"Somebody Out There"

A couple days ago, I learned some of the guitar parts for "Somebody Out There."  I recorded just the second chorus because there are two guitar tracks there:

The first chorus doesn't have that second part, and the choruses near the end of the song are slightly different (although I haven't lookt into the specifics yet).

I also re-learned the synth parts that I recorded last October, and I'm not very confident that what I had was correct.  I played only single notes for one of the parts, and now I'm pretty sure that there are at least pairs of notes, so I didn't include those this time.

"Since the Last Goodbye"

Last night I learned the bass part for one section of "Pipeline," so now I know at least a little bit of a part for every song on Ammonia Avenue (although I haven't recorded all of them because many are fragmentary).  I listened to Ammonia Avenue to-day and noticed a small thing about "Since the Last Goodbye."  The "falling" in the line "Remember all the leaves were falling" is sung to the notes C# B B, so there's a descent in the music (albeit a small one) to mirror the descent mentioned in the lyric.

"The Ace of Swords"

Last month, I learned the bass and string parts (or at least one of the string parts) for the introduction in "The Ace of Swords," so I added them to the harpsichord and oboe parts I already knew.  Of course, after I recorded this, I realized that I played the string part an octave too low.  There's still a clavinet part I have to learn, so once I get that, I'll update this again and try to remember to put the string part in the correct octave.

Instead of trying to match the original recording, I just set up a click track and played the parts to that, which is why my recording doesn't have the ritardando at the end.

"The Eagle Will Rise Again"

Back in March, I figured out the ascending, arpeggiated keyboard part in "The Eagle Will Rise Again" (I'm still not exactly sure what instrument it's played on, but I think it's virginal).  I've been slowly writing out the notation for it (doing it piecemeal), and I recently remembered that (back in June) I figured out the high violin part in the fourth verse.  I haven't been recording examples unless I know at least two parts, and here I've had two parts for "The Eagle Will Rise Again" for a few months.

My recording is the third verse (just the keyboard part) and the fourth verse (the keyboard part and the violin part).  The closest I could get to virginal was the harpsichord setting on my keyboard, and I used the violin setting for the violin part, which is why I don't have the glissandi between some notes.

"The Ace of Swords"

I recently learned the woodwind part at the beginning of "The Ace of Swords" (I'm not exactly sure what woodwind instrument it is specifically, but I think it's oboe).  I didn't really know how to write it down (notating the trill would have given me problems), so I decided just to film the notes.  I don't have an oboe (or any other reeded woodwind) to play it on, so I used the oboe setting on my keyboard, which actually makes it easier to see what notes I'm playing.  I hadn't written down the harpsichord part either, so I filmed that for posterity too.

"Nothing Left to Lose"

Last week, I learned some of the backing vocal parts for "Nothing Left to Lose."  I didn't have an opportunity to record them until recently though, and I had to change the key to fit my range.  The original is in Bb major; mine's in F major.  I also doubled-tracked each part to make it sound better with my voice.

My referent for the parts was the bonus track on The Turn of a Friendly Card that's just Chris Rainbow's vocal parts.  Comparing that with the final version reveals that I have a lot less than I thought I did.  I have up until about 0:40 on that track (and the first ten seconds or so is just Rainbow's getting ready), but I think that's only half of the backing vocals for the verses in the final version.

Anyway, in that first forty seconds, there are four parts, and each is four measures long.  Every four measures, a new part is added.  After adding all of the parts, I sang them a fifth time too.

"A Dream within a Dream"

Last night I learned some more parts for "A Dream within a Dream."  I listened to Tales of Mystery and Imagination yester-day and discovered that "A Dream within a Dream" has slide guitar.  I mean, I'd certainly heard that part before, but it wasn't until yester-day that I realized that it's slide guitar.  I learned that first and discovered that it has the same four pitches (A, D, E, and G) as the recorder part.  They have a different order and rhythm, but they're the same four pitches.

I can't remember if I already knew the bass part or not, but it's only one note (A), so that was simple to either learn or re-learn.  I knew I was going to write a post here at least to mention that the slide guitar and recorder have the same notes, but I didn't know if I should record a version because - while I'd have the bass part - there's a lot of space between those two elements.  In order to fill out my recording, I learned the electric piano part and the acoustic guitar chords.  My recording still feels a bit empty, but I guess five parts are better than only three.

I'm pretty sure the recorders are double-tracked in the original.  One might be lower than the other, but all I have is a soprano recorder, so doubling that is the best I could do.  I'm looking into getting a tenor recorder, although I'm not sure that's what's used in the original recording.

I double-tracked the acoustic guitar and the slide guitar.  I'm not sure that's accurate; I just thought it would sound better.  I don't have the delay effect on the slide guitar because I simply don't know how to do that yet.  I briefly played around with some effects in my recording program, but even the shortest delay I could get was too long compared to what's in the recording.

"The Tell-Tale Heart"

This evening I figured out a couple guitar phrases in "The Tell-Tale Heart."  While doing so, the lines "So for the old man / Ashes to ashes, earth to earth, and dust to dust" caught my ear.  It's from Ecclesiastes 3:20:  "All go to one place.  All are from the dust, and to dust all return."

"Genesis Ch.1 V.32"

Last night I figured out the electric piano and acoustic guitar parts in "Genesis Ch.1 V.32."  While recording a version to-day, I sort of stumbled across the electric guitar part too, although my guitar tone isn't even close to matching.

The sections repeat with little variation, so I just did a couple of them in my recording.

As always, I might be wrong about this, but here's the electric piano part:

It just repeats throughout the song.  The guitar chords are D minor | C major | Bb major | A major.

"Gemini"

A couple weeks ago, I figured out some of the vocal parts for "Gemini," by which I mean I not only figured out the notes but also notated them (although I'm not too confident in some of my note values).  Thinking about them later, I realized that there are many instances of twos in the music, ostensibly to portray the "two-ness" of Gemini, which is the sign of the twins in astrology.

For the first two verses, the lyrics are comprised solely of two-syllable words (save for "believing").  Usually, each word is sung to two quarter notes, and the rest of the measure has a two-beat rest (again, save for "believing," which is sung to three quarter notes, the first of which encroaches on the measure ahead of it).

The two verses are:

Watching waiting rising falling
Listening calling drifting

And

Touching feeling seeing believing
Hoping sending leaving

The melody for the lead vocal is something like this:

In the second verse, there's a two-voice backing vocal ("I see your shadow coming closer everyday") that consists mostly of half notes (which receive two beats each):

Like I mentioned above, I'm not too confident on some of my note values (and - as always - I might not have even figured out these parts correctly), but it's clear that there are a lot of musical elements in these two verses that emphasize twos.

In the liner notes to the deluxe edition of The Turn of a Friendly Card, Eric Woolfson's daughter Sally writes that "he didn't read or write annotated music" (which why he recorded musical ideas on numerous cassette tapes).  Because he didn't use notation, I'm not sure whether these various instances of musical twos were intended or not.  Notation makes them more obvious (I never noticed them when just listening to the song), but notation certainly isn't necessary for these elements to exist in the song.

"You Don't Believe"

A couple days ago, I figured out the chords for "You Don't Believe."  (I'm not sure if it's actually true, but it seems that I learn more parts from Ammonia Avenue than the other albums.  It's alphabetically first, so when I go to that part of my music collection to try to learn a part, that's the first album available.)  Because that's the only part I know and because listening to a recording of just chords would be boring, I'm not going to record a version.  Furthermore, according to the liner notes for the demo of "You Don't Believe," the chords (in both the demo and the final version) are sampled guitar chords played on a Fairlight, so I doubt I could match the tone very well even if I did try to record it.

I made sure to write them down, and while listening to the recording again to verify them, I noticed a connection between the chords and the lyrics.

The chords for the verses, as I figured them out, are:

C minor | Bb major | Eb major | C minor
Eb major | F major | C minor
C minor | Bb major | Eb major | C minor
Eb major | F major | C minor

Each line in the verses contains both a C minor chord and an Eb major chord.  C minor and Eb major are relative keys; they both have all of the same notes, just starting in different places.  Since "You Don't Believe" fades out at the end, there's no resolution, so it's sort of ambiguous whether the song is in C minor or Eb major (if I had to guess, I'd say C minor because it starts with a C note).  Tonally, it's like the song is alternately pulled toward either C minor or Eb major, and that same sort of division is in the lyrics.  Each line in the verses contains both "my" and "your."

First verse:

My eyes with your vision
My choice but always your decision
My play with your direction
Well it's my lead but always your connection

Second verse:

My words, your expression
My land, always your possession
My song, your production
My expense is always your deduction

Third verse:

My fame, your reflection
My weakness always your protection
Well it's my terms on your conditions
And they're my tunes but they're your compositions

In each line, possession is alternately first person ("my") or second person ("your") in the same way the song seems to be alternately in C minor or Eb major.

The Complete Albums Collection

Last month, I got The Complete Albums Collection box set:

I already had all of the albums; The Sicilian Defence is the only new material, but this is the only way to get it.

I was sort of surprised to find that two of the cardboard CD cases had gatefolds.

I Robot:

And Eve:

I haven't actually listened to the box set yet, partially because I haven't really had the time and partially because I don't really know what to do with some of the albums.  Like I mentioned above, I already had copies of all the albums (save The Sicilian Defence).  Of the copies I already had, about half are just the album as it was originally released, and the other half have bonus tracks in addition to the original album.  The albums in The Complete Albums Collection are only the albums, no bonus tracks (adding bonus tracks to the albums is probably the only thing that could have improved the box set).  When I rip the CDs from The Complete Albums Collection to my computer, I want to distinguish them from the albums I already had, and I don't know the best way to do that.  I'll probably just end up adding "The Complete Albums Collection Disc x" before each album title.