Here?s how to play ?thank u, next? by Ariana Grande on piano!

With this piano sheet music, you can play ?thank u, next? on piano - you can use it as an instrumental arrangement, but also accompany singers, or sing along yourself.

It?s a piano arrangement in the song?s original key of Bb minor, and comes with all parts of the song, full lyrics included.

It?s not too hard to play and sounds fantastic!


Ariana Grande certainly knows what it's like if one's personal life is making headlines. In November 2018, she released "thank u, next", a surprisingly positive song about her past relationships and breakups (including Mac Miller, Pete Davidson and Big Sean), in which she comes to the conclusion that she learned from all of them!

?thank u, next? serves as the lead single from Ariana Grande?s fifth studio album.

Listen to the full arrangement here: https://youtu.be/yZWNKPCVvD0

Here are the song?s full lyrics:


?Thought I'd end up with Sean

But he wasn't a match

Wrote some songs about Ricky

Now I listen and laugh

Even almost got married

And for Pete, I'm so thankful

Wish I could say, "Thank you" to Malcolm

'Cause he was an angel

One taught me love

One taught me patience

And one taught me pain

Now, I'm so amazing

I've loved and I've lost

But that's not what I see

So, look what I got

Look what you taught me

And for that, I say

Thank you, next (next)

Thank you, next (next)

Thank you, next

I'm so fuckin' grateful for my ex

Thank you, next (next)

Thank you, next (next)

Thank you, next (next)

I'm so fuckin'

Spend more time with my friends

I ain't worried 'bout nothin'

Plus, I met someone else

We havin' better discussions

I know they say I move on too fast

But this one gon' last

'Cause her name is Ari

And I'm so good with that (so good with that)

She taught me love (love)

She taught me patience (patience)

How she handles pain (pain)

That shit's amazing (yeah, she's amazing)

I've loved and I've lost (yeah, yeah)

But that's not what I see (yeah, yeah)

'Cause look what I've found (yeah, yeah)

Ain't no need for searching, and for that, I say

Thank you, next (thank you, next)

Thank you, next (thank you, next)

Thank you, next (thank you)

I'm so fuckin' grateful for my ex

Thank you, next (thank you, next)

Thank you, next (said thank you, next)

Thank you, next (next)

I'm so fuckin' grateful for my ex

Thank you, next

Thank you, next

Thank you, next

I'm so fucking

One day I'll walk down the aisle

Holding hands with my mama

I'll be thanking my dad

'Cause she grew from the drama

Only wanna do it once, real bad

Gon' make that shit last

God forbid something happens

Least this song is a smash (song is a smash)

I've got so much love (love)

Got so much patience (patience)

I've learned from the pain (pain)

I turned out amazing (turned out amazing)

I've loved and I've lost (yeah, yeah)

But that's not what I see (yeah, yeah)

'Cause look what I've found (yeah, yeah)

Ain't no need for searching

And for that, I'll say

Thank you, next (thank you, next)

Thank you, next (thank you, next)

Thank you, next

I'm so fuckin' grateful for my ex

Thank you, next (thank you, next)

Thank you, next (said thank you, next)

Thank you, next (next)

I'm so fuckin' grateful for my ex

Thank you, next?

Peteris Vasks occupies a special position in the circle of Baltic composers. He is not only the most significant and popular composer ever to come out of Latvia. he always speaks to his listeners with a fervent intensity that seems to point to something higher. This higher aspect is without a doubt something that stands above the world of humanity but is also present within each person: divine nature.

"I am deeply rooted in nature, in the nature of the North. It influences all of my music. The nature we know is also quite various. we have four very distinct seasons. The winter is very long, the summer very short and therefore all the more beautiful and longed for. The seasons in between are quite dramatic."

The first of Peteris Vasks's Seasons pieces was not written with the intention of forming a complete cycle. For his friend, Talivaldis Deksnis, he composed in 1980 Balta ainava - White Landscape (Winter), in 1981 Rudens muzika - Autumn Music, and in 1995 the Pavasara muzika - Spring Music. In 2008, Zala ainava - Green Landscape (Summer) came into being, the piece which completed the cycle.

In 2009, as a kind of "encore", Vasks wrote Vasaras vakara muzika - Music for a Summer Evening based on old sketches. this, of all the pieces, is the one most anchored in tradition. Only the two newest pieces - both of which have to do with summer - have a fixed metrical structure. The three earlier works are metrically free, notated without bar lines, which gives them an improvisatory character.

Vasks says of the individual pieces in the cycle: "In Balta ainava everything is white. A new year begins. It is a quiet meditation, a new beginning, with only two themes.

Pavasara muzika. Quasi una Sonata - the most demanding piece in this cycle - is intense, an impressive development. Spring comes slowly, with much drama. It is like a battle, until it is simply there. This multi-faceted piece, with its bird songs, lives from conflicts and dramatic intensification and ends in ecstatic rapture. Zala ainava is based on two themes. Our summer is very brief and offers a respite after the battles. And it is so beautiful! The music reflects joy and contentment. The first theme brings a kind of pure energy. the second is more devoted to tone painting. At the end, a five-note quotation from a well-known Latvian folksong about a drunkard is heard.

Rudens muzika begins pianissimo on a quiet September day, in a peaceful, sunny atmosphere. Now the autumn storms sweep over the land. a gentle sadness settles on the people and on nature, which surrenders its splendor. After a last great storm, the snow comes again as a symbol of purified conclusion and a new beginning. Vasaras vakara muzika takes place at the quiet end of a summer day. The sun sets. Slowness. Memories of previous experiences surface. With the memories' appearance comes an increase in intensity. Towards the end, a kind of folksong is heard: 'We have survived the time of tyranny and retained our identity'. The ending is quiet, everything is asleep."

Christoph Schluren

Translation: John Patrick Thomas and W. Richard Rieves