Genesis - In The Cage (solo) - Sheet Music + PDF, MIDI file & MP3
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- Опубліковано 4 сер 2021
- A sheet music transcription of the In The Cage solo by Genesis from the Lamb.
* * * 31/08/22 also an extra PDF with all the keyboard parts * * *
PDFs etc. can be obtained thru www.buymeacoffee.com/ElektrikHob or the usual
DropBox link if you've already donated. Please click on SHOW MORE (just below) for more info.
It's scored, as usual, with Sibelius 7.5
The audio was created, again as usual, in Presonus Studio One v4.5.
Synth: u-he Diva; used for simplicity and sounding more like the live versions from 1978 onwards when Tony stopped using the ARP Pro Solist.
Organ: GSi VB3 with 00 4666 446 registration; very similar to the studio original sound.
The snipets of original audio (first 2 bars and the quiet(ish) bit in the middle) are from the rear (surround) channels of the 5.1 DVD mixes. They’re only used to give context to the keyboard parts and are consequently not used for the majority of the solo.
So, this is somewhat different to my usual videos and I’m aiming to do another couple of Tony’s Genesis keyboard solos in a similar vein…
It just didn’t seem to make sense to do the rest of the instrumentation (like I did for the Cinema Show solo etc.) as it’s rather time consuming and, after all, the main point of these videos is to provide an accurate score for you all to use.
I also didn’t like the idea of having the original Genesis studio track playing quietly in the background (like I did for Slippermen) as that would also have required a fair amount of syncing up although I have kept (to a fair degree) the various tempo changes in the original.
The right-hand synth lead part is what Tony plays; easy enough to work out as it’s monophonic and the synth sound is very clear 👍
The left-hand organ chords, as with all sustained organ chords that Tony nearly always used on his solos in the seventies, are slightly trickier…
Not so much what the actual notes are (and hence the chord ‘name’), but which inversion is being used.
A quick discussion about chord inversions in case you’re not so familiar with them.
Take, for example, a C major chord which contains the notes C, E & G.
When played with one hand these are almost invariably played together in what’s called ‘close voicing’; i.e. the notes don’t have ‘gaps’ between them, so for a C chord you wouldn’t play (going from lowest note to highest note) C, G & E as there would be a ‘missing’ E between the C & G and a ‘missing’ C between G & E. i.e. there would be ‘gaps’. Plus it would be too much of a stretch for most people!
But, because there are 3 different notes in this chord, each of them could be the bottom note.
So you can have 3 different close voicing inversions (again, going from low to high):
C, E, G ‘root position’ (cos the ‘root’ note is at the bottom)
E, G, C ‘1st inversion’
G, C, E ‘2nd inversion’
(there are 3 because ’root position’ counts as an inversion).
If you had a 4 note chord like Fm7 (F minor 7th which has F, Ab, C & Eb) then you could have 4 posiible closed voice inversions (called root, 1st, 2nd and 3rd).
With a piano, working out any sort of inversions is fairly easy because a piano has a pretty fixed sound so it’s relatively easy to hear which note of a chord is at the bottom etc.
But with organ sounds, it’s not quite as straightforward…
To start off, you really need to use a fairly similar organ registration when simulating a Hammond tonewheel organ like Tony would use; i.e. you have the 9 drawbars pulled out as close to his original settings as you can.
Just figuring out these drawbar settings is itself fairly difficult and takes a pretty good ear and a fair amount of practice/experience…!
But, once that’s done it then becomes somewhat easier to figure out what inversions are being used!
If you don’t use a similar organ sound it really is much more difficult; trust me! 😂
Which is why I’ve given the registration I used with my VB3 ‘Hammond organ’ VST at the top of this info.
The upshot is that I’m 99% certain that the chords (and their inversions) that I’ve scored are correct…
Note that the organ part is meant to be played an octave lower than written (hence the (8) below the treble clef) though where exactly 'middle C' is on an organ keyboard is anybody's guess 😂
If you use the above drawbar registration, I have no doubt that you'll be able to figure out exactly where to play it on your keyboard 😉
Nothing else to add except that bar 15 is scored enharmonically simply because using the more correct F♭ and B𝄫 (double-flat) notes and chords just seemed like WAY too much aggro! 😂
The E𝄫 note that I use in the Fdim7 chords is about as far as I felt was necessary to stick to ‘proper’ (for the key) note name/scoring although the eagle-eyed (you know who you are SG 😉) amongst you will also have noticed that I score it as a D for the right hand; just to mix it up a bit… 😂
Enjoy! 😊👍
* * * I've added (to the appropriate Dropbox folder) a PDF with all of the 'In the Cage' keyboard parts especially TB's typically creative verse playing 😊 * * *
Please read the SHOW MORE info above to discover why this video is a little different to my usual ones... 😉
Brilliant as always, mate! :D Here's a good one to try and do: "Heathaze (with added Mellotron)". Trying to get a hold of the original person who did this is impossible. I even asked if he could send me just the Mellotron track, so I could make my own HQ version.
@@minty_Joe I guess I could possibly do my own version (with my own added Mellotron & Taurus pedals) in a similar manner but using either the 1994 CD version or possibly better still, parts of the 5.1 DVD audio...
It certainly does sound epic with those added sounds 🙂
It's also a track that I was thinking at some point I might transcribe...
@@ElektrikHob It sounded like they were using either a real MK II Mellotron or a digital sample of one. Not sure which sound (brass, strings, etc.) it was set to.
@@minty_Joe ... or possibly M-Tron Pro (like I used for my Watcher... intro). Plus a Moog Taurus bass pedal patch which, for example, u-he Diva can do REALLY well. I could also hear areas that might benefit from (my personal favourite TB mellotron sound) the 8-voice choir from Silent Sorrow... or Entangled... 😉
@@ElektrikHob Yes, very very nice!
Super nice ! Many thanks for sharing. One of the greatest solo of Tony Banks !
I was waiting for this one, awesome job, one of my all time favourites from banks
Thank you for making these available - much appreciated! 🤙🏻
This is great👌
Fantastic talent, great scores. Request Tigemoth by Steve Hackett.
Good job
This is truly awesome!!! I just found this and I'm in the process of learning this song. My one discrepancy with this transcription is the Abm chord in bar 16 and 18. I think there's a Bb note in between (Ab-Bb-Cb-Eb). Maybe my ears are been tricked by the lead Prosoloist that plays that Bb note at the beginning of these bars. But I think adding that Bb to the organ sounds better.
Thanks! 😊Had a quick listen to a dozen or so versions that I have (I've 30 in total...!) and I'm pretty certain there's no Bb in the Abm chords in bars 16 & 18 but if you feel like playing one that's perfectly OK 🙂
However, I did notice that in the 80's live versions onwards, Tony also plays an Eb on top of the Fm chord in bar 23 (making an Fm7 chord).
@@ElektrikHob Maybe my ears are being influenced by that Bb played by the synth. Also, in bar 21, the Ebm6 chord is usually played like a Abm triad in other videos (Eb-Ab-C). Are you 100% sure about the Ebm6 chord? For instance, check this video ua-cam.com/video/j0NTDYmsUu8/v-deo.html
@@Guatis2112 I hope you're aware that that video is a cover...
I believe it's played by the keyboard player of 'Garden Wall', an Italian prog band from a few years back.
It certainly isn't the original keyboards played by Tony...!
Some of the sounds and chords aren't quite right and there's a very obvious wrong note at 4:31on that video... 😉
@@ElektrikHob Yes, I'm aware that is a cover and I also noticed the wrong note. But the chord I mentioned is also played in other covers as well. They could all be wrong though ;)
@@ElektrikHob Do you have transcriptions for the rest of song? I'm having trouble decyphering the LH notes on the end of the verses, before the strings kick in. Especially since live Tony does not play them in order to play the strings with the LH.
Nice! I always talk about this solo as the "Eb Exercise" jajaja. There's of course much more going on than just a Eb ionian scale, but that's what it sounds to my ears; in the beginning at least ;)
Happy that you're planning to do more Tony's solos! That's always fun.
I transcribed Down & Out's solo a while back and i think i have it pretty accurate but i suck at making videos so you may just beat me to it (?
Maybe... you can now find out at ua-cam.com/video/Z7Q3yuwwnu8/v-deo.html 😉
Yeah, the LH voicings are not exactly what I played when I covered this in bands, but I'm guessing that yours are more accurate since you put the time into simulating the sound as much as possible (very nice of you to include the drawbar registration!), as well as putting the time into making a transcription video! Tony's lovely Phaser-y organ sounds are nice, but they also serve to make the chords "blurrier" and less defined, and thus, much harder to transcribe than other keyboard instruments.
Nice work!
Thanks 👍 I know what you mean about the phaser/chorus effects he used from the mid-seventies (especially noticeable on Seconds Out).
To be honest, I've always hated that sound 😂 Give me a Leslie (or Neo Instruments Ventilator) any day! 😉
HAHAHA! YES! I DID notice.and here are my takes:
I would have scored 15 (however irritatingly) with flats. By the way, I don't hear Emaj Amaj at those points, but (enharmonically) D♭m7 and G♭m7, which, sequentially too, seems to make more sense.
Classically, of course, I would also have scored the second dotted quavers of 21 & 23 as semiquaver-tied
While I understand the E♭♭ logic in the diminshed chords/arpeggios, I believe it would be quite usual in classical theory to score D natural and B natural.
I hear a full-on A♭ major chord rather than Fm at 38, over the continuo B♭ in the bass (never mind the high one over the top) and have always played it as such, and the D♭ in 39 I play with a B♭ in there too. In the following sequence I beef up the organ chords where you leave them quite plain, eg F7, B♭7, even E♭6. I doubt in a band/performance setting whether anyone would nitpick, but seeing as how I always nitpick perhaps I shouldn't be so sure!
So, given that you've done Robbery, Scree, Apocalypse solos, what's left? I would imagine ...In That Quiet Earth, Gorilla, end of Match of the Day, Mouse's Night (worth doing the whole thing, I'd say), and, omg, how about the opening of Behind The Lines??
Another great job mate. Keep going!
I'm with you on the notation stuff 👍
But I'm afraid your hearing's a bit off 😂 Bear in mind I'm transcribing what Tony actually plays...
I double checked everything with various live versions too not to mention some demo versions from the studio rehearsals... 😉
Bar 15; although Tony used 4 note chords in bar 14, they are definitely only 3 note chords (E and A) in bar 15.
Bars 38 and 39 are definitely as written; Fm and Db.
Makes sense that they're only 3 note chords (and all different) as that's the way Tony rolls when doing this sort of sequence; think Hogweed 🙂
Likewise with the chords in the sequence from bar 41 onwards.
Although I personally might play a Cm for bars 50 and the 2nd half of bar 56 (but not 49), I definitely wouldn't play F7 in bar 41 nor Bb7 in any of the bars where the RH plays Ab notes as it would be over-egging things 😂
Again though, I've written what Tony actually plays as I feel that's the prime purpose of these 'exact' solo videos as opposed to my piano interpretations.
Although, yes, I did change one note in the Robbery... solo video 😱😂
PS. One or two in your list (and some others) are definitely on the horizon... 😉
@@ElektrikHob By the way when I said "Match of the Day" what of course I meant was "Inside and Out"
@@sigil5772 I wondered if that's what you meant... 😄
As I'm sure you've seen, I've now done Quiet Earth (& Down and Out) 👍
Currently doing another W&W classic. I like the idea of doing the I&O ending (great track) and BtL is deffo on the cards! 😎
PS. Hope you weren't offended by my slight roasting above; I've noticed your absence from those above mentioned two recent videos... 😳
@@ElektrikHob EH ol' buddy I'll give you a like if I have no crits! Don't worry, I pay close attention!
Tony used a M102 in his mid years, run through a boss chorus and final mix through a Leslie on slow. I think your drawbar setting pretty closely resembles the settings on his M102.
Thanks 👍 although I think it was a T-102...
As I mentioned in a reply to another comment, I hated the live sound Tony used to use from 1976 onwards with the T-102 (and later the Prophet 10) going through a Boss CE-1 and MXR Phase 100, but I know Tony wasn't that bothered and it was certainly a lot lighter than carrying a Leslie around! 😂 especially as he never used the 'Fast' Leslie mode (even The Knife middle section was L-122 Vibrato not Fast Leslie as some people think).
@@ElektrikHob I agree with you. I prefer the earlier stuff myself. Although Tony moved along with newer technology to stay relevant, old school guys like me prefer the original sound.