This one is not transposed. Unlike the other two pages in this library, Mojito is already in A minor and needs only two black keys, so it is written here exactly as scored. Every drill shows both hands on one grid, with the count on every attack.
Read the counts down the column: 1 is the downbeat of a bar, 2 3 4 are the other beats, and e & a are the sixteenths in between. Any two cells sharing a column are struck at the same instant.
Of 1,121 notes, only 52 are black. Thirty-one are G♯ and fourteen are C♯. The G♯ is the leading tone in every E chord — it is what makes the progression pull home. Learn those two keys and the piece is otherwise white.
The bass walks the same short cycle for most of the song: A · D · C · E, sometimes ending on B instead of E. Once your ear catches the cycle you can predict where nearly every bar is going, and the left hand stops being something you read.
Twenty of the 89 bars are note-for-note repeats of a bar you have already played, and the second chorus is nine-twelfths identical to the first. Learn the chorus properly and a quarter of the song comes free.
Hear the whole thing before you learn any of it. The drills further down teach the sections in printed order; what you play is a separate decision. Move the blocks below and the whole piece plays back in that sequence — every bar kept, nothing dropped, just resequenced. Sections A–D are the Journey to the West theme; E and F are where the arrangement leaves it.
Playback follows the tempo at the top of the page. Switch between as printed and with rolls to hear the difference the spread chords make: bar 8 becomes a single roll instead of seven hits, the four held bass chords in bars 17–20 spread bottom to top, and the last chord of the piece opens out slowly. Everything else is identical, so the comparison is clean. Both settings play the voices no pair of hands can reach in bars 5–7 and 39–40 — a synthesiser has no hands.
Built from the MuseScore file in your repository. The notes and rhythms are exactly as scored — nothing transposed, nothing simplified. Three things are worth knowing.
Do not start at bar 1. Learn the chorus first, because most of it comes back later untouched, then fill in around it. The fill at bar 44 is the only thing here that needs real technical work.
| Order | Section | Bars | Why here |
|---|---|---|---|
| 1 | D · Chorus | 25–36 | Comes back at 61–72 nine-twelfths unchanged. Best value in the piece. |
| 2 | A · Intro | 1–8 | Sets the groove. Short, and it has to be even. |
| 3 | B and C · Verse | 9–24 | The tune. Section F then repeats most of it. |
| 4 | Bar 44 alone | 44 | The chromatic fill. Slowly, on its own, hands separately. |
| 5 | H · Break and last chorus | 73–84 | The only other genuinely new writing. |
| 6 | E, F, G, I | 37–43, 45–72, 85–89 | Mostly repeats and links. Read them, drill only what surprises you. |
This is a Latin groove, not a straight-eighths pop song. The left hand is the rhythm section: keep it light and absolutely in time, and quieter than you think it should be. If the bass gets heavy the whole thing turns into a march.
Sparingly. Change on every bass note, which is roughly once a bar through the verses, and lift almost completely in the busier bars. Too much pedal is what makes this song sound muddy; the groove needs air between the notes.