Genesis - The Lady Lies - Piano Sheet Music + PDF, MIDI file & MP3
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- Опубліковано 31 січ 2022
- A sheet music transcription of The Lady Lies by Genesis from And Then There Were Three.
PDFs etc. can be obtained thru www.buymeacoffee.com/ElektrikHob or the usual
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Had a few requests for this one and it seemed like it’d be fun (it was) so…
It's scored, as usual, with Sibelius 7.5
The piano audio was created in Presonus Studio One v4.5 using Modartt’s Pianoteq 7 Steingraeber Grand piano with the usual sort of processing.
Phil’s vocals come from the centre channel of the 5.1 DVD mixes except “So glad…” which I managed to isolate reasonably well from the rear channels.
Performance notes (also in the PDF).
Fairly liberal sustain pedal usage needed except the solo which can just about be performed without any pedal at all.
Unless otherwise noted:
The right hand (RH) is what Tony plays on various instruments (organ, piano, synth) either on the studio version (SV) or the 1980 Duke Tour live version (LV) except for the last 8 bars of the solo (bars 53-60) which are a combination of solo and left hand (LH) chords.
I’ll indicate which version I’ve used in the section breakdowns below.
The LH is based on Mike’s LV bass playing with a few added notes on the backbeats of any bars that I felt needed them (to simulate the pulse of the snare drum).
Intro.
RH is from the SV. LH is something I made up (based on the organ chords and root bass notes) that seems to work Ok :)
Verse.
RH is from the SV. The LV differs only in that the small-note arpeggios aren’t played at all, the Gm chords in bars 6 and 10 are Bb chords and, likewise, the Gm chords in bars 13 & 14 are all also Bb, so you can play those Bb chords if you prefer.
The LH root bass notes in bars 13 & 14 are from the LV and are the opposite way round to the SV (ie. C is G and G is C).
I prefer (as, it seems, did the band) the LV sequence so that’s what I’ve scored :)
Chorus.
Bar 24 is based on the LV with that rather cool note movement of Bb,Ab,F in the first 3 chords.
Link.
It is what it is :)
Solo.
The RH is from the SV. The LV is the same except for the 2nd triplet in bar 34 which is D,C,D instead.
The bracketed note in bar 55 (which is part of the rather cool passing notes used in this chord sequence) can be played but it sounds a bit odd because of the melody/chords jumping an octave in the next bar; up to you really.
Bars 61-64 (“So glad…”) are from the LV obviously.
The LH is a combination of Mike’s LH and the chords that I think are played by Daryl (guitar) on the LV (Tony doesn’t play any chords until bars 53-60).
On the LV these chords sound to me to be pretty much as written; Cm7,Fm7,Cm7,F7.
On the SV, they’re not so clear cut… As mentioned, I have the 5.1 mix of the song and these chords are primarily in the left surround (rear) channel and are possibly played on synth (Polymoog?) and also guitar. The odd thing is that the Cm7 chords sometimes seem to also have an F note in them…!
It’s difficult to be certain about this and I’m sure it really doesn’t matter in the grand scheme of things but I thought I’d mention it.
So, as an alternative to the Cm7 chords (from the bottom upwards: C,Eb,G,Bb), I sometimes play an Eb,F,G,Bb cluster chord instead as it actually sounds pretty good :)
The acciaccaturas (grace notes) are there to try to simulate Tony’s synth LH pitch-bend and I guess are optional (either sometimes or totally) if you like.
Coda.
This is based on what Tony played on the LV though it’s shortened somewhat. The video fades out (like the SV) but the score ends the way the band ended it on the LV.
Have fun! :)
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!
Thank you so much for this. Really appreciate the fact that most of the right hand is what he plays on the organ.
Always brightens my day to see an upload from your channel :)
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.
And this one as well! Fantastic job.
Great job! So enjoy the keys on this track...
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.