Genesis - Ripples - Piano Sheet Music + PDF, MIDI file & MP3
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- Опубліковано 29 лип 2021
- A sheet music transcription of Ripples by Genesis from Trick of the Tail.
PDF 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, not surprisingly, with Sibelius 7.5
The piano audio was created in Presonus Studio One v4.5 using Modartt’s Pianoteq 7 Steingraeber Grand piano and processed thru Valhalla’s Vintage Verb and EQ’ed with a fair amount of bass added to give the bottom piano notes an almost Moog Taurus bass-pedals feel (like there is on the original).
The mono-synth line is Presonus’s Mojito thru more Valhalla processors.
Phil’s vocals come from the centre channel of the 5.1 DVD mixes.
The verse is only on the centre channel so it didn’t need much work.
Unfortunately the chorus vocal is mainly on the main L+R stereo track along with all the instruments so it wasn’t available for use. The centre channel did have a processed version on it which is what I’ve ended up using but it needed a fair amount of messing around with to get it to sound half-decent as the drums reverb was ‘bleeding’ on to it a bit. Hopefully what I’ve done sounds Ok… 😉
It's based on the studio version although I've also used one bit from the 1980 live versions that I have (bar 28).
The speed I usually play it at is slightly slower than this video (which is pretty much the same speed as the original) but nowhere near as slow as those live versions which, to me at least, seem positively glacial! 😂
I've included the synth line in the audio even though when I play Ripples as a solo piano piece, I just play the piano part. This is simply to make the video sound a little more interesting.
When Genesis did it live Tony would play the bass octaves until the synth came in at bar 49 and then he would play the synth line with his left hand while continuing the right hand arpeggios.
He'd then switch back to both hands on the piano for bars 58 onward.
If you want the dots for the synth line, then they’re available in the “Ripples Mid.pdf” file in the same “Ripples” folder as the full score.
Performance notes:
Verse:
The first 8 bars are pretty much a copy of the 12-string guitar(s).
The right hand (RH) of the rest of the verse is very much based on Tony’s studio piano part whilst the left hand (LH) is my version of what the 12-strings are doing behind it but done in a pianistic manner.
Bars 11-14 & 22-23: the bracketed LH bass notes are optional as playing them means some very accurate jumping around with your LH - especially bars 22 & 23! But it definitely sounds fuller if they’re there… 😊
Chorus:
The bracketed notes are there for the second chorus (which is also a double chorus); you play them as semiquavers (so the bass octave before each one becomes a dotted quaver instead of a crotchet).
Bar 28 is how Tony played it live and I personally feel it's more interesting than the studio version.
Chorus 1 & 2 End.
The LH of bars 32-33 & 36-38 is my version of the background 12-string guitar. It’s not identical by any means but is something that I’ve been playing since I first worked this song out WAY back when (around 1977!) and, to my ears, it fits nicely with Tony’s RH piano 🙂
How you transition from Chorus 2 End to the Instrumental section is entirely up to you, but it’s scored (even though the video sounds different) as I often do it though I sometimes play the notes from the LH of bar 38 with my RH for the first time thru bar 39 instead of the arpeggios.
Instrumental & Instr End:
Not much to say here; just play it as written though note that the LH of bars 40-50 are played an octave lower than they appear (8vb) and remember to play the whole Instrumental section twice!
End Chorus:
These are template chords & bass line only; how you play those repeat choruses is entirely up to you!
I can't actually think of another Genesis song that has a chorus fade out with piano chords like this that lends itself so readily to being mucked around with! 😃
Both live and in the studio, on each repeat, Tony varies which octave some of the chords are played though most are as written.
He also adds some rhythmical variation to the RH occasionally (in a similar manner to the LH rhythmical thang in the 2nd chorus).
When I play it, I do all of the above and I add the left hand rhythmical stuff (with variations) too.
Treat yourself and go wild! It's VERY rare that Tony's parts allow such improvisatory excess!! 😂
Outro:
Rather than fading out, I’ve based it on how Genesis played it live (but with my LH pseudo 12-string as earlier).
Have fun! 👍
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... 😉
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
Just started to try to learn this song using some guitar tabs. This is amazing as always! I like how dynamic the LH is. Will definitely be a fun one to learn. Thanks so much. Checking out the PDF notes too!
Yeah, I like the left hand too; It hints at Mike's 12-string harmonies but has a very Debussyesque flow to it 🙂
Lovely. First Genesis album I was turned onto.
So so good!!
You are amazing Mr Hob. Thank you
Awww, shucks 😊
Excellent
excellent!
joy and tears!
... are like sunshine & beers 🍻😂
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
Thanks 😍
Bellissimo,magico..grazie per la composizione, cosi' posso suonare con la mia 12string con riverbero e corhus..e' fantastico..grazie ancora
Prego 🙂
Excelente!
Amazing…
4:04 - 4:39
Excelente.
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 👍🙂
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
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