"Secret Garden"

Last fall, I learned some parts for the middle section of "Secret Garden" (piano, Clavinet, and bass).  I kept either forgetting or not having enough time to record an example of what I'd learned, but I finally got around to it a couple days ago.

For the bass part, I referenced the rough mix that's included as a bonus track on the CD (because the bass part is much easier to hear there), but inexplicably, this middle section is eight measures longer in the final version.

I think the two hands in the Clavinet part play the same thing an octave apart, aside from a few notes that are tenths (at ~1:23 in my recording, ~3:23 in the actual track).

At some point, it also occurred to me that the structure of "Secret Garden" illustrates the title.  The middle section is slower and generally less involved than the bookending sections, and these differences hint at a sort of seclusion.  It's similar to what I wrote about in "The Tell-Tale Heart" a number of years ago, although here it's purely instrumental.

"Sirius"

A couple months ago, I watched this interview with Alan Parsons.  Starting at ~17:34, he briefly talks about how he wrote the riff in "Sirius" using a Clavinet sample on the Fairlight.  I think I figured out this part last night.  Much of it is characterized by the delay that Alan mentions, and I don't really have a way to duplicate this, so I'm not sure if what I have is the entirety of the part, but it's at least something like this:

Some of these intervals seemed familiar to me, and I realized that they're basically the same as those in "Day after Day (The Show Must Go On)," played on what the APP website calls "jangle piano."  It's also doubled with a synthesizer.  These phrases repeat through much of the verse:

The phrases in the two songs begin in different places and have a different number of notes, but each consists of a root note, the fourth, the fifth, and the octave.  In "Sirius," the order is fourth, fifth, octave, root (with the seventh substituted for the octave every other time); in "Day after Day," it's octave, fifth, fourth, root, fourth, fifth.  Obviously, the parts aren't the same, but they do have the same sort of musical vocabulary.

"Don't Answer Me"

Yester-day was the fortieth anniversary of the release of Ammonia Avenue.  I listened to the album and started wondering whether the three syllables of "ev'ryone" in the line "Run away and hide from ev'ryone" in "Don't Answer Me" are sung to all different pitches.  This turned out not to be the case (the pitches are G Ab G), but after looking into this, I had a different realization.  Under the lines "Run away and hide from ev'ryone / Can you change the things we've said and done?," the chord progression includes two Bb majors.  Since the song is in C major, the root of Bb major is an accidental, and this foreign tone provides something of a sense of the distance involved in "run[ning] away" and of that "chang[ing]."  In the vocal line above this, there are also some accidentals (Eb and Ab) that contribute to this effect.