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The instrumental parts of this song are sublime, the most beautiful can possible be.

Not for me; this song for me is the best of Genesis.

Im counting and i cant find a bar of five in the midi track :(

i wonder if you could show me the keyboard arpegiated part i have been trying to find it for years.

can you show me the keyboard part thansk been trying to find it for years, what chord/notes are you playing and i assume just modulating it? thank you

The fusion aspect I think comes from the time signature and Phil's drumming choices. The Seconds Out version is my favorite, for some reason the part you played very well at the start of the video sounds pretty average on TOTT due to a very poor lead synth sound being used. I usually always love Banks' choices for sounds but when he does these A flat arpeggios the sounds is like a duck getting strangled, on Seconds Out it sounds a lot nicer.

It's not easy to get it unless you listen several times. I realize that I never counted the pulse on that passage, I simply played it not being aware of what the hell was going on. Those guys are geniuses!❤

Nice video Johan! In the Rugginenti edition, you can find the whole organ solo accurately transcribed.

One of the most dufficult sevens to get since there are not drums to provide a track!

I have studied this song too. the drums are in a poly meter shifting from compound to simple metre ? After green steve hillage made an album called for to next, the title is named after zx spectrum code. i have put the om riff into computer basic. the beep command in zx spectrum works with time not measures and you can look at the om riff in this way. there are beat cycles that last for one unit. ( this is the length of the first 6 beats. which I believe fall on the start of the measure but because of the rhythmical displacement feel like a turnaround on an anacrusis. the longer beats are twice the length and occur on every other beat from beat 8 onwards. I I think this part of the riff occurs 9 times. But basically when you put into together it allows the drums to shift between compound and simple metre. say 6/16 and 27/16 which would be 33/16 which could work as 4 bars of 2/4 and one bar of 1/16 or 3 bars of 12/16 and 1/16 beat.

Your intro-chords played in your DAW are not right and are not the chords played by Tony!

Nothing shows how strangely this track hits the listener than a test pressing of this LP, where the tester wrote in pen "Cut 1 sounds like it skips. It's actually part of the song"

Cool.mention your 2 keyboard instruments please

Love it

Nice

You play with your own style...nice

Exactly what I’ve been looking for- a real analysis of Genesis. Bravo!

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Great explanation! I like it a lot! Thank you!

More prog than the original. Fun take

I used to own a Mellotron Mark 2. The sounds used are strings AND brass on the right hand keyboard (it's easy to mix the two on the Mellotron), with accordion bass on the left hand keyboard. The first chord is actually Bmaj/F#, so you need to add a D# to the chord.

Absolutely agree, no signature changes but different feeling. The time 1 seems to suffer a virtual kind of displacement in the middle, Just based on accents!!!. (I always thought that rhythm was based on Nubian Sundance, a song from Weather Report's "Misterious Traveller" album).

You did an amazing job on that ! One Man Gong :) PS. I come from an era where the drummer "accompanied " the music and probably didn't do any of the maths :) any Jazz influenced drummer would have that capability , in theory ..so if it's an odd riff to be followed , they do the necessary ..very creative drumming anyway ..you are a great musician too

Good analysis, I always thought that Bruford has several brains.

This is my case most of times, I know how to play it without counting, let's say by instinct, but I am not able to explain it :)

Thanks for taking the time and trouble to make this, and then share it - and you’re right nobody else does these magical instrumental breaks the way that they did it