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* Each of the first four songs contains the word "hand." (Thanks to George Seaman.) | * Each of the first four songs contains the word "hand." (Thanks to George Seaman.) | ||
* There is much symmetry between the first piece, [[Proclamation]], and the last piece, [[Valedictory]]. Musically, the vocal melodies are the same. Also, the main guitar theme that begins [[Valedictory]] comes from a small keyboard part found in [[Proclamation]] at 2:16. The theme in [[Valedictory]] is then interleaved with itself on bass and organ (sort of a ''stretto'', if you are into musical terminology). Lyrically, some of the lines in [[Proclamation]] ("It can change, it can stay the same") are reflected backwards in [[Valedictory]] ("Things must stay, there can be no change"). | * There is much symmetry between the first piece, [[Proclamation]], and the last piece, [[Valedictory]]. Musically, the vocal melodies are the same. Also, the main guitar theme that begins [[Valedictory]] comes from a small keyboard part found in [[Proclamation]] at 2:16. The theme in [[Valedictory]] is then interleaved with itself on bass and organ (sort of a ''stretto'', if you are into musical terminology). Lyrically, some of the lines in [[Proclamation]] ("It can change, it can stay the same") are reflected backwards in [[Valedictory]] ("Things must stay, there can be no change"). | ||
* In [[So Sincere]], the guitar solo before the first chorus is the same as the synth countermelody to [[Kerry]]'s piano in the second chorus
. (Thanks to Émile Dallaire.) | |||
* The third piece, [[Aspirations]], contains the line "Please make your claims really so sincere." The word "claims" is surely a reference to [[Proclamation]] ("I will make my claim"), and "so sincere" is the title of the second piece, [[So Sincere]]. | * The third piece, [[Aspirations]], contains the line "Please make your claims really so sincere." The word "claims" is surely a reference to [[Proclamation]] ("I will make my claim"), and "so sincere" is the title of the second piece, [[So Sincere]]. | ||
* In the middle section of [[Cogs in Cogs]], the two vocal parts are in very different meters. The first part to enter ("The circle turns around, the changing voices calling...") is in 6/4, but the second one ("Circle turns around the changing voices") is in 15/8. This means that the two melodies "line up" differently in five different ways. The phrases "meet" every 60 eighth notes. (Thanks to Michael Beauvois and Mark Wendt.) | * In the middle section of [[Cogs in Cogs]], the two vocal parts are in very different meters. The first part to enter ("The circle turns around, the changing voices calling...") is in 6/4, but the second one ("Circle turns around the changing voices") is in 15/8. This means that the two melodies "line up" differently in five different ways. The phrases "meet" every 60 eighth notes. (Thanks to Michael Beauvois and Mark Wendt.) |