As a result of a recent conversation (which seems to have disappeared...!) that I've had with @claudiocardoneOK about this transcription, I've modified the Instrumental section slightly. Instead of it being in 4/4 (as in this video), I've changed it to 2/4 to better reflect the chord changes and the sense of a strong '1 & 2 &' pulse. I hope he reads this and accepts it as a good compromise (he was quite brusque in his manner unfortunately and I took it somewhat personally). He strongly suggested that I change all the 32nd notes in the arpeggios to 16th notes and change the tempo marking to crotchet (quarter note) = 150 rather than quaver (eighth note) = 150 as it is here. I've seen this sort of thing done in many classical scores, usually with (instead of an absolute tempo marking) something like 'quaver symbol = crotchet symbol' meaning 'the tempo that quavers were played at before the change is the same tempo that crotchets are now to be played at'. ie. everything is played at twice the previous speed. But I feel that, although perfectly correct, it doesn't make it as obvious that the Instrumental arpeggios are played at (slightly faster than) twice the speed of the Chorus arpeggios. Hence why I've gone with keeping the note values as they were but making the 2/4 alteration instead. The new PDF is in the usual online area.
This sounds incredible. Thank you! I've been listening Genesis for some years now and my piano skills have been improving and my ear training too, and these months i've been able to play the piano part on my own. But i remember when i first started, when i found your video of the Middle part, that was so so helpful.
Absolutely Brill👍👍🏴 I’ve played this for years on the piano and this just fills ALL the gaps 😃👍 Yet another masterpiece transcription. Thank you 😊
Thank you so much, a timeless classic and an all time favourite. A daunting challenge to learn, but at an approachable goal now with the help of your wonderful transcript
Wonderful, as ever, and all the more so in that you make me appreciate Tony's arrangement despite this being, probably, my least favourite track on TOTT (too many major 7ths/9ths - Rutherford again, I suspect, pre-echoing Own Special Way and Snowbound). You really should do Volcano! By the way - not a criticism, as such - but I'm hearing some inconsistencies in tempo. Is this rallentandos by the band, or just you trying to match computer and human timing?
The timing pretty much matches the original track; done that way so that I didn't have to move the vocal around. Ironically, I actually tightened up the timing a little on the instrumental section as there were a couple of instances of speeding up... 😉
So confused at the dominant chords that don't go to the "I" like the B7 and later F#7 before the chorus that both go to A instead of an E or a C#. It sounds great though, and that's all that matters in the end, I guess.
Although they often do (especially in classical and jazz), Dominant 7th chords don’t actually have to go to the I. They’re really there to direct your ear as to what key you’re currently in. So, for the B7 in bar 23 at the end of the verse, although your ear is being reminded that you’re in the key of E, the next chord doesn’t have to actually be the I. What happens is that more tension is built up in bars 24 & 25 with the IV & V/IV chords until, finally, the I is resolved to in bar 26. The F# chord in bar 29 that goes either back to the Chorus or on to the Chorus End is actually an example of a Secondary Dominant, so still fits in with familiar music theory. Normally the ii chord would be a minor chord (in this case F#m as it is in bar 28), but making it a II (major) chord is a very common practice as it fools the listener into thinking that a modulation is about to take place to the V key (in this case to B), only to then reset back to normal by having a V7 chord instead (in this case, delayed a bar until bar 25/31/35; V/IV counts as a V7) finally resolving, again, to the I (E). As a bonus you get that lovely chromatic movement of the 3rd of the II, the 7th of the V and the 3rd of the I (in this case A#, A, G#). Note also the quick modualtion to A/F#m that the E7 in bar 27 introduces which is then used as a pivot to get back to E as described above. In the end, from what I've read, Tony and Mike (the composers) very much had the attitude (that I wholeheartedly agree with) that if it sounds right it IS right and they weren't overly bothered about 'traditional' music harmony theory (we can leave that to Doug Helvering 😂). One of many reasons why I love Genesis music 😉 Hope that all makes sense… 😀
@@ElektrikHob Thanks for taking the time to reply! Absolutely love that you're working this hard for the Genesis fans. Thank you so, so much! Edit: Also just noticed I apparently think F# is the V chord of C# and not B. *face palm*
Do you mean just the vocals that I used on this track but without any piano etc.? Yeah, of course. Email me (elektrikhob at gmail dot com) and we'll sort something out.
As a result of a recent conversation (which seems to have disappeared...!) that I've had with @claudiocardoneOK about this transcription, I've modified the Instrumental section slightly. Instead of it being in 4/4 (as in this video), I've changed it to 2/4 to better reflect the chord changes and the sense of a strong '1 & 2 &' pulse. I hope he reads this and accepts it as a good compromise (he was quite brusque in his manner unfortunately and I took it somewhat personally).
He strongly suggested that I change all the 32nd notes in the arpeggios to 16th notes and change the tempo marking to crotchet (quarter note) = 150 rather than quaver (eighth note) = 150 as it is here. I've seen this sort of thing done in many classical scores, usually with (instead of an absolute tempo marking) something like 'quaver symbol = crotchet symbol' meaning 'the tempo that quavers were played at before the change is the same tempo that crotchets are now to be played at'. ie. everything is played at twice the previous speed.
But I feel that, although perfectly correct, it doesn't make it as obvious that the Instrumental arpeggios are played at (slightly faster than) twice the speed of the Chorus arpeggios. Hence why I've gone with keeping the note values as they were but making the 2/4 alteration instead.
The new PDF is in the usual online area.
The day is here, the full version of Ripples. Simply awesome😍
Thanks Tari 😊
This sounds incredible. Thank you! I've been listening Genesis for some years now and my piano skills have been improving and my ear training too, and these months i've been able to play the piano part on my own. But i remember when i first started, when i found your video of the Middle part, that was so so helpful.
Absolutely Brill👍👍🏴 I’ve played this for years on the piano and this just fills ALL the gaps 😃👍 Yet another masterpiece transcription. Thank you 😊
@Elektrik Hob Ooh, Doug Helvering is gonna love this! Very nice...very, very nice!!
Maybe he'll credit me if he uses my score without me having to nudge him a bit... 😂
@@ElektrikHob Wink, wink, nudge, nudge, say no more...hmmm! ;-)
@@minty_Joe A nod's as good as a wink to a blind bat... 😉
Thanks for posting. I've been trying to work out Steve's part for years so this will be really helpful. Just need to learn how to read music now. 😁
Thank you so much, a timeless classic and an all time favourite. A daunting challenge to learn, but at an approachable goal now with the help of your wonderful transcript
Excellent
Lovely. First Genesis album I was turned onto.
You are amazing Mr Hob. Thank you
Awww, shucks 😊
excellent!
joy and tears!
... are like sunshine & beers 🍻😂
Thanks, exellent!!!
Bellissimo,magico..grazie per la composizione, cosi' posso suonare con la mia 12string con riverbero e corhus..e' fantastico..grazie ancora
Prego 🙂
You’re a genius for this.
Dunno as I'd go that far, but thanks 🙂 Tony's the real bona fide Genius with a capital G! (and Mike's not bad either) 😂
@@ElektrikHob Tony is one of the most underrated songwriters probably ever. Thanks for uploading this
So so good!!
Wonderful, as ever, and all the more so in that you make me appreciate Tony's arrangement despite this being, probably, my least favourite track on TOTT (too many major 7ths/9ths - Rutherford again, I suspect, pre-echoing Own Special Way and Snowbound). You really should do Volcano!
By the way - not a criticism, as such - but I'm hearing some inconsistencies in tempo. Is this rallentandos by the band, or just you trying to match computer and human timing?
The timing pretty much matches the original track; done that way so that I didn't have to move the vocal around.
Ironically, I actually tightened up the timing a little on the instrumental section as there were a couple of instances of speeding up... 😉
So confused at the dominant chords that don't go to the "I" like the B7 and later F#7 before the chorus that both go to A instead of an E or a C#. It sounds great though, and that's all that matters in the end, I guess.
Although they often do (especially in classical and jazz), Dominant 7th chords don’t actually have to go to the I. They’re really there to direct your ear as to what key you’re currently in.
So, for the B7 in bar 23 at the end of the verse, although your ear is being reminded that you’re in the key of E, the next chord doesn’t have to actually be the I. What happens is that more tension is built up in bars 24 & 25 with the IV & V/IV chords until, finally, the I is resolved to in bar 26.
The F# chord in bar 29 that goes either back to the Chorus or on to the Chorus End is actually an example of a Secondary Dominant, so still fits in with familiar music theory.
Normally the ii chord would be a minor chord (in this case F#m as it is in bar 28), but making it a II (major) chord is a very common practice as it fools the listener into thinking that a modulation is about to take place to the V key (in this case to B), only to then reset back to normal by having a V7 chord instead (in this case, delayed a bar until bar 25/31/35; V/IV counts as a V7) finally resolving, again, to the I (E).
As a bonus you get that lovely chromatic movement of the 3rd of the II, the 7th of the V and the 3rd of the I (in this case A#, A, G#).
Note also the quick modualtion to A/F#m that the E7 in bar 27 introduces which is then used as a pivot to get back to E as described above.
In the end, from what I've read, Tony and Mike (the composers) very much had the attitude (that I wholeheartedly agree with) that if it sounds right it IS right and they weren't overly bothered about 'traditional' music harmony theory (we can leave that to Doug Helvering 😂).
One of many reasons why I love Genesis music 😉
Hope that all makes sense… 😀
@@ElektrikHob Thanks for taking the time to reply! Absolutely love that you're working this hard for the Genesis fans. Thank you so, so much!
Edit: Also just noticed I apparently think F# is the V chord of C# and not B. *face palm*
@@dominolexington9435 No problem 👍🙂
Excelente!
Hi Eric...any chance of getting vocals if I buy a bunch of coffees?...thanks man...great work
Do you mean just the vocals that I used on this track but without any piano etc.?
Yeah, of course. Email me (elektrikhob at gmail dot com) and we'll sort something out.
@@ElektrikHob thanks Eric will do
Thanks 😍
4:04 - 4:39
Amazing…
Excelente.
🤩
♥♥♥♥♥♥♥♥