Genesis - Eleventh Earl of Mar - Piano Sheet Music + PDF, MIDI file & MP3
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- čas přidán 1. 09. 2021
- A sheet music transcription of Eleventh Earl of Mar by Genesis from Wind & Wuthering.
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.
Had a few requests for this one. Wasn’t sure how well it would turn out as there’s barely any noticeable piano in it; organ and synths are much more prominent.
In fact the only stand-out piano bit are the arpeggios at the end of the Bridge section!
But I’ve given it a go and hopefully it’s turned out Ok… 🙂
Anyway, it's scored, of course, with Sibelius 7.5
In the audio, Phil’s vocals and Steve’s guitar come from the centre channel of the 5.1 DVD mixes although I’ve had to add the short “Eleventh Earl of Mar…” bits myself because they weren’t isolated on the centre channel; they were mixed in with the instruments on the two surround channels.
The “ahh” vocals towards the end are pitch-shifted & cross-faded versions of Phil’s original “ahh” sound at the end of “…features are burning”.
The piano audio was created in Presonus Studio One v4.5 using Modartt’s Pianoteq 7 Steingraeber Grand piano and processed thru FabFilter’s Pro-Q3 and Valhalla’s VintageVerb & Delay.
A quick shout-out for FabFilter and Valhalla; I regularly use their stuff and highly recommend pretty much ANY of their plugins!
And u-he (who I’ve also used before) deserve a big hello too; their Diva, Repro and freebie Triple Cheese synth plugins are superb!
Although I think this transcription works well on a real grand or upright, I’d recommend adding a touch of slightly-modulated delay as well as reverb if you’re using an electronic keyboard or computer plugin; just to give it, as I’ve done here, a little more sense of depth and impact.
As is often the case, liberal use of the sustain pedal is required.
First thing to note is the time signature for nearly all of it (except the 7/4 bars in the Middle).
I’ve simply called it 8/8 (in the PDF - thanks Si 👍 In the video it’s 4/4).
If I were being fussy, I would’ve put:
3+3+2/8 for the end of the Intro and the Verse;
4/4 for the rest of the Intro, Bridge, Middle End & Outro;
3+2+3/8 for the rest of the Middle with the exception of bars 86-87 & 90-91 which would’ve been 3+3+2/8 (and the 7/4 bars obviously).
Actually this is what I did originally, but it looked far too complicated and unnecessary!
These 3,3,2 & 3,2,3 rhythms are pretty essential to the piece and I feel my way of grouping the quavers to indicate such is preferable even without the time-signature emphasising the point.
I reckon that any of you playing this piece, using my score, will know the original so you’ll be aware of the rhythmical emphasis in each bar so don’t need me complicating things.
More performance notes are available in the PDF. - Hudba
Wind and wuthering the best of GENESIS
The whole section from 3:56-5:42 is just gorgeous w/ only Phil's vocal & the piano. I don't know if it's the memories it brought back to my mind of the times I used to listen to this tune as a kid, or the composition itself, or the simple arrangement here, or a combination of all of that, but that section gave me chills. Beautiful.....Cheers!
👍😎🎹
My favourite part of this transcription too 👍
@@ElektrikHob Btw, my brother Henry was the guy you did the Nazz transcription for. 🎹👍
This is so well done. I must have watched it back when you posted it but I'm appreciating now all the additions that are not strictly Banks. You managed to pack in all the key parts with your piano arrangement and just a few overdubs. The choice of Grand Piano for the song is marvelous and it highlights the quality of the composition. If some people want to listen it with synth or mellotronish sounds they can always go back to the original. Once again, thanks for your work.
Thanks a lot! 😊 Must admit I didn't quite know how to respond to the comment about playing it on a Mellotron M4000D but you've expressed my thoughts perfectly! 🤣
Wonderful! I'm always so grateful for the chord notations (for playing organ chords) as i'm oftenly too lazy to read the sheet hehehe.
Great job as always!!! Thanks for including the midi file. Very useful for those like me who are unable to read notation. Thanks a lot!!! 🤩🌟⚡🍺🎹🎶
Buen trabajo e interpretación. La implementación de la voz de Phil Collins es genial
Gracias
So much hard work has gone into transcribing this Mr Hob. Truly incredible!
Thanks 😊 re 'hard work'; you're not wrong there! 😂
I think I am on my tenth listen.....this is definitely the best one you have done so far. I love your background vocals as well.
Another excellent transcription. Thank you so much.
Brilliant transcription, thanks for sharing 👌👌🏴
ZOMG, you've been busy... and my notifications apparently haven't kept up with your work! Another amazing job!
Brilliant! Thanks for another accurate and accessible transcription! I look forward to playing through this.
Que canción más increíble, que armonía tan compleja del sr. Banks
y sr. Rutherford & sr. Hackett… 😉
@@ElektrikHob Was that your voice singing, "Eleventh Earl of Mar, We couldn't get them down that far"?
@@minty_Joe Guilty as charged 😉
@@ElektrikHob Brilliant! Awesome job, as always!
So good! A superb transcription of another Banks masterpiece. Thank you.
this is phenomenal, yes man, amazing job👌
Wow, one of your best so far, EH! I love how you're able to hear the inversions so well, increasing the overall authenticity. I will now have to go back to my copy to hear that Bflat in bar 23, it's going to drive me mad until I can verify!
As usual, I'd have tied some notes rather than dot them, but whatever... some "classical" C20 composers, when they want to dot like this in 4/4, use a sig of 8/8. Kinda works as a simple-compound hybrid, if you assume some triplet phrasing. I also wanted to find fault with the 7/4 time sig in the middle, but frankly I just ended up agreeing with your interpretation.
Fine, fine work, my friend
(Edit - OK, I realise that the slightly dirty edge to the organ sound made me ASSUME those Bflats were B naturals. 43 years later, mind blown. Good call!)
Thanks Si 🙂 This has been one of my favourites to do and it took a while to get everything to sound authentic while still actually being playable! 😂
That 8/8 idea is a good'un 👍 Hadn't thought of that. Have put that in the PDF.
Yeah, that Bb can be hard to hear but Tony occasionally holds the chord on slightly longer and if you then slow it down... 😉
I actually have a 1978 live in Tokyo version where the previous chord also has a Bb in making the last 3 chords G, Gm, Gm6(no5th)!
Which is actually slightly easier to play as you're then only changing one note in each chord; a very Tony thing to do 😂
Excellent!!! Another fabulous transcription!!!
thank you, mr hob. Love your work.
That is pretty dam awesome…
Love it. Thanks so much
You’re the man!!
Is there certain masterings that you prefer of Genesis ? Original vinyl, early vs later cd remasters, the Nick Davis mixes ?
Not particularly as it varies from album to album.
When I originally made a stab at working nearly all of these songs out (in my teens), I only had cassette copies from my original vinyl (which I still have; the vinyl not the cassettes!) so in some ways the vinyl will always be my favourite (especially my Trick of the Tail album which is an awesome pressing).
But as I no longer have a turntable, I keep them more for sentimental value really.
I also have (now on iTunes) the mid 80's original CD versions, the mid 90's remasters and the 2007 Nick Davies (with Tony looking on...) mixes.
Over the last few years that I've been doing these videos, I always refer to all 3 (not the vinyl obviously) of the above versions for each song plus (if available) one or more live versions; and any original material that I use comes from the 2007 5.1 mixes (which the 2007 stereo versions are based on).
Overall I think I like the 90's remasters most as they sound clearer, but I do like the 2007 versions (even the 76-82 albums that many afficianados seem to hate!). I think one of the main reasons for me being Ok with them has to do with the fact that I'm almost 60 and the top end of my hearing (above 12kHz) is not quite as good(!) as it was back in the day...! 😂 i.e. I don't actually hear the harshness many others complain of!
A major caveat though; the 2007 remaster of Entangled (which I will be putting up in the nearish future)...
While most of it is fine and, indeed, the guitars actually sound lovely and clear, I have a MAJOR issue with the mellotron choir sound that is used in the instrumental outro!! WTF happened to it?! It's lost nearly all it's reverb and gained some sort of chorusey/flangey effect. Truly awful!!
But apart from that... 🙂
@@ElektrikHob This could be a theory, but I equate it to dynamics; you can only fit so much sound into each channel before it either distorts or gets lost in the mix. There's probably no doubt that maybe Tony or Nick were not satisfied with how it was done and asked for improving what may have been rushed to completion. Maybe they both thought the updated changes would be so subtle no one would notice. I know, through personal experience, my multi-track sessions (yes, I do produce/engineering on the side) for one band can easily find stuff getting buried in the mix. Analog tape has that room to forgive for that verses digital, which you do have to watch your levels.
@@minty_Joe Totally on board with what you're saying 👍
re: 2007 Entangled - it's like they accidentally had the reverb channel on mute; it's as dry as a bone!
Whilst you can get away with very little reverb on many of the Mellotron's sounds (strings, brass etc.), IMHO the choir HAS to be swimming in it!
I sing in a couple of choral societies that do traditional pieces and we always sing in churches or large buildings so for me choirs (especially when doing only vowel sounds) = loads of reverb 😂
P.S. My piano reduction of Entangled will be up very soon (complete with Phil's vocals & harmonies) and I'm also including (softly added to the piano) the synth/choir solo at the end; needless to say, I've added a lot of reverb using LiquidSonics utterly awesome Seventh Heaven which I've been able to purchase thanks to all my BuyMeACoffee subscribers! 😀 Thank you to all of you!
If you truly want to be a GOD and fulfill my selfish wishes??? Please transcribe the "Seconds Out" version of Robbery Assault and Battery ....organ bridge section. ...only because the studio version is overdubbed and SO is played live...hahah.
You do that?? I will find you...hunt you down.....give you a cash reward and buy you theee most fanciest meal and drinks that this planet can offer...LOL
I effectively already have... 😊
If you look at bars 13-16 of the whole RAB solo transcription (I'm assuming you've bought a coffee and so have access to all my Genesis transcriptions), you'll see that the fully filled in notes (as opposed to the greyed out ones which are the studio overdubs) are exactly what Tony played live.
The Seconds Out version is played as shown in my transcription (with the cross-hand technique; in this case, left hand over right hand) but has had a load of delay/reverb effect added during the mixing stage of the album to try to simulate the build up effect that is on the studio version.
You can hear more clearly what he played live on a much less 'effected' version at czcams.com/video/1Di4Ugs-JMw/video.html
or a faster 'uneffected' version at czcams.com/video/3n5ggLgFIeg/video.html
least generous Genesis fan
Interesting. I just wish it wasn't played on a piano. If it was played on a Mellotron M4000D that would have been awesome. I would have the settings as 16 violins and mixed choir.