Genesis - Cinema Show Solo - Sheet Music + PDF
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- Опубліковано 5 вер 2024
- PDF can be found at www.buymeacoff...
Some useful gumpf; click on SHOW MORE (just below).
This is even more adventurous than the Lamb!
The keyboard transcription part was relatively straightforward, but as you may've noticed, I decided to add all the other parts too… :)
Although this transcription is based on the studio version, as usual I've referenced a few live versions as well, primarily from the 73 & 74 tours.
It's all pretty straightforward until bar 49.
I've scored (and played) the counter-melody even though Tony never played it live as the Pro-Soloist was monophonic.
The same goes for any other instances where there's one melody line (which Tony played live) and a secondary line with smaller note-heads.
Once he got the ARP 2600 for live use and then the Quadra, I believe he'd sometimes do duophonic lines (e.g. bars 76-83 & 126-141), but I'm basing the playing (and the sounds) on his Pro-Solist live performances.
That's the right hand dealt with; now for the left.
On the studio version there are sometimes layered sounds for the RH lead line (which, as I said, I've reduced to one sound a la live) but there are also a few instances where the organ has been layered with a Mellotron Choir or Strings sound.
The parts are based on the organ chords but some of the chord inversions are different for the Mellotron sounds.
How you play the left-hand chords is really down to what keyboard(s) you have available and to personal taste.
Live, I tend to play the string sounds layered together with the organ using a Nord Stage's facility for layers and for fading in/out sounds with a foot pedal - except the majestic choir bit which is just too glorious to layer with anything! :)
Talking of the LH chords, my usual notational rules apply.
i.e. I don't show held notes or chords as it creates far too many tie-lines.
Use your own judgment as to when to hold a note from one chord thru another.
This is even more evident when the same note or chord is played in 2 or more consecutive bars - just hold all the notes on for the duration! :)
Also, chords that last a whole bar (or more) are deliberately written as semibreves as I think it looks far neater :)
Bar 29: up until recently, I've always played the last note as a low E, as my original transcription was based on the vinyl LP from way back when and I was convinced that that's the note that was played :)
But I was wrong! Listening to the remaster and some live versions, it should be, as I've written here, an F#!!
D'oh! Funnily enough though, I STILL prefer the sound of an E…!!
Bars 90 (& 91): Asus4?? Are you sure??!!!
Well, having analysed that bar at various speeds and checked multiple live (73 & 74) versions… Yes, I am! :)
On Seconds Out, Tony plays a straight A major in bars 90-91 and a G major in bars 92-93, which sound OK, but on the studio version (and earlier live versions) there is definitely no C# in that chord but there is, at the very least, a strong hint of a D; hence Asus4 :)
Bars 114 & 117: sorry the counter-melody has got so many ledger-lines, but that seemed the best way to be consistent in my scoring.
Bars 116 & 119: I'm not 100% certain about those B5 chords, but they sound right to me…
On the 1974 live versions that I have, I believe Tony's playing an F# and an A instead of an F# and a B.
Choose whichever you like :)
Bars 142-149: the video (and audio) aren't quite right… oops! the 2nd time thru harmony notes actually occur on every note, not just the first note of each triplet as depicted here. The PDF contains the correct version.
That's it! Have fun! :)
It's scored using Sibelius 7.5 and the programming/audio was done with Presonus Studio One 3 with ProSoloVst, VB3 and, of course, M-Tron Pro for the keyboards and also my usual instrument & processing plugins.
"With Your Own Audio" Can you elaborate? Are you the drummer? Is that an electric 12-string? Can you tell us the keyboards?
You're Phil Collins part is fantastic!!!
I'm a keyboard player and I can play a little bit of real drums, bass & guitar too, though at a pretty basic level and certainly nowhere near what Phil, Mike & Steve can do!! :)
I used the DVD 5.1 version of the track so that I could isolate the Drums (& Bass) in order to work out a reasonably faithful version of what Phil plays on the original.
I programmed all the parts using PreSonus Studio One v3 with the following plugins:
Drums: Toontrack Superior Drummer 2
12 String: MusicLab Real Guitar 4 12-string thru Positive Grid Bias Pro
Bass: NI Kontakt - Scarbee Rickenbacker
Bass Pedals: u-he Diva
Synth: AM Music Tech Pro SoloVst thru Boz Digital Labs Imperial Delay
Organ: GSi VB3
Strings & Choir: GForce M-Tron Pro
EQ: FabFilter ProQ2
Reverb: Valhalla VintageVerb
Limiter: Voxengo Elephant
and finally
Studio One's Console Shaper to give it some 70's analogue mixer flavour :)
@@ElektrikHobBeneath ELP's "Pictures at an exhibition", "The cinema show" on "second's out" was really one of the pieces of music that inspired me to become a keyboarder myself and turned the "boring years of classical piano studying" into something exciting. I am just blown away!!! You have really re-recorded the track? Damm! This sounds like a "restored" or probably "digital remixed" version of the original track! You even catched Phil Collins subtle and dynamic plying and his inimitable groove. What an amazing job you did!! Thank you for sharing this and the highest respect for your programming and recording skills!!
Thanks! :) Funnily enough "Pictures..." was the first prog album I ever bought (when I was 12) due to my music teacher at school playing us 3 versions of it: the Mussorgsky piano original, Ravel's orchestration and ELP's album.
It was the beginning of what made me want to become a keyboard player too! (I'd been having classical piano lessons for around 3 years by then).
Next came Yes and finally (when I was around 14) Genesis. The first 2 albums I bought were "Selling England..." and "Trick...".
That was it!! A keyboardist was definitely what I wanted to do! :)
Cinema Show (especially the solo) has always been in my top 4 favourite Genesis tracks (along with Entangled, Supper's Ready & Firth of Fifth) and this was a real labour of love (and time too!). Programming Phil's part was actually the most fun as it taught me a lot about what makes a great drummer! :)
@@ElektrikHob Ditto for me with all three of the first ELP albums. I was 12 when ELP released the first album. I was mesmerized by the organ and synth. Later, I discovered the Brubeck influence. I'm also old enough to have bought SEBTPw/cinema show right when it was released in 12/73. I was a high school freshman taking music theory and piano lessons. Musical Box is tourng right now doing a great Genesis tribute show. You gotta hear them pull off the Lamb.
@@chicagotouch9319 Yeah, saw them performing the whole of the Lamb a few years ago and it was awesome. Unfortunately their current 'Extravaganza' tour doesn't have any UK dates. Hopefully that will be rectified at some point...
This is one piece of music I've never tired of over the years... and I'm 60 ....
I am 63, and still it bring tears to my eyes....it is a masterpiece
@@fjpoggioli
Yes, there's a soaring exhuberance about it, and complexities that demand paying attention to what is being played.
I'd almost call it a jazz composition.
Yes still amazing their best !
Same here I am 67 , first heard it exactly 50 yrs ago !
Great stuff - thanks for posting. The harmonic work Tony's doing is just incredible, shifting keys and chord lines over the top of a two chord guitar part and Phil's shifting rhythm. The fact Genesis could make such complex music sound so easy is what took them to the top. Yes other bands could do odd times etc. - but not with Genesis' subtlety or taste!
Kinda crazy to look back at how the best parts of "classic" genesis are still just Phil, Mike and Tony
Don’t forget Steve!!
@@marksoftime I love Steve, but I'm pretty sure he doesn't play anything during this section of the song. He and Gabriel would leave the stage when they did it live.
@@evanglicanismyeah if we’re just talking this section but I think he adds something unique to the band otherwise
Don't you hear the rhythmic guitar in this?
@@progisloveprogislife4501 Mike played this part! You might be surprised how much guitar he played in the early days of the band
Amazing transcription!!! Thanks for sharing Electrik Hob!!!
UA-cam presents me your job only today : whay a great work and many thanks for sharing. I worked on this song day after day in 1978, when I was 17, to discover the quintescence of Cinema show, with the help of an old tape that was able to reduce te speed of the key solo, and it wasn't easy. Thanks for the youngest fan generation of Genesis !!
That's the same year that I originally worked it out! using a mono casstte player although unfortunately it didn't have a 'slow' mode! 😂
I’m a huge Tony Banks fan, but a bad sight reader. So the combination of sheet music and perfectly played audio is optimal. Thank you so much! :)
BTW: The chord in bar #10 should be labeled Bm, not B (major).
Thanks. it certainly should be :) Fixed in the PDF.
Peter Gabriel´s Genesis . The best Genesis . This is from the best album : Selling England By The Pound . I own it. Fantastic !!!!!
Endorphins and goosebumps. JOY HOPE and love to all .
This and Firth Of Fifth are my favourite Tony Banks synth solos. What an outstanding job you did recreating it! My favourite part in this favourite solo is the last 2 bars, the transition to Aisle Of Plenty, btw. :))
amazing stuff...feels like christmas morning and finding all kinds of music under the tree........not that i could play anything near as good as you...practice..practice
Une partie du génie de cette merveilleuse année 1973. Pour moi, celle pendant laquelle sont parus les plus beaux albums du "rock". Merci pour ce magnifique partage.
Apparently I love to read music that I can barely read, for an instrument I can't play, and couldn't play that well if I could play it.
You are not alone !
I just recently discovered your work here on UA-cam. I am always awestruck when someone nails one of my favorite Genesis passages. And you knocked this one out of the park! Thank you for this!
I can read music but it slows me down. I play by ear and use scores to tweek what my ear missed. Thanks for posting.
Reason why I don't rely on sheets, slow and confusing. Especially if you have key changes/chromatics with both flats and sharps... what a mess. Plus you're screwed if there are mistakes in the notation which sometimes you're not even sure if it's a mistake. Can't happen with ears...
You are a god among men...thank you...
Thanks so much for this. AND a pdf, wonderful!
In my opinion still their best timeless song, Firth of Fifth close second best
Thanks a lot Elektrik Hob!!!
Oh God! Its Awesome
Thanks and 👏
It’s always a long work even if it seems easy for you !
Write is often the hardest !!!
I had a request thru another of my vids to post the ending to Cinema Show that Tony played live around 1976/77; i.e. the one on Seconds Out.
So here it is in PDF format :) tinyurl.com/yd945gwz I've listened to the Seconds Out version and a few others from 1976 at full speed and slowed to 70%.
Ironically, on the official Seconds Out release, I believe Tony plays a wrong note (gasp!!) at RH note 9 in bar 4; he plays a C# instead of a D.
The other versions I've listened to all had a D there and it makes more sense given the sequence he's playing.
beautiful
Thank you :)
Awesome, great job 🎹
Ta :)
This is seriously great!
Unbelievable how they could write "Invisible touch" just a few years later...
More like 13-14 years later - 1973 vs. 1986/87 = very different environment. MTV generation, etc. Besides, their tastes had changed as well. Nothing wrong with that, but they've said themselves that they didn't just want to keep doing the same thing over and over.
I wish I could sightread that. One day.
You are my hero. Thank you so much!
Hello ! Good job !
Thanks! I liked your playing of Fur Elise and the Yiruma piece :) I play several of his other pieces too; 'Kiss the Rain' etc.
Hope you enjoyed my 'Firth of Fifth Intro' vid too. Maybe we'll see a vid of you perfoming FoF one day... :)
This is cool, thx for the music. I’m a guitarist & was looking for the background to this. It appears the left hand is in 4/4 for quite a bit of this, while the right in 7/8; true? If so, even more respect for Tony Banks.
The left hand is 7/8 as well. As I stated in the notes above:
"Also, chords that last a whole bar (or more) are deliberately written as semibreves as I think it looks far neater :)"
i.e those (what appear to be) whole notes (semibreves) are (in Sibelius) actually half notes (equal to four of the seven eighth notes) but without their tails and the remaining three eighth notes are hidden. What I've done is not strictly classical notation but, as stated, it looks a LOT neater than having tied notes (to add up to a total of 7 eighth notes) in every LH bar with a chord in it.
So just the usual amount of respect for Mr B after all 😂
@@ElektrikHob Ah, I missed the note. Thanks for clarifying. Your transcription very helpful. Cheers!
Super 👍
Thanks
Je garde précieusement (i keep it with care)
Great!!!
This Is astonishing! Could you share que MIDI versión please ? For home use only. Bravo!!
MIDI version available thru my Buy Me a Coffee page 🙂
I Love ya ! thx 1000 times or a lot more
Does anyone know why Tony stopped playing measures 108-119 live? From at least "3 Sides Live" on he started playing a different part there. I'm not a keyboard player, but it seems like that's not a particularly hard bit. It's slower than what came before it. Is it tricky?
It was because the Cinema Show solo section had simply become part of an instrumental section which would start after In The Cage and end with Afterglow.
This meant that, basically, only the two strong melody parts of the solo would be played - bars 41-59 & 126-149. Other snippets were used to link to the strong melody from Scree that was shoehorned in.
So, initially, it was (Three Sides Live) bits of CS - Scree - more CS - Slippermen.
By 1984, In That Quiet Earth had been added before Slippermen and during the Invisible Touch tour it was reduced to ITQE followed by Apocalypse in 9/8 thru to the end of Supper's Ready.
By 1992, it had shrunk to just the Firth of Fifth solo in amongst various other 'Old Medley' songs.
But in 2007 it was back to being between ITC & Afterglow as CS - Scree - more CS - a bit of Dukes Travels.
@@ElektrikHob Oh, I totally did NOT recognize that as being a bit from "Scree" That really is *shoehorned* in, indeed. It's WAY faster than on the Lamb.
I have to say: I just plain don't like it. 🤷♂️😁
I like the rhythm contrast of the original and how the drums sync up on the three eighth notes at the end of the measures. It's the guys' choice, though 🤷♂️
You are awesome! :p
Sounds like it's supposed to be Dm @bar 59 (just like Dm @bar 57). Is that right?
Well spotted!! You're the first to notice that one! 😂 Yes it should be a Dm chord. It's now fixed in the PDF 👍🙂
Very nice that's a lot of good work! Can you tell me the settings you used for the left hand organ chords in VB3 (drawbar settings, percussion, effects, etc.) Thanks!
VB3 Drawbar registration (a number with '+' after it means half-way to the next number. eg. 5+ means 5 and a half): 5+087+57316. No idea why I used such a bizarre looking setting! :)
No percussion or vib/cho. Slow rotary speaker. A little bit of Overdrive but (again, don't know why I did this) NO Reverb! :) Tone set at around 1.30 (think; clock face).
Excellent Hob!!! Nice work! :D Using a VB3 and Arp pro vst?
Yep :) ProSoloVst, VB3 and, of course, M-Tron Pro.
What is the sticking pattern for Phil’s part?
Elastoplast perhaps...?! Oops, sorry, that's sticking plaster... 😂
I'm afraid I really have no idea. I just listened to everything he was hitting and then programmed it! 🙂
Do you have a full score? I want to do this in my band, but I need a guitar, bass and drum part
Sorry but no I don't I'm afraid.
@@ElektrikHob not to worry, thanks for publishing this though its very useful
@@edmiller6688 I have posted a MIDI file that you can get thru my Buy Me a Coffee page though...