations – I honestly don’t think I could put a price on them.

I do know that other artists, Lindsey Stirling, for example – sells her own “karaoke” versions of the orchestral back-ups for her songs. She has hired someone to create these “B-side” orchestral backup tracks for her so that she can still use her originals in concert and still remain authentic and unduplicated. Sounds like a pretty smart idea I’d say!

While I do get quite a lot of requests for my orchestral backings through email, youtube, and Facebook – it is not enough for me to really justify spending thousands of dollars to hire someone to create, record, mix/master karaoke backup tracks for me, when I would much rather spend that money on new music videos, or a new album.

What you guys CAN do for me though is keep spreading the word about my music. Keep purchasing my CDs and sheet music. Keep listening to me on Pandora and Spotify. Just help me as an independent artist to grow so that, who knows! Maybe one day I will have extra funds to hire someone to create awesome karaoke backup tracks that you guys can perform with.

I’m truly honored that you guys love my music enough to keep asking for the back-ups, but I hope you understand why I don’t distribute them.  Thanks for supporting me as an artist – it means so much to me!  I hope to put out a couple of new albums in the next few years and also some more music videos for you!

All my best,



Diary of a Song: Eventide

This is the ninth of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my latest album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.


(From the artwork in the CD booklet)

eventide pic

Is it okay to have a favorite of my own compositions?  Well if so, this would be it. “Eventide” is by far, hands down, my favorite song on my Illumination album.   This was just one of those songs where the music flowed to my fingers and I really felt a spiritual connection to the music I was creating.

I composed this song while we were living in a rental home that had this big window and my piano sat in the nook of it.  Across the street there was an open field and so in the evenings, when it was dark, there were no trees to block a perfect view of the twinkling stars (if the sky was clear, that is).

My two boys – Preston and Taylor – at the time were ages 2 and 6 months

“Eventide” is another word for “evening”.  And with the minor to major triad chords going on in the song (proven by science to create an emotional crying response from people), this song really pulls at my heart strings.

I originally just wrote it as a solo piano piece, but then later as I worked on the orchestration for Illumination, I added strings and a boys choir to the song  – which ended up having a sort of Danny Elfman-ish sound to it.  Or, I’ve also been told it sounds like something James Newton Howard would have composed for a film.

I had this piece completely finished and orchestrated, when one evening when I was driving in my car and listening to a rough mix of it, I started hearing and humming the theme from “Sheherazade” to it.  Sheherazade is an orchestral work composed by Nicolai Rimsky-Korsakov that I performed both in college with my university symphony, as well as the Oregon Pro Arte Chamber Orchestra a few years later.  The solo violin part of the symphony represents the character of Sheherazade, whom in the story of “1001 Arabian Nights” (aka “Aladdin”, etc.), is the Persian queen who saves herself from death by telling a story to her husband, the king, every night for 1,000 nights.  As the story goes, the king would take a new wife and then sentence them to beheading the following day.  Sheherazade volunteered to spend one night with the king – in which she ends up telling him an entrancing story which she does not finish. She only promises “I will tell you the rest of the story tomorrow night.”  She keeps herself alive for 1000 nights by telling story, after story, after story…in the end, leads the king to fall in love with her and spares her life forever.

The musical theme fit so well with the music, and also the night time essence of the song that I went back and wrote the solo violin part into the music.  On my album, you can hear violinist Kelley Marie Johnson give an emotional performance of the song with me.

You can BUY THE SHEET MUSIC from my website below:

Solo Piano version


Piano/Violin Duet version


You can BUY THE MP3 from any of the following retailers:

Jennifer’s Web Shop




Loudr.fm (choose your price)

You can BUY THE PHYSICAL ALBUM from me directly, or from Amazon or CDbaby. I will even autograph it for you!

Diary of a Song: Gymnopédie No. 1

This is the seventh of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my new album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.

Gymnopédie No. 1

(From the artwork in the CD booklet)Illumination and Gymnopedie 4

Gymnopédie No. 1 is Track #4 on my new album, “Illumination”.

Gymnopédie No. 1 is the first of three songs (all named Gymnopédie) composed by French composer Erik Satie, who lived from 1866 – 1925 in Paris, France. He was sort of a revolutionary in his time  – as he was breaking molds from the Classical form of music and taking a minimalist and repetitive approach.

This song has been a favorite of mine for a very long time, and in my opinion is one of the “must-learns” on any pianist’s reportorial list.  It is such a hauntingly beautiful, yet simple song.

When I was a little girl I was a huge fan of the movie The Black Stallion.  Not only did I love the movie but I also read the books, and often times found myself carried away into a dreamland of Arabia with horses races, romance, and suspense.  I loved the scene on the beach when Alex (the boy stranded on the island with the wild stallion) finally befriends the horse and the horse allows him to ride him.  The music in this scene, at sunset, carries a very strong resemblence to Gymnopédie No. 1, and perhaps that is why I have always loved this piece – because it reminded me so much of my favorite movie as a kid.

You will see here in this video -if you skip to about 4:40 you will hear the music I talk of.  There is something I really long for in this scene – perhaps it’s the isolation, the beach, being one with nature and no distractions.  Whatever it is, it calls to me.

As this song is such a peaceful song to me with meaning, I really wanted to include it on my album.

Ignoring the dynamics that the editor from Schirmer’s had included in my copy of this song, I recorded this piece how I personally felt it.  I added much more dynamic range to it, including some FF’s which are not in the original. I also took the 2nd half of the song and added more notes, making it more complex and driven.

And finally, I added orchestration to it. Which, funny enough, I thought was so original in – but turns out Claude Debussy also orchestrated Satie’s Gymnopedie’s as well (except for full symphony, whereas mine still has the piano as the lead).  I personally find my version much more dynamic and emotional.

Here is Claude Debussy’s version:

I can’t tell you what great care I took in recording this piece for my album. I was so OCD about it – every detail had to be perfect from the way I played the piano, the expression and dynamics, to every last note that the violins lifted off of the strings.

Here is a clip from the finished song, starting about half way through:

I’m happy to let you know that the sheet music is now available for this song, which you can find below…


You can purchase the sheet music (as well as other songs from Illumination) from my web store HERE.

You can download the MP3 of this song HERE.

BUY AN AUTOGRAPHED COPY OF ILLUMINATION directly from Jennifer while copies are still in stock:  http://jenniferthomasmusic.com/store/illumination-audio-cd

NEXT SONG UP:  “New Life”

Diary of a Song: Illumination

This is the sixth of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my new album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.


“Illumination” is track #3 and the title track on my new album.

The story behind this song is this…


About two years ago, I saw an ad on one of the many TV/Film 3rd party company licensing websites where a European luxury car commercial was looking for music for a commercial.  I don’t normally compose from scratch for opportunities like these (usually just submit already finished works), but the payout on this one was quite substantial and therefore I made an effort.  Okay, it was VERY substantial.  This one licensing opportunity would have paid me more than my music made in one year. AND the description of music that they were looking for basically almost perfectly described my style of music.  I knew I had to try.

I spent a lot time imagining a fast sleek car winding down a highway with curves. A BMW perhaps? Mercedez?  Who knows.  In my mind, I pictured a sort of Bond car, or luxury sedan.  Aston Martin perhaps.  I imagined the wheels turning and turning and the rhythm it created with its movements.

And thus the opening 16th notes of Illumination were born:

Because I knew this has to be a 1 minute clip of music, my attack on the composition of this song was quite different than how I normally compose.  I was crunched for time and needed to get to the main melody of the song from the get-go, so right after that short intro I immediately went to the theme of the music. Again….imagining a fast car zooming by.

And then, the next portion of the song, is me imagining the car driving off into the distance, sparkling clean, shiny wheels and a nice logo and a man’s voice coming on (sexy English accent) to say something about the car or whatnot…

That was basically my entire composition for the car commercial, which I then added orchestra to.  I wanted it to be simple, yet powerful.

So I only added: Violins, French horns, Percussion (Glen Gabriel designed the percussion, which also includes some synth effects). And the final end result for the 1 minute commercial version of “Illumination” ended up like this:

I proudly submitted the song by the deadline and waited to hear back.



What Happened With the Car Commercial…

And finally, heard back. My song did NOT make the cut for the commercial and yes I was super sad.  Especially because I spent a lot of time and effort on tailoring (what I thought) was the perfect song for this car commercial.

So the funny part about this story, is several months later, I was online watching new movie trailers on Yahoo’s movie section.  Before one of the movie trailers, a car ad came on.   I immediately looked up and took notice, because the song sounded an awful LOT like my song “Illumination”.  It was even weirder that my husband came in from the other room to find out what it was, because his response was also “Hey, isn’t that you?”.

But it wasn’t me.  But it was so incredibly close to my song that I almost thought it was mine.

I was in such shock that I didn’t catch the name of the car.  I thought I had seen Land Rover on the commercial, but I wasn’t certain.  Will and I must have refreshed the browser a hundred times trying to find that commercial again, but it never popped up. We also searched YouTube and the Lexus/Landrover websites trying to find this commercial, and yet we could not find it. So annoying.  So I just forgot about it.

But as I was in LA last year and met with my sound engineer, Rob Beaton, who deals a lot with sound libraries and companies that scout music for commercial work – I told him about what had happened with my song and that car commercial.  He told me that often times these ad agencies that scout music for commercials will find the music that they DO want, but they won’t want to pay the fee for it, so they will actually hire composers to write something very similar to it.

I don’t want to start drama or whatever, because I have no proof and I’ve never been able to find the commercial since then, but I have this little inkling that my song was heard by the ad agency (that I submitted it to), and perhaps replicated by another composer and variated ever so slightly so they could not be accused of plagiarizing. I have no way of proving this since I used a 3rd party to submit my song – I don’t know the name of the ad agency, nor the name of the car company. 😦

BUT the story does not end badly.

The GOOD news in all of this was that I still owned the rights to the song. It was mine to do whatever I wanted with.

I let it sit for a long, long time until I finally came up with the inspiration to work on it again.  It was kind of hard – as I had the first version really stuck in my head.  But eventually I was able to go back to the drawing board, dissect it a bit, and start over.

What I ended up with was a 4 minute long extended version, a couple key changes, a major-keyed section, and a pretty dramatic ending.  You can hear a sample of how I changed the transition of the short clip to extend here:

My album “Illumination” was actually originally going to be called “Portraits”, but as I kept working on it – the title Illumination just seemed more fitting for the vibrant cinematic music evolving for it.  And as I was choosing photography to go with the song (as this was an art-based album with my Dad’s photography), I chose this photo as the perfect representation of Illumination.


You can purchase that beautiful photo of Ruby Beach, Oregon Sunburst directly from my Dad at his website.

More Illumination Projects

As if the song hadn’t evolved enough, there was still more to come.

In the summer of 2012, I met with the conductor of the Evergreen Philharmonic Orchestra and arranged for me to perform with the orchestra in December of 2012.  It was a lot of hard work to transcribe the song for a full live symphony orchestra, but it got done.  I had the help of a couple transcriptionists (Travis Tagart, Daniel McBride).  While I did a lot of the notation myself, I wasn’t familiar enough with the various clefs of brass and woodwind instruments and wanted to be sure I got it exactly right.  I was so thankful for the help.

I should also note, that as I said, I originally only wrote the song for Violins, French Horns, Percussion and then later added Celli as well.  Transcribing it for a full symphony meant adding MANY more additional parts that were not in the original, and also dividing up the violin parts among the various string instruments. For example, in my recording, there are about EIGHT different violin sections playing various harmonies. But in a real orchestra, there are only TWO violin sections. So I transcribed some of the parts over to the violas, and then had each stand within the two sections playing different parts. Usually there are 2 violinists to one music stand and they play the same part, but instead I had them each split with different harmonies.

The end result was obviously NOT the same as the recording, but still very fun and surreal to hear my music performed LIVE with an entire symphony!  Here is the video if you care to watch.  I made a few blips here and there, but overall it was a really great concert and experience.

I’m still planning to shoot a music video for this song, but the plans for it have undergone many changes and I’m still waiting for the stars align for it to all work out how it’s supposed to.

Sheet Music

And now for the moment many of you have been waiting for, here is the link to BUY THE SHEET MUSIC for “Illumination”. I’ve noted in the music that there are a few measures where when I play it live, my part is minimal and the orchestra plays a lot.  But for the solo piano version, I have done some “orchestra reductions” into the part.

BUY THE SHEET MUSIC $3.95 – http://jenniferthomasmusic.com/store/productdetail.php?product=179


BUY THE MP3http://www.amazon.com/Illumination/dp/B008O0NUSM/ref=sr_1_2?ie=UTF8&qid=1357268285&sr=8-2&keywords=jennifer+thomas+illumination

BUY AN AUTOGRAPHED COPY OF ILLUMINATION directly from Jennifer while copies are still in stock:  http://jenniferthomasmusic.com/store/illumination-audio-cd

Diary of a Song: Across the Starlit Sky

This is the fifth of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my new album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.

Across the Starlit Sky


Across the Starlit Sky

This happens to be the only solo piano song on my new album.  It was among the last of the songs I was recording and preparing for the album, and as I listened to it over and over to try to get orchestration ideas for it (as well as listening to it in a mix with other songs), I decided this song was better by itself and the naked piano.

I wanted the listeners to create their own atmosphere for this song, and to feel like they were small beings amongst a huge universe.   Keeping the song piano-only was one way I felt that could be accomplished.

This song does not have any remarkable story behind it – other than I was just feeling very ponderous and melancholy while writing it.  I did write this song while my piano was positioned right in front of a rather large window in my living room – which at night I could see the starry sky (hence the name of the song).  I really enjoyed putting the major/minor transitions into the song.  It is a song that I really enjoying playing, because it helps me to connect to my feelings and whatever I might be thinking about at the time.

The photo that I chose to go with this song for the Cd booklet, is a picture my dad took of Mt. Rainier just before sunrise.  The funny story about this picture, is that he must have taken at least a half dozen trips to Mt. Rainier to get the perfect timelapse starry sky shot.  I really loved this particular one, but he was not happy with it – saying that it was not up to a professional photographer’s standards.  I won’t tell you all of the “flaws” he seemed to find in it, but I personally find it to be a beautiful photo and just perfect the way that it is.

A bigger view of the photo:

11September_Mt. Rainier_001

Upon staking out a spot next to the mountain to capture this photo, I believe my dad said he met a hiker who said he had been stalked by a cougar that night and so every little noise my dad would hear, he was very nervous about it being a mountain lion.

This song has received a high number of requests for the sheet music, and so pianists here it is:

across the starlit sky

You can download the SHEET MUSIC HERE:
You can download the MP3 from Amazon HERE:

You can purchase the beautiful photography HERE:

Diary of a Song: After the Storm

This is the fourth of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my new album “Illumination“.

At the end of each post, I also include a link to buy the sheet music, and the MP3 download.

After the Storm

IMAG2434As most of you know, last night they announced the Grammy nominations.  I was really hoping to see my name on the list of 5 nominees for Pop Instrumental, but alas I did not.  I had worked very hard for the nomination for the past several months – lots of hours were spent on trying to secure this nomination, and I was told by many that I had a real shot at this.

I know that having a Grammy nomination does not define who I am, and does not mean that I am any more or less talented.  Sometimes these awards are very political as they are peer-voted.  But as I tend to always try to have the best of faith in people, I had hoped that my album would simply wow everyone and they would just have to vote for it. 🙂  Even despite the tremendous support from my fellow Recording Academy friends, it didn’t happen, and yet I have received an outpouring of love in the past 24 hours from my fans who have told me over and over that I won in their books, and that my music has inspired them and that it means a great to them.

MacDowell Concerto 2002

Despite whatever accolades you may read in my bio, you also must know that I have had my share of trials and let-downs as well.

For every award I have won, there are many more that I have been turned down for.  For whatever film licensing or commercial work I’ve gotten, I have probably submitted my music to dozens more and not gotten a licensing deal.  I have performed as soloists with symphonies, but have also had many many auditions where I flopped and was turned away.

In the midst of all of this and the news of the Grammy NON-nomination, and with a promise I made earlier this week to release more new sheet music this week, it couldn’t be a more perfect moment to release AFTER THE STORM, track #2 on my album Illumination.

I tell you this, because it is a very appropriate intro to the story behind After the Storm.


On very special and rare occasions, I feel propelled by pure Divine inspiration to write a particular song.  This happened with The Red Aspens, Eventide, Will’s Song, and yes, After the Storm.

Composing does not come fast for me, but when Divine inspiration happens, the music usually always flows like an outpouring of love from my fingers to the keys. I just know how the song needs to be written.

I don’t often write much about my religious beliefs, but most know that I do have them and am very close to my Savior and have a very strong belief in God.  It is a central part of my life, and my family’s life.  I owe everything to Him, especially my talents and abilities.  And for some reason, even though I am not perfect and make oh-so-many mistakes in my day to day life, God still continues to bless me and watch out for me.

Last year was not an easy year for me.


Sometime I will tell you more about it, but for now I’ll just say it was not an easy year.  Despite that, somehow I was able to write some very great songs out of that period in my life.  It’s true, that out of hardships come some of the history’s greatest art.  Not saying that my music is part of history’s greatest art, but for ME personally, some of my best music has come out of hard times (also great times too ).

As I started composing After the Storm (which I had not named yet), I imagined myself walking on the beach with my Savior, talking to Him, and telling Him about some of the things I was struggling with.  The ocean has always been a big part of my childhood and adult life, and brings a lot of inspiration for me.  And as I wrote the song, I thought about the poem about the footprints in the sand….and how the poet talked about going through some of the darkest times in his life and feeling so alone, seeing his lonely footprints in the sand.  Later God told him that it was not his footprints but God’s footprints and that He had carried the troubled man through his hardships.

I continued to work on the song more and more…

And in the midst of this, I kept thinking about my friend Dixie.  Some of you may know her, she comments on my Facebook posts quite often and has been a long time fan of my music.  But in recent years she has also become a close friend.  She is one of the most spunky personalities I know – just very feisty, honest, a real hoot.  And she has very good taste in music, if I do say 😉

Anyway, one day, I saw a Facebook post from her where she mentioned having to go to the hospital. I was surprised, and asked her what was wrong and what had happened.  She replied and told me that she had breast cancer, and she thought that I knew.  Well, no, I did not know.  I would have had no idea either, because she was always so positive and spunky and never complained about anything.

Dixie also loves the ocean, and I also happen to know that she loved lighthouses as well.

The more I continued to work on my song, the more I knew that this song was for her.  She was in my thoughts as I finished up the song, and as I worked with my dad on choosing a photograph that would go perfectly with this song, I ended up choosing this one:

Coquille Lighthouse

My dad (Ron Southworth, who took all the photos for Illumination), took this photo at Bandon Beach in Northern Oregon, at the Coquille Lighthouse right as a storm was passing over.  I think the colors are amazing in this photo, and to me the lighthouse represents safety and hope after and through the storm.

I named my song “After the Storm” and dedicated it to Dixie. I felt so amazed by her attitude through her struggles, as she made her way through her personal storms and conquered them.


Even though I originally started writing this song by way of inspiration through a hard time in my life, I would say the majority of the song was written with Dixie in mind.   This was was always FOR her.

Shortly after releasing my album, I also received a very long email from a young woman who told me she had been going through a very difficult time in her life over the past couple of years, but after hearing “After the Storm” and “New Life” from my album, she felt hope for the first time.  She told me that she listened to the song several times every single day and it gave her the energy and peace to make it through each day.


I can’t tell you how much hearing something like that effects me and makes me feel so fulfilled.  I am so happy to know that I was able to help someone else through my music.

This song also helped heal me through a hard time this past August when I had surgery…but instead of writing about it, I uploaded a video of a house concert that I did in Salt Lake City in September – where I told the story to the audience and then performed it.

You can view it below.

Here is a photo from me at my CD release concert, just a few weeks after that surgery that I had.

OKJennifer Thomas 212

Also, here is a photo with Dixie, her husband, and I at the house concert in Salt Lake City.


So, to say the least, this song has a special place in my heart.

I’ve prepared the SHEET MUSIC for release, and feel that it is just as compelling as a piano solo (without the orchestration).