James Shumway writes the kind of piano music that still believes in big feelings. A classically trained player who started young and stuck with it, he leans toward the Romantic side of the spectrum, chasing long lines and clear emotion. His recent work has moved from solo pieces into more arranged material, and “So Glad You’re Mine” is one of his most direct love songs, even without a single lyric.
This version sets piano against strings, with violin and cello wrapping around the main theme. The piano keeps a steady, looping figure, the kind you might play absentmindedly at home, while the strings move in slow arcs above it. The writing is full-bodied: the low strings carry weight, the violin lifts the melody just enough to feel like it is reaching for something, and the piano fills the middle with gentle motion.
Knowing it began as an ode to a life partner makes sense. The piece feels less like a first kiss and more like two people looking back across years, quietly sure they chose right. There is warmth, but also a little distance, the kind of reflection that comes after you have been through some things together.
On screen, it is easy to imagine “So Glad You’re Mine” under wedding footage, family montage, or the closing scene of a drama that ends on a soft landing rather than a twist. It is simple, tender, and clear about what it wants to say.
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