Old Money

Attributed to Lana Del Rey, Old Money forms an integral entry in the modern pop keyboard selections. Laid out across 3 pages containing 57 measures, this score draws authenticity from verified performance editions and modern engravings. Work tracking associates this edition with ISWC identifier `T-7D0.8C7.42-1` and registry `mbid-7d08c742-sheetpdf`.

Metric propulsion relies on 4/4 (simple quadruple meter), giving the piece an authoritative quadruple framework where downbeat accents anchor the overarching phrase architecture. Set to a metronome speed of ♩ = 68 BPM (*Poco andante*), the overall character feels singing with gentle, steady momentum. Pianists should ensure that they subdivide internally with relaxed forearm weight to prevent metric stiffness across bar lines.

Framed in A Major, the score establishes A through a key signature featuring three sharps (F♯, C♯, G♯). Harmonic variety is enriched through dialogue with the relative minor/major (F-sharp Minor) alongside strong cadential support from E Major. Harmonically, the progression A → G → Am → F → Dm → G7 pauses expressively on an open half-cadence, leaving harmonic expectation unresolved. In terms of hand topography, A Major yields a luminous harmonic atmosphere demanding balanced forearm weight distribution on wide melodic shifts.

Designed for Intermediate level pianists (transitional keyboard syllabus (ABRSM Grade 4 to Trinity Grade 5)), this piece demands clean articulation and hand balance. The chief hurdle entails achieving fluid finger legato without relying on the damper pedal to mask uneven key releases. Balancing contemporary broken triad ostinatos and resonant pedal points requires distinct volume separation between parts. Furthermore, execute full pedal clears at dynamic changes to highlight intimate moments. Practice Tip: drill awkward chord shifts at 60% tempo, ensuring fingers assume target hand shapes before descending.

Pianists frequently schedule this piece for popular piano showcases, private lessons, and collaborative sessions. Beyond the primary engraving in A Major, collaborative accompanists can adapt the key: lower voices (alto/bass) benefit from transposing into G Major, while high voices gain projection in B Major. Ensembles may utilize E Major for brass fingerings. The composition is certified in the worldwide public domain, available for unfettered study, transcription, and live recital.