The Ending/Fade Out of this song is my favorite Genesis JAM. I wish it would go on for an hour. The Piano, Bass at light speed and Phil doing same on drums!!!
Pure wizardry yet again. It was never one of my favourite songs (back in the day) but this elevates it to almost a classical composition. Tony really is a genius :)
He certainly is and I like to hope that his remarkable compositional skills can be heard and recognised even more through these piano-only versions 🙂 It's one of the main reasons that I do these vids/scores.
This is brilliant! Thanks so much for doing this one. Can finally correct all the mistakes in the way I’ve played this for years. I’m really looking forward to studying this one now. Thanks Steve
In the fade out there is a brief lyric Phil sings....on the recording it sounds like "there is an escape" Were you able to hear that clearly?? I've always wondered what he sings.
It's on the rear/surround channels (with reverb on the centre channel). Can't make out exactly what Phil's singing but it does sound like it ends with "escape". The beginning sounds like "cover his" but I'm far from sure about it...! Tried running it backwards but it's not some satanic message or anything 😂
@@ElektrikHob how about this part: ""Come with me, I need you I fear the dark and I live all alone." I never hear " I live all alone". Sounds like something that rhymes with "like". Maybe "moonlight'?
Very good, as usual. I find a lot of ATTWT rather thin on ideas; what you manage is to bring out the compositional and arranging artistry and elevate the mediocre, so well done! 12/8 is definitely the right time sig; the even crotchets in the RH throughout feel like triplets/sextuplets Now where's that kb solo from the end of Inside and Out? 😃
Yeah, was never my favourite album, but nearly all of Tony's contributions (along with the band's Down and Out) are actually really strong songs, especially Rope. Although not his best ever, Lady is still a great example of what Tony can do. He even had to alter the Verse key because the vocal line didn't sit right for Phil. And yet, you'd never know it because of his mastery of key modualtion! As for the time sig, the bass/drums rhythm meant it HAD to be either in 4/4 swing or 12/8 and the RH made the latter an obvious choice. I could have written each hand as two different time sigs (RH as 6/4 and LH as 12/8) but I think that would've been a step too far...! 😂 Like you say, it's one of those oddities where the dotted crotchets are the 'straight rhythm' and the normal crotchets are actually a triplet rhythm.
@@ElektrikHob "He even had to alter the Verse key because the vocal line didn't sit right for Phil" - this interests me, as Phil has a pretty impressive range; I wonder what key the verse was in, originally? Because the modulation - slightly surprising as it is, dropping a tritone - makes sense, because the Eflat that's the fifth of the Aflat major at the end of the chorus sits perfectly as the top of a D7flat9 chord for the intro, an absolutely legitimate voicing in the key of Gminor!
@@sigil5772 I wonder too as the whole piece sounds very fluid as it is. But I suspect the dimished 7th chord just before the B chord in bar 17 is the clue. Perhaps just the Intro and bars 5 to 16 of the Verse were in a different key (perhaps a tritone away in Dbm rather than Gm). That would be more than enough to throw a vocal line out and Tony did love using dim7 chords as a modulation facilitator... Guess we'll never really know though.
@@ElektrikHob Yeah, it's funny how keys are temperaments, vocally. Back in the day when I sang tenor in a choir, I would always struggle with a high A in a sharp key like A or D, but a high Bflat in a flat key? No trouble.
The Ending/Fade Out of this song is my favorite Genesis JAM. I wish it would go on for an hour. The Piano, Bass at light speed and Phil doing same on drums!!!
Yes! And they take it up another notch on live versions, especially Rutherford.
Pure wizardry yet again. It was never one of my favourite songs (back in the day) but this elevates it to almost a classical composition. Tony really is a genius :)
He certainly is and I like to hope that his remarkable compositional skills can be heard and recognised even more through these piano-only versions 🙂
It's one of the main reasons that I do these vids/scores.
You know it's going to be a good day when Elektrik Hob uploads a new Genesis song transcription like this one!
Always brightens my day to see an upload from your channel :)
Thank you so much for this. Really appreciate the fact that most of the right hand is what he plays on the organ.
This is brilliant! Thanks so much for doing this one. Can finally correct all the mistakes in the way I’ve played this for years. I’m really looking forward to studying this one now. Thanks Steve
Another excellent transcription!!! Always loved this track!!! Thanks for doing such a magnificent job once again!!!
Thank you so much, I only wish this technology existed many decades ago when i was a younger lad!!
If it had, these vids/scores would all have been posted in the late 70s when I first worked them out! 😂
Thanks for sharing. As always you have nailed it so perfectly.
Great job! So enjoy the keys on this track...
And this one as well! Fantastic job.
In the fade out there is a brief lyric Phil sings....on the recording it sounds like "there is an escape" Were you able to hear that clearly?? I've always wondered what he sings.
It's on the rear/surround channels (with reverb on the centre channel). Can't make out exactly what Phil's singing but it does sound like it ends with "escape".
The beginning sounds like "cover his" but I'm far from sure about it...! Tried running it backwards but it's not some satanic message or anything 😂
@@ElektrikHob how about this part: ""Come with me, I need you
I fear the dark and I live all alone." I never hear " I live all alone". Sounds like something that rhymes with "like". Maybe "moonlight'?
actually i heard the live version now and realized that Phil really sings "I live all alone".
@@vydyu It might be....."Love is escape....I'm alone"
Very good, as usual. I find a lot of ATTWT rather thin on ideas; what you manage is to bring out the compositional and arranging artistry and elevate the mediocre, so well done!
12/8 is definitely the right time sig; the even crotchets in the RH throughout feel like triplets/sextuplets
Now where's that kb solo from the end of Inside and Out? 😃
Yeah, was never my favourite album, but nearly all of Tony's contributions (along with the band's Down and Out) are actually really strong songs, especially Rope. Although not his best ever, Lady is still a great example of what Tony can do. He even had to alter the Verse key because the vocal line didn't sit right for Phil. And yet, you'd never know it because of his mastery of key modualtion!
As for the time sig, the bass/drums rhythm meant it HAD to be either in 4/4 swing or 12/8 and the RH made the latter an obvious choice.
I could have written each hand as two different time sigs (RH as 6/4 and LH as 12/8) but I think that would've been a step too far...! 😂
Like you say, it's one of those oddities where the dotted crotchets are the 'straight rhythm' and the normal crotchets are actually a triplet rhythm.
@@ElektrikHob "He even had to alter the Verse key because the vocal line didn't sit right for Phil" - this interests me, as Phil has a pretty impressive range; I wonder what key the verse was in, originally? Because the modulation - slightly surprising as it is, dropping a tritone - makes sense, because the Eflat that's the fifth of the Aflat major at the end of the chorus sits perfectly as the top of a D7flat9 chord for the intro, an absolutely legitimate voicing in the key of Gminor!
@@sigil5772 I wonder too as the whole piece sounds very fluid as it is. But I suspect the dimished 7th chord just before the B chord in bar 17 is the clue.
Perhaps just the Intro and bars 5 to 16 of the Verse were in a different key (perhaps a tritone away in Dbm rather than Gm).
That would be more than enough to throw a vocal line out and Tony did love using dim7 chords as a modulation facilitator...
Guess we'll never really know though.
@@ElektrikHob Yeah, it's funny how keys are temperaments, vocally. Back in the day when I sang tenor in a choir, I would always struggle with a high A in a sharp key like A or D, but a high Bflat in a flat key? No trouble.
@@sigil5772 Pretty much exactly the same for me! Singing tenor in local choir too. Doing Gerontius in a few weeks.