Genesis - One For The Vine - Piano Sheet Music + PDF
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- čas přidán 20. 11. 2017
- PDF can be found at www.buymeacoffee.com/ElektrikHob
Some useful gumpf; click on SHOW MORE (just below).
NOTE: LH = Left Hand; RH = Right Hand.
Also, any bar numbers mentioned in these notes refer to the PDF and NOT the video! (which is partly why I've put all this in the PDF too)
They're different beacause Sibelius insists on keeping bars with repeat marks next to each other (e.g. bars 41 & 42 ) on the same page when exporting to video; somewhat annoying!
The first thing to note is that that's pretty much all there is to the score - notes! :)
I've not put any tempo markings, dynamics, pedal instructions or even arpeggio lines, although I do give the chords.
OK, there are some accent marks from bar 125 for a bit, but apart from that… nada!
This is simply because I think it just looks too messy with all that stuff in.
All the above ARE there (but hidden) in my Sibelius file which is why the playback sounds fairly natural and reasonably close to how it sounds when I play it live.
Add pedal sustain, dynamics & tempo changes in whatever way feels natural to you.
This one is fairly similar to my Mad Man Moon vid in that it's how I play the piece on piano.
Consequently, it consists mostly of Tony's playing, both from the studio track and the 1980-era live version, plus bits of Phil's vocal line thrown in for good measure.
As an example, I've given different flavours to the early verses compared to the last verse.
During the second part of the verse, the former has a generic 'vocal' line on top of the chords, whereas the latter has a reasonable facsimile of the actual line that Phil sings.
In both cases I've managed to interleave the top notes of Tony's piano part during those bits. It does make it a bit tricky to play, but I feel it's worth the effort.
The last verse is really just done this way here to give an idea of how you can incorporate the vocal line into the piano part; something I don't always do myself when playing…
In fact, in general, I wouldn't recommend trying to play EXACTLY what I've written as I don't even do that!!
I vary it a bit depending on how I feel; sometimes adding more rhythmical devices, sometimes playing the whole thing more softly etc.
e.g. in bars 95-106 & 114-119, I'll often (though not always) play the LH as continuous eighth-note octaves with varying velocities (loudness) rather than holding down the pinky and thumbing the quavers as I've written it.
Also worth noting is that there may be some bits that are a struggle for those with smaller hands. I'll flag those and offer possible alternatives in the bar-by-bar breakdown that follows. Here's an example straight off:
Bar 35: First RH chord; If you can't stretch the 3 notes, then I recommend arpeggiating the chord rapidly upwards. You could miss out the A and perhaps play a Middle C instead but I feel the A is an important part of the chord, so probably best to try to keep it in.
The rest of the bar-by-bar details are in a comment.
It's scored and played back using Sibelius 7.5 with Pianoteq 6 Grotrian grand piano - my 'go to' plug-in for all things pianistic from now on! :) - Hudba
Some more tips (again, bar numbers refer to the PDF and NOT the video):
Bars 44-45: This is how I incorporate Tony's synth run into the piano chords. I like it; hope you do too :)
It's tricky to play and, indeed, I sometimes play the LH F octave in Bar 45 an octave higher to make it slightly simpler!
Bar 52: This was a tricky one to transcribe! It's a bit of a compromise really as the original has a melodic arpeggiated bass line by Mike on the first 5 LH notes, but, played on the piano, for me, it just didn't sit right. There are definitely low Eb's being played by something throughout those first two chords on the studio version, so this is what I play. I think it sounds plenty good enough :)
Bars 55-60: Live, these are played completely differently by the band to the album version! So, I play something that has a flavour of both versions.
Same goes for Bars 70-79:
Bars 88-94: Hmmm… How exactly are you meant to play THAT on just the piano…??! :)
I've actually taken what Tony played live, added a bit of bass oomph in the middle of each bar and shaken it about a bit! It's the best I can do I'm afraid :)
To be honest, I only play the repeat bars once, sometimes twice, as I just want to give the audience (if I have one, lol) a hint of that rather 'non-piano' bit.
Bars 95-106: Although similar in some ways to the above, they're a lot easier to make sound OK for solo piano!
Bar 99: On the studio version, the third chord actually has an F# rather than a G#, but I prefer the G# for continuity.
Bars 109-112: I play the LH this way to simulate the quarter-note rhythm that Phil's playing on the kick & snare.
Bars 114-119: RH; If the full octave chords and subsequent octave notes are a bit of a handful(!), you could drop the bottom notes out.
Bars 137-139: Hope you like what I've done :)
Bars 162-174: As mentioned, I've given an example of how I try to incorporate the vocal line with the piano part rather like I did in the choruses of Mad Man Moon.
Feel free to try doing things in this style with the other verses perhaps…
Bars 181-201: Never easy trying to make Steve's guitar 'sing' on a piano - trying to make the guitar solo on Firth of Fifth sound good on just piano is a nightmare!! which is the only reason I haven't released a full transcription of that illustrious piece to CZcams. Maybe one day…
Bars 195-197: Strictly speaking the Ab/Bb chords are actually Fm7 (played on organ) i.e. they should also have an F in the RH chord, but, with the extra note, it's all a bit too much really!
Anyway, I've done me best with this section guv'nor :)
Finally, I love bars 207 to 209. I do not love bars 210 to 213. I'll say no more…
One For The Vine is Tony’s masterpiece, even more than Firth of Fifth. The story/lyrics in and of itself, takes you to another world. My favorite Genesis sing with Firth a really close Second(s) Out.
Listening to this reminds me once again what a superb songwriter Tony Banks is.
Utter excellence
Love ❤️ 😍 his songs
This whole composition is a love letter to Romantic piano composers. None of these are exact quotes, but you cannot unhear the similarities once you hear them.
0:00 - The main riff echoes Chopin's Scherzo #2 and similarly repeats throughout the whole piece.
3:06 - Chopin again, from Ballad #1, the fragment at 6:56 here: czcams.com/video/3QH8MstNkKg/video.html
4:42 - As pointed out by Howard Boder: czcams.com/video/_V4ZKlIFPng/video.html this section uses the same technique as Debussy's Images #3.
6:40 - This melody reminds of the main theme of Rachmaninov's (one of Tony's favorite composers) 3rd concerto.
I’d loved to have been in the room when Tony played this for Phil, Mike, snd Steve, and them going, “now what do we do?” Also, forgot to say the synth run on “Follow me” was perfect. Now, i wish i had the talent to play OFTV. Maybe if I’m lucky to have a Bill Murray GroundHog day that lasts 10,000 years, might have a shot.
What an awesome video. It’s like listening this song for the first time and enjoying it all over again
I can't find the right words to THANK YOU for all of this hard work you are sharing with us!!l This tune was always a constant on my mind for many years, you are making my dream possible with this score to play it.
You are THE MAN!!! Thank you thank you thank you so much!!!!
This is really good. I transcribed it back in the late 70s when it first came out, wearing out my vinyl copy with constant resetting of the needle whilst scribbling on manuscript paper! I'm pleased to see this is about 97% the same as what I ended up with. But neater!
Yeah, I remember first transcribing this (along with around 40 other Genesis tracks) as dots on manuscript paper back in the mid-late 70s, using a mono cassette player!
I actually never put stems on the dots as I would remember how long each note lasted; I just needed to remind myself of the pitch :)
I reckon I've only had to upgrade my original effort by around the same amount too to get it to where it is today.
This is great! I used to play this as a teenager on my parents’ baby grand and I had forgotten what a lovely song it is. Thanks for sharing!
Masterful transcription. Thanks for working in dynamics and tempo changes -- too many people dial these things into Finale or Sibelius and then upload them, and they're unpleasant to listen to because the piano is banging away at full velocity.
Fantastic work. Stunning! Big thanks from a piano teacher and Genesis fan.
Thanks for posting! Singing along and finally reading the complex harmony underneath. I can now count my way through the 7/4 and 4/4 sections. Again, thank you.
What a treat. Very helpful indeed for learning. Thank you.
Nice to hear the beauty in this "stripped-down" take; great work!
Finally I have found what I have been looking for!!!! So good!
Such an incredible song 😅 great to see a piano reduction of the whole thing 🎹
Amazing!! This is better than my interpretation in many parts! Great job here with what I consider Tony's best post Gabriel composition!!!
Absolutely brilliant! Thanks for sharing!
Thank you as always Mr. Hob!!!
Beautiful rendition for a beautiful song! Thanks for sharing :)
Outstanding work! Love it!
excellent job. congrats and thank you!
Well done again Sir, one of my favourites to play and you just filled all the gaps for me, great job! Can't wait for you to someday release the Firth of Fifth section after the piano into!
Thank you :)
As I alluded to in my comment, I have actually already fully transcribed Firth of Fifth, but am still not happy with the guitar solo section.
Not sure quite how the whole thing will end up yet, but I may use some of Massimo Bucci's style as seen in his exceptionally good performance: czcams.com/video/EDJ2GSthOfg/video.html
The key thing is that, unlike Moon and to some extent Vine, Firth is, on the whole, NOT a piano piece (apart from the intro obviously and the piano/flute instrumental section).
I'll see what I can come up with… :)
I came up with something and it's available at - czcams.com/video/tVzaX-jsttc/video.html
Well done!
Beautiful!
Thank you ❤️
This is outstanding. Thank you!
I'd love to have this on Spotify.
Someone just sent me a link for your transcriptions. This is great. Thank you so much for doing this work.
Your channel is a treasure! Very glad i found it!
Tony Banks what a treasure
My God where have you been all this time????
Looking forward to learn this and all the other on guitar.
Thank you very much!
Excellent work !
Really good work
Great job, really
ty Thanks for sharing!
you nailed it!
Does our world still have rock bands with keyboardist/composers that know how to compose at this level? In the 70s, there were around a dozen bands this progressive although some were obscure, like Gentile Giant. ELP could fuse rock, jazz and classical particularly well. Yes had Rick Wakeman.
Eddie Jobson of Frank Zappa and UK was at this level. Patric Moraz' first solo album, Story of I, was at this level. Mid-70s in general hit an amazing plateau with progressive or sophisticated music.
Check out all the time changes, yet it feels cohesive.
Prog rock is a unique result of over 500 years of British tradition. It will never be replicated again. American culture is not conducive to this kind of emotionally vulnerable, romantic, and ornate music.
@@Aquatarkus96 Prog Rock is italian
There's Ayreon, which creates epic and complex progmetal operas. Different, but just as great. Then there's Norse prog rock, from bands like Gazpacho and Agents of Mercy. The last one has a bit of a Genesis sound. But yeah, they're hard to find these days and most of the time the band members are older people.
@@YMeDoyElLujazo Why were all the foundational members from the UK then?
Thanks!!🥇
thanks
THANK YOU - had almost all by ear, but could not get past the "NO NO NO!!" part haha- the instrumentation and speed of that part on recording was screwing me up more than usual. That 12 string chorusy sound in there fogs up the meadow...as it should!
I think it works very good playing Rutherford s bass part, played by RH. First looking at your score l was not sure that it will work but it did. Congratulations!! You always take good decitions to do the definitive arrangement.
Thank you, although I'm not sure which bit you're refering to for 'Rutherford's bass part played by RH'...
I mean the 7/8 l think is page num 9 of PDF where a bass instrument tales the melody. May be Tony Banks sintetizer, l thought first it was like a fretless bass part of MIKE, but probably is TONY keyboard
@@gustavoberenyi8695 I think it's a combination of Tony playing a synth and Steve playing low overdriven guitar.
When they played it live in '77 it was just Steve playing guitar but in '81 Tony played the line along with Daryl on guitar.
@@ElektrikHob Thanks again for the information. Im listening Genesis in this quarantine like never before, but still l have a lot of material to listen and see. I enjoy much watching new material that l have not seen before. Also watching Steve Hacket shows, Genetics or just relistening all Genesis songs again 👍
excellent, one more time...
Awesome
Wonderful work, Hob!, thank you ~ a true labour of love, I'm sure. Works of the quality of Mr. Banks' inspire that level of passionate adoration; they certainly do in me, and so, appreciative of your thorough and meticulous scoring, I attempted to send you the money, but was declined, by both of the payment options. Maybe because I, and my currency, are foreign? Please reach out to me, I'd love to figure something out and partake of your offer! 😁🎹🎧🎵🎶 Sincerely -Woody
Does anyone know if there are drum transcriptions available for Genesis songs?
Count Count would be pleased. As am I!
👏👏👏
👌
Hi, is it possible that in the chord of bar 189 there is a clash between two bass notes? In here Gb sounds accurate, but in Genesis's recording i also hear a B. What do you think?
Nevermind, mike's bass is indeed playing a Gb, but the organ chord messed with my head hahaha
how to play Cb#4 ???
As written in the score; and it's Cb(#4) which means "Cb major triad with an added sharpened 4th".
ie.for this particular inversion in this piece (bottom note upwards) Gb, Cb, Eb & F. Cb is the root, Eb is the 3rd, Gb is the 5th and F is the #4 ( a normal 4th would be Fb in the scale of Cb major).
Perhaps it would be easier for you to think of the chord as a B(#4).
ie. the notes (again, starting from the bottom) would be F#, B, D# & E# (a normal 4th would be E in the scale of B major).
Wow. I learned something good ando new today! Thanks😊
Like
I have wasted my life !
.... never learned to play an instrument....
Your life is still ahead, it's never too late to start
rat hay
Splendid! Thank you so much for this musical food for the spirit!