With this sheet music, you can play the sea shanty "Wellerman" on piano!

It's an accurate, playable piano arrangement of the traditional folk song.
This sheet music also includes the full lyrics (6 verses).

"Wellerman" is a sea shanty from New Zealand which dates back to the early 19th century.

Back then, the term "Wellerman" was used for employees of the Weller Brothers? shipping company in Sydney, which supplied whaling stations around New Zealand with essential provisions (including sugar, tea, and rum, as mentioned in the song).

In 2021, the song became an internet meme - TikTok users collaborated with the app's duet function to record virtual group performances of the song, which soon starting to go viral.

"Wellerman" also makes for a fantastic piano cover!

Here are the full lyrics to the traditional sea shanty "Wellerman":

There once was a ship that put to sea,
And the name of that ship was the Billy o' Tea
The winds blew hard, her bow dipped down,
Blow, me bully boys, blow!

Chorus:
Soon may the Wellerman come
to bring us sugar and tea and rum.
One day, when the tonguing' is done,
We'll take our leave and go.

She had not been two weeks from shore
When down on her a right whale bore.
The captain called all hands and swore
He'd take that whale in tow.

Soon may the Wellerman come...

Before the boat had hit the water
The whale's tail came up and caught her.
All hands to the side, harpooned and fought her,
When she dived down below.

Soon may the Wellerman come...

No line was cut, no whale was freed,
An' the captain's mind was not on greed!
But he belonged to the Whaleman's creed
She took that ship in tow

Soon may the Wellerman come...

For forty days or even more,
the line went slack then tight once more,
All boats were lost, there were only four
and still that whale did go.

Soon may the Wellerman come...

As far as I've heard, the fight's still on,
The line's not cut, and the whale's not gone!
The Wellerman makes his regular call
to encourage the captain, crew and all!

Soon may the Wellerman come...

This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music.

In my experience, every elementary piano student should be given the opportunity to successfully play:
Spinning Song (even if you leave out the middle section at first)
Minuet in G (page one)
Fur Elise (page one)

Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection.

All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions.

"Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.

Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening.

So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior.

If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly.

"Practice Makes... "

If you said "Perfect" then you've fallen into a sinister trap.

"Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career.

Here's the process in general:
Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?

That's something for us professionals to consider.


Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!

Contents

Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
I Allegretto
II Romanze
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
I Allegro
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgm�ller
Ballade, Op. 100, No. 15 Friedrich Burgm�ller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
I Allegro
Sonatina, Op. 36, No. 3 Muzio Clementi
I Spiritoso
La V�locit�, Op. 109, No. 10 Friedrich Burgm�ller


These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering.

The hand position notation is used to better communicate what exactly is being demanded of the student. Students? repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores ?playing music on the piano? to primacy and supports ?helping a student play music on the piano? as the central activity of the piano lesson.

Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.

Good luck!
Scott Camp
scottcampislandpiano@gmail.com