"Winding Me Up"

When I listened to Eve a couple days ago, I noticed what I think is a recorder part in "Winding Me Up" (from ~2:12 to ~2:41) that I guess I hadn't been fully aware of before.  Recorder isn't listed among the instruments in the "credits" section for Eve on the APP website, but it sure sounds like one in the song.

Here's my recording, with just guitar chords for accompaniment (I doubled-tracked recorder and guitar):

Here's the notation of the recorder part (with - of course - the disclaimer that I might have something wrong):

The day after I listened to the album, I was still thinking about this song, and I realized that in the title line, the "up" is sung to a higher note than the others ("Winding me up" is sung to the phrase E E E G), musically giving something of a sense of its meaning.

In looking at the song again in order to write this post, I also noticed that "too long" is sung with melismas (G E for "too" and E D for "long"), musically giving a sense of degree and of duration, respectively.

"You Won't Be There"

Near the end of "You Won't Be There," in the line "Why are you going anywhere," the three syllables of "anywhere" are each sung to a different pitch (G F# D).  To some degree, this represents musically the breadth of possibility.

"You Lie Down with Dogs"

I listened to Eve last night and noticed a few small things.  In "You Lie Down with Dogs," the repeated "You're fallin'" starting at ~3:19 is sung to descending phrases, musically reflecting that "fallin'."  I'm not sure of the exact notes, but it starts on Ab and the first half is a diatonic descent in F minor (down to Eb, at least).  I think altogether it descends more than an octave down to F.

"Shadow of a Lonely Man"

I listened to Pyramid yester-day and noticed a small thing in "Shadow of a Lonely Man," specifically in the line "But I'll cling to a hope till I can't hold on anymore, anymore."  The "-more" of that second "anymore" is sung with a melisma (E D; the whole word is sung to the notes E F E D), so although it's negated, there's something of a sense of continuation.

"Heaven Knows"

I recorded some parts from Keats' "Heaven Knows" three years ago, but I never wrote them down and forgot how to play them.  Recently, I've been relearning those parts and figuring out some new ones (and writing them down).

I remembered the piano part (although I'm still missing some of it), and I relearned the bass part (and discovered that I'd had some notes in the wrong octave).  I also figured out one of the saxophone parts (which I played using a mellotron sound) and some of one of the guitar parts:

When the piano comes back in, the timing is a bit off, but I didn't feel like redoing it.

"Turn Your Heart Around"

When I listened to Keats a couple days ago, I also noticed a small thing in "Turn Your Heart Around."  "On" in the line "This can't go on" is sung with a melisma (E F#), giving a sense of continuation.

"How Can You Walk Away"

I listened to Keats yester-day and noticed a few things in "How Can You Walk Away," specifically in the chorus:

How can you walk away
How can you leave
How can you turn away
When our love was incomplete

Both "away"s (Bb G F) and "leave" (F D) are sung with melismas, which all give a musical sense of movement.  There's also a slant rhyme between "leave" and "incomplete," so the nature of being "incomplete" is demonstrated poetically.

"The Ace of Swords"

Last week, I learned the clavinet part in the introduction in "The Ace of Swords," so I made an updated recording:

Since I last recorded this, I got a new keyboard (a Nord Electro 5D), and some of the sounds are a lot better (for what it's worth, I used French harpsichord D and clavinet C).  I included the bass part in the audio but not the video.

"Nothing Left to Lose"

Yester-day I was thinking about "Nothing Left to Lose" and realized a small thing:  "Ways" in the line "You change your life in a thousand ways" is sung with a melisma (D C Bb), musically giving a sense of that "thousand."

"Since the Last Goodbye"

I listened to Ammonia Avenue (with bonus tracks) yester-day and discovered something about "Since the Last Goodbye."  In the version with Eric Woolfson's guide vocal, "fly" in the line "The hours, the minutes seem to fly" is sung with a melisma (D# C# A#), musically giving a sense of the passage of time.  In the final version, however, this feature isn't present.

"Damned If I Do"

I figured out a couple parts from "Damned If I Do" this afternoon.  One of them was a guitar part from ~0:29 to ~0:37, which I don't think I'd even realized was there before.  In any case, the first three notes are the same as the famous phrase from Strauss' Also Sprach Zarathustra (albeit adjusted for key).

Here's the guitar phrase (which I believe is played with harmonics and which I might have notated in the wrong octave):

The phrase from Also Sprach Zarathustra is C G C' in C major; this is G D G' in G minor.

"You Lie Down with Dogs"

On Jeopardy! yester-day there was a clue stating that "He that lies down with dogs shall rise up with fleas" is among "Ben Franklin's wisdom" in Poor Richard's Almanac.  The clue made it seem that Franklin coined this phrase, but according to The Oxford Dictionary of Quotations, it's a proverb dating from the late sixteenth century.  In any case, it got me thinking about "You Lie Down with Dogs" from Eve, and this morning I realized something about the line "You lie down with dogs, you get up with fleas," which occurs at the end of each chorus.

Generally, the melody to which "you lie down with dogs" is sung descends (aside from regularly dropping down to an F, it's a conjunct descent from Eb to Bb), and there's ascending interval of an octave at the end to represent the "get[ting] up with fleas."  I think it's something like:

(I'm not very confident in my accuracy of the rhythm, but I am pretty sure about the notes, which is what's relevant here.)