The music for the two seasons of Campus Talks was written and recorded by LUVANE. Enthusiastic reactions led to the decision to publish sheet music for piano (and vocals). Below you’ll find the original recordings, plus some suggestions on how to practice and perform the music. A limited number of booklets was available for early birds, but in case you weren’t among them a download is available via this link. Printing the booklet for personal, non-commercial use is allowed. Enjoy playing the music!

Season 1

  • Campus Abandoned

    Make the first part sound as haunting as possible, the listener has to feel those chilling empty campus vibes. The second part is played a little bit faster. Along with the change to a major key this will give the listener the feeling that there’s still hope for the future.

  • 1.5 Metre Misery

    A solemn and slow piece that the listener will only appreciate when played very expressively. Make sure you don’t play the arpeggios too fast; it might ruin the dramatic feel of the music.

  • Game on or Game over?

    For this game-inspired tune a steady left hand is needed, while the right hand plays the melody. It might be good to pay attention to the melody in the right hand when listening to the original recording. In some measures the exact timing cannot be derived from the sheet music.

  • Back to School

    This ode to (future) scientists has a relatively easy piano accompaniment. To sing while playing however, might be a challenge for some. If your goal is to sing while playing, make sure you practice the singing part separately. It will make it easier to stick to the melody and sing in tune while playing and singing simultaneously later on. For the guitar solo you will need another musician, as you only have two hands.

Season 2

  • Campus Waltz

    This waltz is a very laidback and lighthearted piece, inspired by the peacefulness of Twente and the university campus. Play the melody in the left hand as if you were humming the tune, gently speeding up and slowing down along the way.

  • Climactic

    Written as an anthem for (the preservation of) mother nature, dramatic dynamics are needed to bring the music to life. The first few bars need to be timed precisely, to have the listener on the edge of his seat. After that, make sure that the melody in the left hand has a majestic feel to it in terms of timing, as well as dynamics. The right hand should flow freely.

    Did you know that Enschede's city carillonneur Esther Schopman performed Climactic at the University of Twente carillon? Watch the live recording accompanied by drone footage here:

  • Brain Race

    As the title suggests, there is an element of speed in this piece. After the opening bars with the descending octaves, the tempo needs to increase gradually. Therefore, it is important not to start too fast. At the end of the piece a radical (but still gradual) decrease in tempo is necessary to give the listener the idea of an actual closing, instead of an abrupt halt.

    Did you know that Enschede's city carillonneur Esther Schopman performed Brain Race at the University of Twente carillon? Watch the live recording accompanied by drone footage here:

  • Security Breach

    The most important aspect to focus on in this piece is the emphasis on the first and third count of each measure. Experiment a little bit with the dynamics and tempo to keep the listeners attention, while maintaining the looming effect of the steady beat.

  • Steady Progress

    Although this piece was originally written for organ, it can be performed as a slow, solemn piece for piano. Proper use of the sustain pedal will help emulate the churchlike sound aimed for in the original recording. Some extra emphasis on the descending octaves (second halve) in the left hand can make up for the absence of low strings.


  • Ending Credits

    This piece is a descending repetition of one phrase, meaning if you can do one you can do them all! Make sure you play the grace notes gently so they don’t attract too much attention. Lastly, you need to slow down a little bit before you hit the high note on which the piece ends.