Every Day and Night (밤이나 낮이나) - Rebecca Hwang

I was confused whether it was because of praise like "the sun during the day or the moon at night", 

But the more I sang, the more I was blesse

How was it playing...?

Wasn't there anything strange about it when you sang it? I'm sure it's a simple chord process, but aren't you unfamiliar with it? Since we started with IIm7, I think it's very gloomy. Nevertheless, we find good sounds and play them.

First of all, I had a lot of thoughts about whether to play the original or the moving music chord. I thought you'd use a lot of music that comes out when you search, so I decided to do the same.

Do you want me to explain the performance?

1. Intro

It starts above an octave. I broke the rhythm with an octave in the parts of "Night," "Desperate," and "Always." How is it? I think it's a personal taste. I thought it would be good to change it. I played it like this. I think it would be good to be completely static. :)

2. 1st verse (verse x2 - Chorus)

The key chord for this song is the first F#m7-B7 (IIm7-V7). 

Especially, how do we catch the F#m7 voicing? I think there will be a difference in individual competencies. If you hit the "fa#" note on your left hand and the "ra, do#, me" note on your right hand, you get 100 points. But we want to play more sophisticated, don't we? I'll show you how one sound changes. If you put in 9 notes of tension and point out "fa#" in your left hand, and point out "sol#(9)", "la", "do#", "mi" in your right hand, that's amazing. Going one step further, I remember that in Minor Seven's Chord, the 11th note of tension suits very well. If you put 11 notes of tension in your left hand and "fa#" in your right hand, and "la, ti(11), do#, mi" in your right hand, that's awesome. I think those who can do this are majors. How about adding 9 and 11 notes of tension?

If you put "fa#" on your left hand and "sol#(9), la, ti(11), mi" on your right hand, this is a professional.

If you thought of this, you're a professional. Run to the piano right now, and compare the sounds I've described. Five notes "do#" in the F#m7 chord can be omitted. Instead of five, try putting in some other tension notes. Please refer to the fact that we put various decorations and ad-libs in it. :)

I think playing a static chorus was a good choice myself. 

3. 2nd verse (verse - Chorus x4)

I've repeated the chorus four times. There's a lot, but why do I want to repeat it more? The first one is to break the rhythm with the octave you showed in the intro. Second, I split the rhythm with 16 beats. You have to play the part that's not the melody softly. 

The significant part here is decoration and voice in "Night Night," and when we do F#m7 - B7, the bass goes up to "la-la-la-la-ti. I just love it. And the other part is "Always" where I played C#m7 from C#m7 to C#7 from C#m7 to C#7.It's the only re-harmonization part. If it's good to listen to, use it. If you still feel pressured, you can play it only with C#m7. I played C#7(b9) in the second chorus and C#7(b9,#11) in the third chorus. The sound is so different on one sound! Thirdly, Adlib goes in octave saying "ti, mi." I feel like I need three hands. I only watched the lead sheet and played it. I think it would be easier if you think about adding ad-libs to the second chorus like me. Remember the original melody + ad-lib octave "ti,mi"! I cheer for your enthusiastic practice!

Finally, the fourth one is to play the one octave higher.I wanted to repeat it five more times in the fourth chorus style. Why did you make me want to repeat this song? I love it.....

4. Outro

The sense of finishing the first part of the verse by playing the outro. Then you don't have to be embarrassed even if the song goes on, right?

I have a lot more to explain, but I'm too talkative today. haha. It takes so much time to make a song these days. I hope we'll be able to meet the next song sooner...

Be happy today!