Considering everything, 2020 was a great year for us!
Thankful for the many milestones that we reached, and especially Mae starting school. My love Amilee learnt to bake and cook many different kinds of food, to play the ukelele and chords on the piano.
As for me, I also learnt to play the piano from scratch, however I can already read music notes because I already know how to play the alto saxophone. I also wrote many books this year.
Maeleth improved in her dancing, art, reading, writing, math and also learnt to play the piano. ❤️
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While the world was suffering from sickness and financial loss, we were protected and actually earned more in 2020 than in 2019, all while being more restful.
We are also fitter than ever before thanks to doing simple workouts regularly at home.
Even though we were confined at home more and having to wear masks whenever we go out, we were still able to make progress all thanks to God’s grace. 🙌
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Looking forward to a fantastic 2021, and we are praying that you will have a very good year ahead too. May you have great joy to compensate for every heartbreak you faced last year. Happy new year!! 👍
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#praiseJesus #HisGraceisEnough
同時也有17部Youtube影片,追蹤數超過40萬的網紅SLSMusic,也在其Youtube影片中提到,【400,000 Subscribes Special】I played soundtracks from Studio Ghibli written by Joe Hisaihi in a music store located in Taipei. Thank you all for makin...
「you were good to me piano」的推薦目錄:
- 關於you were good to me piano 在 Milton Goh Blog and Sermon Notes Facebook 的最讚貼文
- 關於you were good to me piano 在 Fan-Chiang Yi 范姜毅 Facebook 的精選貼文
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- 關於you were good to me piano 在 SLSMusic Youtube 的最佳貼文
- 關於you were good to me piano 在 Ray Mak Youtube 的最讚貼文
- 關於you were good to me piano 在 Freeyon Chung 鍾君揚 Youtube 的最佳貼文
you were good to me piano 在 Fan-Chiang Yi 范姜毅 Facebook 的精選貼文
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
you were good to me piano 在 謙預 Qianyu.sg Facebook 的精選貼文
【桃花開在周杰倫】The Peach Blossom named Jay Chou(English writing below)
上星期的Youtube影片中,我談到周杰倫前世如何修到大桃花,以及桃花和個人財富的關係。
2019年9月11日2300H,久未發新歌的周杰倫推出新歌單曲《說好不哭》,兩天內就破一千萬的流量,刷下華語樂壇的新紀錄,而且在超過十個國家,包括美國、澳洲、韓國、德國、新馬港台等,都衝上了Youtube發燒影片第一名。
相比之下,蔡依林去年年尾推出睽違四年的新專輯,打破了傳統歌手唱情歌的套路,其中七首歌都有概念新穎、議論性極高的MV,但影片流量卻不敵這次「周五」的合作。
我不是蔡依林的歌迷,但她這次為專輯的付出真的讓我刮目相看 - 回顧蔡依林出道至今的「黑歷史」MV《怪美》,邀請吳君如一起拍向80、90年代香港電影致敬的MV《腦公》,邀小S拍的MV《紅衣女孩》,以及今年榮獲台灣金曲獎年度歌曲獎的《玫瑰少年》等等。
我個人很喜歡這首《玫瑰少年》。此歌以轟動一時的「葉永鋕事件」為背後故事:葉永鋕,台灣人,國中生,因不同的性別氣質而遭到同學霸凌,不敢在下課時間去上廁所。十五歲那年,葉永鋕在上課時,提前離開教室去上廁所,後來被發現傷重倒臥血泊中,送醫後不治死亡。(取之:维基百科)
而在今年五月,台灣成為第一個將同性婚姻合法化的亞洲國家,讓《玫瑰少年》更具有代表性。
再看看周杰倫這次的新歌《說好不哭》,如果你也覺得「周杰倫是我的青春」,這MV用的許多「情懷梗」,作詞人方文山,神秘來賓五月天阿信,必會讓你驚喜連連。
對我而言,這首歌延續著周氏情歌的曲風,MV拍法沒有突破,並沒有像蔡依林的專輯有那麽強大的創意和正面能量。
可是蔡依林這次別出心裁,影片流量和賺到的錢也不少,卻依然亞於周杰倫。
這一切的現象隱藏著過去世的因果。
據我根本上師聖尊蓮生活佛開示,周杰倫前世修密教的敬愛法,想必他持了天文數字的敬愛咒。他八字寫著,這一世的寫歌本領就是他修來的眾桃花投影。
這桃花非同凡響,改變了華語樂壇對流行歌的審美觀。這次《說好不哭》的MV流量、新歌銷量等,都名列前茅,新歌上線的24小時內,總銷量548.5萬張,售額1645.6萬元人民幣(S$3.2m)。
蔡依林全身都是重桃花相,但就算如此,她和幾個星期前出新歌《對的時間點》的林俊傑,也完全被周杰倫比下去。
一些聰明的Youtuber在《說好不哭》上線24小時內火速推出了自己的翻唱影片,鋼琴彈奏版,歌詞版等。這是很明智的作法,因為不用花錢就能夠沾個邊,借一借周杰倫的桃花來旺自己。如果周杰倫的八字及歌曲旺他們的八字,就會更有效。
網路搜索,加上娛樂新聞頻道的新聞報導,他們的頻道便會迅速增加訂閱和流量。
寫了這麼多,有三點要提醒大家:
1)有幸得到師尊灌頂的敬愛尊咕嚕咕咧佛母和愛染明王法的同門,請勤修此法。
有眾桃花,貴人顯著,做什麼事情真的會比較容易,賺錢也可以比別人快。我個人的修法領悟,如果抱著利益眾生的菩提心來修,效果會更不可思議。
2) 要賺錢,你速度要快。
錢如流水走很快不等人,你要懂得觀察局勢,學學那些Youtubers的掙錢速度及魄力。如果還是不會, 批八字看風水時,可請教你的師父如何迅速為自己增強桃花。
3)往對的方向,用對的方法努力,能改自己和別人的命
無論你八字中有沒有眾生緣,你要有錢,有敬愛的魅力,你都得努力地去結眾生緣,持續地去佈施,慢慢地去積累。因為再多的眾生緣,也會有用完的一天。
以上的歌手都是努力的典範,包括那些Youtubers。因為努力而產生的影響力,能引導他人改自己的運勢,你的功德可加倍。
不要一日一日地這樣荒廢青春,別把時間都給了家人,而吝於給他人。佈施要用心思,要不然,有一天福報見底時,你和你的家人就會出現資糧荒的現況了。
「聰明人將精力用於預防和積累,而蠢蛋則寄望於補救。」
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In my Youtube video last week, I talked about how Jay Chou cultivated his great Peach Blossoms in his past life and the correlation between your personal wealth and your Peach Blossoms.
On 11 September 2019 2300H, Jay Chou released his much-awaited new song "Won't Cry". His MV crossed 10 millions views within 48 hours on Youtube, setting a new record for Chinese music entertainment scene, and was the #1 trending MV in over 10 countries, including USA, Australia, Korea, Germany, Singapore, Malaysia, Hong Kong and Taiwan. His latest single also crashed Chinese music streaming site QQ music in less than a hour after its release.
In comparison, Jolin Tsai launched her new concept album end of last year, after a hiatus of 4 years. The album broke out of the conventional love ballads typical of Mandopop. 7 songs in this album were launched on Youtube with very creative and artsy music videos, which attracted much online discussion.
Yet the views on her MV cannot be compared with Jay Chou's latest MV.
While I am not a fan of Jolin Tsai, I applaud her effort for this album. The Ugly Beauty MV talks about the criticisms that Jolin Tsai had received since her debut. The Hubby MV was a salute to Hong Kong movies in the 80s & 90s, with Sandra Wu guest starring. Xiao S was also invited for her Lady in Red MV. The song Womxnly won the Song of the Year in this year's Golden Melody Awards, while this album won Album of the Year.
My personal favourite is the song Womxnly, which was inspired by the sensational story of Yeh Yung-chih, a secondary school Taiwanese student who had been long bullied for his perceived effeminate behaviour and thus, never dared to go to the school toilet at break times. One day, just five minutes before school ended, he was found dead in the school’s restroom in a pool of blood at the age of 15.
In May this year, Taiwan became the first Asian country to legalise same-sex marriage and Womxnly became even more symbolic.
Let's now take a look at Jay Chou's new single Won't Cry. If you also think that "Jay Chou is my youth", the many punchlines in this MV, the lyricist Vincent Fang and the mystery guest Ashin of Mayday will have you grinning in surprise.
To me, while this song is not bad and a continuation of Jay Chou's love ballad style, it does not carry as much creativity and positive energy as Jolin Tsai's Ugly Beauty album. Jay Chou's MV was also pretty similar to many of his past MVs. There was no breakthrough.
Yet, beneath all that we have seen till now, is the karma from many past lives.
My Root Guru, His Holiness Living Buddha expounded that in Jay Chou's past life, he practiced the Magnetization Sadhana of Varjayana, and had recited an astronomical number of the mantra of Love and Respect. As stated in his Bazi, his songwriting talent this lifetime is a reflection of his cultivated Peach Blossoms of Mass Appeal.
This is an extraordinary Peach Blossom, as it rewrote the judgment standard of Mandopop. The viewership of Jay Chou's Won't Cry MV and sales volume of the single are just as astounding. Within 24 hours of release, his new song sold 5.485 million copies online and raked in S$3.2million.
The entire physical appearance of Jolin Tsai spells of heavy Peach Blossom of mass appeal. However, with Jay Chou in the picture, both she and JJ Lin Junjie who released a new single The Right Time 3 weeks ago paled in comparison.
Some clever Youtubers quickly uploaded their own covers, in less than 24 hours of Jay Chou's new song release. There were cover songs, piano versions, and lyric version. This is a very smart way of leveraging on Jay Chou's Peach Blossom luck for FREE. Works best if the song and Jay Chou’s Bazi are compatible with their Bazi.
Through online searches and online entertainment channels who report about the covers, the Youtubers get to boost their subscriber volumes and viewership at a much faster rate.
These are the 3 points I wish to highlight to everyone after writing so much:
1) To my fellow Dharma brothers and sisters who are fortunate enough to receive our Root Guru's Dharma empowerment of Kurukullā and Rāgarāja, please cultivate this Sadhana diligently.
When you have Peach Blossom of Mass Appeal, your benefactors are prominent and everything that you do in life gets easily done, even earning money is faster for you. My personal experience is that if you practice this Sadhana with the Bodhicitta heart to benefit sentient beings, the effects will be incredible.
2) If you make money, you must be speedy.
Money waits for no man. You have to know how to observe the situations and learn the money-making speed and drive of those Youtubers. If you do not know how, seek the advise of your Chinese Metaphysics practitioner, when getting your Bazi analysed or Feng Shui audit done.
3)Move in the right direction with the right method, and you can change your life and others' too.
Regardless your Bazi has mass appeal affinity or not, to have money, to have charisma of Love and Respect, you must be diligent in forming mass positive affinities. Learn to give and accumulate your way through. For no matter how many mass affinities you have, they get expedited over time.
The celebrities and Youtubers I mentioned above are examples of diligence.
When your hard work brings you the ability to influence, you will be able to guide others to improve their luck, be it you are conscious of it or not. And that doubles up your merits.
Don't squander your youth by living aimlessly. Don't blindly give all your time to your family and be miserly in giving your time to others.
Constant giving requires thought, otherwise when your good fortune hits rock bottom, you and your family will face a dire drought of life resources.
"The smart one spends his effort in prevention and accumulation, while the fool puts his hope in salvaging. "
you were good to me piano 在 SLSMusic Youtube 的最佳貼文
【400,000 Subscribes Special】I played soundtracks from Studio Ghibli written by Joe Hisaihi in a music store located in Taipei. Thank you all for making this happened!
↓ More info down below ↓
💬SLSTalk
Finally, 400K Subscribers. It's been a long way! We're really sorry we couldn't celebrate by doing recital, concert or fans event due to the coronavirus issues. Still, we prepared this special video for you, hope you like it.
I've played them a lot at live streaming, but I rarely do videos for Studio Ghibli Animations. Not because I don't like it, it's just because there were too many covers already on YouTube. So I think this time it's a good opportunity to make it a medley with a different style of video, adding some words I'd like to say to you, hope you like this video.
As many of you might know, maybe it's the change of time, or change of the algorithm, change of YouTube, musicians on YouTube lives much harder than 4 or 5 years ago. We all have to find another way out to keep living. So in the past few month we've been working on streaming platforms, digital albums, and now is the Patreon. It would be really helpful that fans support us with those platforms IF you're able and willing to.
And just to be clear, I won't quit doing music videos even if it keep going worse, because doing these things including performing, recording and editing is one of my personal interest, that's why I started all this in the first place, and that's something never change.
Once again, thanks for all the supporters around the world. We couldn't have done it without you. I don't know how far we can go, but as long as there's audience waiting for me, the music would never stop. No matter what way you choose to support us, we truly appreciate it from the bottom of our hearts.
2021.07.23
SLS
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⏰Song List:
0:16 Merry-Go-Round of Life/人生のメリーゴーランド
1:36 Reprise/ふたたび
2:23 One Summer Day/あの夏へ
3:41 Carrying You/君をのせて
5:06 The Legend of Wind / 風の伝説
7:12 A Town with an Ocean View/海の見える街
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#ghibli #piano #joehisaishi
you were good to me piano 在 Ray Mak Youtube 的最讚貼文
Back in the days, around the time when YouTube was founded, before most of you were born, I used to Vlog a lot. I was a little ahead of my time because video sharing platforms were premature back then. I Vlogged so that I can remember my experiences back then. You'll get to know me better if you actually spend the time to watch this. If you do have the patience.
Episode 17 - Chinese New Year 2006, Massachusetts
Part 1 was a simple dinner organized by the Chinese Society of the University to raise funds for the poor. I played a Chinese New Year song. The video was my practice.
Part 2 was me chilling with friends, had a very rare Chinese Dinner at school with Lion Dance!!
Part 3 was a short clip of my good friend Justin Ho playing the piano, my favorite song Strauss Die Fledermaus.
Part 4 was me chilling with my Taekwondo buddies, singing karaoke. And finally we attended a basketball game at school.
Year : Chinese New Year 2006
Location : Massachusetts
Intro by the amazing Bashcone
https://www.youtube.com/channel/UCLYCxC8fugNPo4KXsX2lVqg
(As you guys know, I've exhausted my Sub Count trying to support small YouTubers. So I'm using Intros and YouTube Community Postings to help move your channels forward. Hope you guys can appreciate that)
?SHEET MUSIC & Mp3 ▸ http://www.makhonkit.com
?LEARN MY SONGS ▸ https://tinyurl.com/RayMak-flowkey
?Listen on Spotify ▸ https://sptfy.com/raymak
?Listen on Apple Music ▸ https://music.apple.com/sg/artist/ray-mak/1498802526
?Full Song List ▸ http://www.redefiningpiano.com
Talk to me :
? Instagram ▸ http://instagram.com/makhonkit
? Facebook ▸ http://facebook.com/raymakpiano
? Twitter ▸ http://twitter.com/makhonkit
#VLOG #chinesenewyear #massachusetts #USA
you were good to me piano 在 Freeyon Chung 鍾君揚 Youtube 的最佳貼文
This is one of my favourite duets of all time and the lyrics (and the subtle things behind the song..etc) are very beautiful & meaningful. If you think of anyone while watching this video, I hope you can send it to them to let them know the impact they’ve had on your life.
I have liked For Good since the first time I heard the song and have always wanted to record a cover of it, but never quite found someone I thought would be the right person to sing this song with me. When I started cosplaying as Magnus and later came across the Edom scene in Shadowhunters, where the characters were potentially separating from each other forever, I knew this was it. Plus, there are other similarities between Glinda & Elphaba in Wicked and Alec & Magnus from Shadowhunters (feel free to comment to let me know what you come up with).
Doing a cover of this song while cosplaying characters from one of my favourite shows, I knew I had to go the extra mile. The amount of time and effort spent along with the things I had to learn, get and do to pull it off was kind of insane, but worth it at the same time (lost track of how many all-nighters were involved.
Without help from Ivan Wong, Robin Oh and Chris Jayden of KANTAN Media, this project would not have been possible. Thank you so much!!
Magnus/Alec: Freeyon Chung
Piano Accompaniment: Ivan Wong
Audio Engineer: Robin Oh
Producer-Editor: KANTAN Media (Chris Jayden)
Special Thanks: Cantius Lee
Director: Freeyon Chung
Hair: Freeyon Chung
Make Up: Freeyon Chung
Lighting: Freeyon Chung
Wardrobe: Freeyon Chung/Ivan Wong
Camera Operator: Freeyon Chung
I hope you will follow my journey as I continue to create more quality content to share with all of you! I already got a few ideas, so…just sit tight til my next creation haha
#ForGood #Shadowhunters #FreeyonMusic
~~~~~~~
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I've heard it said
That people come into our lives
For a reason
Bringing something we must learn
And we are led to those
Who help us most to grow if we let them
And we help them in return
Well, I don't know if I believe that's true
But I know I'm who I am today
Because I knew you
Like a comet pulled from orbit
As it passes the sun
Like a stream that meets a boulder
Halfway through the wood
Who can say if I've been changed for the better
But because I knew you
I have been changed for good
It well may be
That we will never meet again
In this lifetime
So, let me say before we part
So much of me
Is made of what I learned from you
You'll be with me
Like a handprint on my heart
And now whatever way our stories end
I know you have rewritten mine
By being my friend
Like a ship blown from its mooring
By a wind off the sea
Like a seed dropped by a sky bird
In a distant wood
Who can say if I've been changed for the better
But because I knew you
Because I knew you
I have been changed for good
And just to clear the air
I ask forgiveness
For the things I've done, you blame me for
But then I guess
We know there's blame to share
And none of it seems to matter anymore
Like a comet pulled from orbit (like a ship blown from its mooring)
As it passes the sun (by a wind off the sea)
Like a stream that meets a boulder (like a seed dropped by a bird)
Halfway through the wood (in the wood)
Who can say if I've been changed for the better
I do believe I have been changed for the better
And because I knew you
Because I knew you
Because I knew you
I have been changed
For good