"Stereotomy"

I was going through some old notes last night, and I found one about "Stereotomy" from 7 March that I'd forgotten about.  Almost all of the "Turn me to stone" lines are sung to a single pitch:  the first two (at ~1:35) are sung to F notes, and the later two (at ~5:10) are sung to A notes.  (The last two [at ~5:37] are both sung to more than one pitch).  This constancy of pitch musically represents the immobility of being a stone.

"Eye in the Sky"

Aside from the introduction, my first post for this project was a recording of the palm-muted guitar chords and electric piano phrase in "Eye in the Sky," and I commented that one of the chords "sounds a bit weird, but I don't know if that's because it's wrong or just because the rest of the parts aren't there."  It turns out it was wrong.

After I listened to Eye in the Sky last month, I discovered that I'd never written down the electric piano phrase, so I re-learned it (and wrote it down).  I had written down the chords, but in revisiting the song, I discovered that what I'd thought was a Bb major is actually a G minor.  It doesn't particularly come across in my new recording because it's mostly the bottom three strings of the guitar that are played (G D G').

When I made my recording five years ago, I was limited in my keyboard sounds, but since I got a Nord Electro 5 about two years ago, I can now more accurately reproduce the Wurlitzer that Eric Woolfson played on the track.  I added some chorusing and panning too, but I'm not sure if the original has that or not.

Unlike last time where I played the chords for the whole song, this is just the introduction and the first verse.  Were it not for my previous mistake in the chord progression, I wouldn't have even recorded that much because all I know of the verses are the chords, and they're a bit boring to listen to on their own.

Here are the chords, which I still might have wrong, but which are at least a bit more accurate than what I used in my last recording:

Introduction/Coda
|: B minor | G major :|

Verses
|: D major | B minor :|
G major | G minor | D major | E major
D major | G major | D major

Choruses
|: D major | F# minor :|
G major | G minor
|: B minor | G major :|

EDIT (29 April):  YouTube deleted my video, citing it as "inappropriate content" (!?), so I posted it on Twitter:

YouTube deleted my video that goes with this post (https://t.co/uhW2MLwBPx), and while I submitted an appeal, it seems to be going nowhere, so I'm posting it here. pic.twitter.com/c92hno6wT0

— January's Cloak (@JanuarysCloak) April 29, 2020

"Inside Looking Out"

In the lines "A dreamer must be / Someone who has more determination than me" in "Inside Looking Out," "determination" is sung with a melisma (F# F# F# F# B B:  the "na" is sung with two syllables/notes - F# B), musically giving a sense of that "more."

"Standing on Higher Ground"

In "Standing on Higher Ground," in the second of each pair of "Way above it all"s, the "all" is sung with a melisma (G F), musically giving a sense of breadth.

"Too Late"

In "Too Late," one of the "late"s (at ~3:56) is sung with a melisma (A F#), musically giving a sense of degree (for "too").

"La Sagrada Familia"

I noted before that in "La Sagrada Familia," "tears" in the line "And for all those years our eyes and ears were filled with tears," is sung with a melisma (D C# B F#) for a sense of amount, but a couple months ago, I discovered that "filled" is also sung with a melisma (Bb A) for a similar effect.

"Tears" is also sung with a melisma in the stand-alone "Filled with tears," although it's the same pitch (F# F#).

"Step by Step"

In the lines "Risin' on the crest of a natural wave / That never seems to break my way" in "Step by Step," the "way" is sung with a melisma (D D C C, I think), so while "break" is negated, there is a musical sense of fragmentation.

"Children of the Moon"

In "Children of the Moon," the line "The seas were empty; there was hunger in the land" exhibits a sort of parallelism:  both clauses illustrate a lack.  Because "sea" and "land" are opposites, however, this lack is emphasized, and its widespread nature is demonstrated.

"Eye in the Sky"

I listened to Eye in the Sky yester-day because it was Eric Woolfson's birthday, and I noticed a few things.

In the line "That's how it goes" in the title track, "goes" is sung with a melisma (F# E D), musically giving something of a sense of (metaphorical) movement.

"Prime Time"

I figured out the chords for "Prime Time" this morning, and while playing along, I noticed a small feature in the lyrics.  In the line "Every move I make feels like a winner," the "every" is sung with three syllables, giving a sense of number.

"Light of the World"

In "Light of the World," "rise" in the line "I can fly so close to the sun that I can not see it rise" is sung with an ascending glissando (D to F), musically giving a sense of its meaning.

"In the Real World"

In the backing vocals near the end of "In the Real World," "hearts" in the line "Too many lonely hearts" is sung with a melisma (G F# D, I think, and only the first time), musically giving a sense of amount.