Tarkus

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Tarkus
Studio album by Emerson, Lake and Palmer

Publication
(s)

June 14, 1971

Label (s) Iceland (UK)
Cotillion (US)

Format (s)

LP

Genre (s)

Progressive rock

Title (number)

7th

length

38:40

occupation

production

Greg Lake

Studio (s)

Advision studios

chronology
Emerson, Lake & Palmer
(1970)
Tarkus Pictures at an Exhibition
(1971)

Tarkus is the second music album by British progressive rock band Emerson, Lake and Palmer , released in 1971 . It represented their final breakthrough to one of the most successful groups of the 1970s. The title Tarkus , illustrated by the cover art , takes up the entire A-side. It is considered to be “one of the earliest and most influential rock suites ” and in some cases incorporates elements and influences from jazz and classical music of the 20th century . The B-side contains six shorter, stylistically rather inconsistent individual titles.

Graffito with the motif of the Tarkus record cover in São Paulo

A side

The twenty-minute title Tarkus is divided into seven parts that merge into one another without a break, but are clearly demarcated as such musically and on the cover. These are called Eruption , Stones of Years , Iconoclast , Mass , Manticore , Battlefield and Aquatarkus . Tarkus is one of the "earliest and most influential as well as musically radical rock suites of progressive rock" and, in the opinion of some rock critics, fulfilled "what Keith Emerson had promised with The Five Bridges Suite of Nice ." , 5,7) with sections that contain singing (2,4,6). The piece can also be interpreted as “three individual titles with a prelude and an appended postlude”. The instrumental parts (1, 3 and 5) are characterized by hectic ostinati , aggressiveness and a frequent change of time with a preference for odd time signatures. Thus, the subtitles changes eruption within 20 cycles of 10 / 8 - to the 3 / 4 -, back to 10 / 8 - and finally to the 4 / 4 ¯ clock. The vocal parts (2, 4 and 6), on the other hand, are more conventional in the rock context. They are consistently in the "usual" 4 / 4 -Stroke are in slower tempos kept and rather chords marked.

Ostinato, fourths and seconds as well as time changes from the beginning of Eruption (
audio sample ? / I )Audio file / audio sample

A cluster of the synthesizer ( audio sample ? / I ) that gradually builds up spherically on the notes F - G - Bb - A - G # - C - D opens and closes the title. Eruption is based almost entirely on rhythmic elements and ostinati. An independent melody line can hardly be identified. In addition to the fourth , the interval of the second, which is mostly in the upper part, is characteristic. Base is an anabolic on fourths model in the 5 / 4 ¯ clock, which often by figures in the 3 / 4 , 4 / 4 , and 7 / 8 - clock is interrupted. The first seven notes of the ostinato represent the fourfold stratification of quarters F-Bb-Eb-Ab , while the last three notes EBF # are the first three notes raised by a semitone . The upper part uses the tones of C minor Blue scale . This is in the 3 / 4 section with the chord progression ADGC major with tiefalterierter fifth continued. The frequent changes of meter and parts in which the drums pause give Palmer ample opportunity for breaks and relatively free drumming. In spite of the keyboard runs that often run in the bass, Greg Lake is quite capable of independent, sometimes funky -looking bass figures ( audio sample ? / I ). Audio file / audio sample Audio file / audio sample

Beginning of the organ solo from Stones of Years (without drums) (
audio sample ? / I )Audio file / audio sample

Stones of Years significantly slows down the fast pace of Eruption (around 230 beats per minute ). Although it has a memorable melody ( audio sample ? / I ), it is harmonically based on more complex models from jazz music with large and small, additionally altered seventh chords . Two vocal parts surround an instrumental section in which Emerson presents a percussive solo reminiscent of Jimmy Smith and later classical music. Audio file / audio sample

Edward Macan interprets the text with passages such as:

“Have the days made you so unwise? […] How do you know where you've been? In time, you will see the sign and understand your sin. Will you know how to sow the seed? All your time is overdue ... "

as a "representation of the irretrievable loss of traditional cultural values".

The title Iconoclast ( iconoclasm ) represents a shortened, slightly modified reprise of Eruption . Bitonality and motor rhythms create a “metallic, machine-like effect” which, according to Macan, “expresses the destruction of the possibility of individuality and independent thought.” Palmer's drumming is effective almost more aggressive, but just as varied ( audio sample ? / i ) than in Eruption . Audio file / audio sample

Riff made of measure (
audio sample ? / I )Audio file / audio sample

Mass is strongly based on the hard rock of the seventies. It is the first part of Tarkus in which the electric guitar (here with riffs played together with the synthesizer ) makes an important appearance. Palmer's drumming is stylistically adapted to be relatively "straight and dry". Similar to Stones of Years , a solo part by Emerson is framed by two vocal parts. Emerson's solo is even more percussive and dialogic with Palmer's drumming - which takes up Emerson's rhythmic figures (or vice versa) - than in Stones of Years . The text of Mass ( Mass ) contains many religious references, primarily with negative connotations , such as B .:

“The pilgrim snowed in, committing every sin possible. [...] A bishop rings a bell, a cloak of darkness fell silently over the place. "

According to Macan, this shows that religion, too, cannot withstand the tendencies represented by Tarkus .

Excerpts from Manticore (
audio sample ? / I )Audio file / audio sample

Manticore ( manticore ), like all other instrumental titles, is based on an ostinat figure throughout. This one is in 9 / 8 - kept time with Triolenstruktur and is repeatedly interrupted by objections solo organ. The following two-bar eighth figure can definitely be seen (although other interpretations are also possible) as a bitonal togetherness of the left and right hand. In contrast to this, the organ's solo interjections are at the beginning in clear, fanfare-like triad breaks. A drum break, alienated with a lot of reverberation , then leads over to Battlefield .

Beginning of Battlefield (
audio sample ? / I )Audio file / audio sample

Battlefield (German: Schlachtfeld) is a heavy rock ballad determined by clear triad harmonics of the organ , which contains one of the rare - reminiscent of David Gilmour - slow electric guitar solos by Greg Lake. Lyrically he represents an anti-war song:

“Clean up the battlefield and let me see all the profit from our victory. You speak of freedom while poor children starve to death. Are you deaf to the call of the seasons? "
Comparison of the rhythmic designs at the end of Mars, the Bringer of War ( Mars and Aquatarkus ) (
audio sample ? / I )Audio file / audio sample

The beginning of Aquatarkus is based on a harmonious conventional chord progression that is aggravated by "frictional dissonances " in small and large seconds. The title is by a uniformly were performing on each Taktzählzeit snare drum beat to the later vertebrae from the military band occurred ( Sample ? / I ) and one, the hitherto dominant Hammond organ sound detaching "quakig acting" synthesizer sound, a mechanical monotone acting contrast to the rather emotional battlefield . In the harmony shifted apart from conventional functional harmonics , with Aquatarkus additionally enriched with seconds, ( listening example: Holst → ELP ? / i ), the dominance of the rhythm and the similar rhythmic design of the final section, there are striking similarities to Mars , The Bringer of War by Gustav Holst. A one-minute repetition of the beginning (eruption) then ends the cycle. According to Macan, the first part represents a funeral march for Tarkus , whereby the perpetual danger of a return of the dangers symbolized by him is indicated by the musical repetition of the "birth title" Eruption . Audio file / audio sample Audio file / audio sample

Position in the complete works

The title Tarkus appears structurally and in its preference for the Hammond organ far more cohesive and in the interplay of the band more compact than the previous album , which was more soloistic and worked alternately with piano, church organ, Hammond organ and synthesizers and also presented itself stylistically very diverse and many classical composers quoted. On the band's later albums ( Pictures at an Exhibition , Trilogy , Brain Salad Surgery , etc.), the synthesizer was used much more intensively in alternation with the Hammond organ . In the title Tarkus (except for Aquatarkus ) he usually only brings short fanfare-like motifs , bass or ostinative doubles and isolated stimulus effects in height and depth. The piano, church organ and synthesizer come into their own on the stylistically rather inconsistent B-side.

Contemporary comparison

In the title Tarkus - in contrast to Close to the Edge by Yes - the cyclical connection is established less through thematic further processing of musical thoughts according to the sonata principle, nor through stringing and variation as in Genesis , but through rhythmic , harmonic and instrumental opposites and relationships. That is why the title Tarkus seems more organic and less patchwork-like than many other long titles from this period.

Influences

Emerson composed the title Tarkus during ELP's European tour. The music by Alberto Ginastera and Béla Bartók , which he had discovered shortly before and who were otherwise significant for the band, had an influence on this: the first ELP album included an adaptation of Bartók's Allegro barbaro and four years later the band worked on Brain Salad Surgery under the title Toccata, the 4th movement from Ginastera's first piano concerto . Emerson wanted to use various musical elements such as percussive and new keyboard sounds , bitonality and concise rhythms. Fourth harmonic and bitonality play an important role in the title.

The B3 - main instrument on Tarkus
“I first heard Ginastera's works in 1969. During the composition of Tarkus in 1971, Ginastera's influence was so pervasive that I wanted to create similar sounds using unconventional instruments such as the successfully tested Moog modular system … Still, I got Ginastera's approval. " (Emerson)

Although there is no evidence as to whether Emerson knew the work or was influenced by it, the second movement from Ginastera's first piano sonata from 1951 ( audio sample ? / I ), with its motor ostinati and triads set in the right hand, is strongly reminiscent of titles like Eruption , Iconoclast or Manticore . The second and fourth intervals temporarily favored by Bartók can be found in titles such as Eruption , Aquatarkus or Infinite Space in melody and accompaniment. Audio file / audio sample

Edward Macan has pointed out some similarities between Gustav Holst's suite The Planets and Tarkus . Like The Planets , Tarkus is in seven parts and begins with a furious "eruption" in 5/4 time ( Mars , the Bringer of War). The similarities between Mars, the Bringer of War and the final title Aquatarkus are even stronger .

According to Emerson, the frequency of odd time signatures goes back to Palmer's request.

“I am aware of what Carl and Greg want to do, and in the case of Tarkus, Carl was very interested in different meters. He told me he would like something in the 5 / 4 make rhythm of, so I promised to keep it in mind and began to write from there Tarkus. Greg wasn't too sure about this from the start. It was too crazy. But he agreed to try and loved it afterwards. " (Emerson)

An influence on Emerson also presented with the Dave Brubeck - quartet is popularized in the 50's odd meters.

The album was recorded within a week in the Advision Studios in London under the sound engineer Eddie Offord , who later became known for his work with Yes .

Versions

The title Tarkus has been an integral part of the band's concerts for over three decades. He can be heard on the live album Welcome Back My Friends to the Show That Never Ends from 1974 and in shortened versions on Live at the Royal Albert Hall from 1992 and Live in Poland from 1997. The members' successor bands, such as the Carl Palmer Band (on Carl Palmer plays the Music of ELP ) from 2006, or Keith Emerson with The Nice (on Vivacitas: Live at Glasgow ) from 2002 continue to play the title. A version for piano and orchestra is by Emerson. In 2007 Dream Theater keyboardist Jordan Rudess recorded a cover version of Tarkus on his CD The Road Home . The Japanese pianist Aki Kuroda offered a piano version praised by Emerson on Tarkus Project / Pictures at an Exhibition in 2005 . In 1993 the album was reissued digitally remastered by Joseph M. Palmaccio . The tribute album Elp-Encores, Legends & Paradox includes a nearly seven-minute version of Tarkus with Robert Berry , Simon Phillips , James LaBrie , Derek Sherinian and Marc Bonilla . In 2009 Boys Club was released, which includes a live version of Tarkus recorded with Keith Emerson, Marc Bonilla and Glenn Hughes . In 2010 a complete adaptation of Tarkus for large orchestra in the version of the Tokyo Philharmonic Orchestra under the direction of Sachio Fujioka was released on CD by the Japanese composer Takashi Yoshimatsu . In 2012 the album Three Fates Project (by the Keith Emerson Band with the line-up Emerson, Bonilla, Travis Davis, Troy Lucketta) was a twenty-minute orchestral version, recorded with the Munich Radio Orchestra .

concept

The concept of the title Tarkus is conveyed through a combination of cover art, lyrics and music. The meaning of these is open to various interpretations. The pictures come from the then art student William Neal. A certain interaction of these three elements is also confirmed by Keith Emerson in an interview. Exact statements on the overall meaning, interpretation and connection of the individual elements on the part of the band members are rare. Lake said in a 1971 interview:

The manticore - final boss of Tarkus

“It's about the futility of conflicts. Especially in connection with soldiers and war. But that's further than that. It's about past revolutions. Where did they take anyone? Nowhere. "

- (Lake)

Tarkus describes a fictional being who is half tank (English: "tank") and half armadillo (English: "armadillo") and is shown on the cover of the album. The story of Tarkus is shown on the inside of the LP.

In picture one, Tarkus hatches out of the egg next to an erupting volcano. In the following drawings he is confronted one after the other with three hybrid fantasy creatures that represent a cross between animals and machines, which he destroys. According to Edward Macan, picture one corresponds to eruption and picture 2-7 to Stones of Years , Iconoclast and Mass . The slightly larger picture 8, which shows a manticore , corresponds to the title of the same name. Pictures 9 and 10, which belong to Battlefield , show the battle of Tarkus and Manticore, while the last picture, corresponding to Aquatarkus , shows the corpse of Tarkus floating in a river.

Edward Macan interprets Tarkus as a technology that has become uncontrollable and a totalitarian society that is gradually destroying cultural traditions and individuality.

A fire-breathing Tarkus , which Emerson "fought" with a portable synthesizer, was later part of the ELP stage show.

B side

With several stylistically very different, sometimes humorous individual titles, the B-side represents a strong contrast to the twenty-minute Tarkus on the A-side. These are named Jeremy Bender, Bitches Crystal, The Only Way (Hymn), Infinite Space (Conclusion), A Time and a Place and Are You Ready Eddy?

Jeremy Bender

Jeremy Bender ( audio sample ? / I ) is, like the later ELP titles The Sheriff and Benny the Bouncer, a short title with an out of tune honky-tonk piano , rhythmic clapping of hands and ironic western / boogie-style text . Audio file / audio sample

Bitches Crystal

In Bitches Crystal ( audio sample ? / I ), short and calm parts with a piano sound reminiscent of a music box are interrupted by hectic and aggressive parts and boogie-woogie interjections. In the beginning the piano dominates. Synthesizer sounds are added later. Lake's vocals are more aggressive and rougher than on A Time and a Place . Audio file / audio sample

The Only Way (Hymn)

Voice and piano from The Only Way (Hymn) (
audio sample ? / I )Audio file / audio sample

The beginning of The Only Way (hymn) is based on the beginning of Johann Sebastian Bach's Toccata and Fugue in F major ( BWV 540) performed on the church organ . This is followed by a vocal part over a riff based on baroque fugue themes .

Carl Palmer in 2006

Designed in the style of Jacques Loussier - trio with drums and an add-composed walking bass line in eighths provided . Prelude No. 6 in D minor, BWV 851 of Bach's Well-Tempered Clavier redirected to a accompanied by eighth- and sixteenth lines of the piano repetition of the vocal part on . The musical elements, which arouse more sacred associations, contrast with a religion-critical, atheistic text that raises the question of theodicy :

“People are touched and moved by the word. Kneel by the shrine, deceived by the wine. [...] Can you believe it, God lets you breathe. Why did he lose six million Jews? […] Do not pay attention to the word that you have now heard. Do not be afraid. Man is the work of man. "

The title then changes to the following Infinite Space without a break .

Infinite space

Here, a partially accompanied by the percussion piano deployed improvisation in eighths via a through-held Ostinato - a technique Emerson earlier developed - in 7 / 4 -stroke (each composed of a 3 / 4 - and a 4 / 4 -stroke). This is only interrupted twice by rhythmic interjections in eighth note triplets . This results in secondary frictions and tensions between chord breaks in the upper part and the ostinati in the lower part.

A time and a place

A Time and a Place is an aggressive title based on power chords and blues interjections from the Hammond organ ( audio sample ? / I ). Lake's singing is rarely exalted and rough. Audio file / audio sample

Are You Ready Eddy?

Are You Ready Eddy, in the style of rock 'n' roll of the 50s and 60s ? is dedicated to the sound engineer of the album Eddy Offord. The answers given in the choir (“ready, ready Eddy”), the chaotic piano solo reminiscent of Jerry Lee Lewis , and the ancient soundscape are kept true to style.

Placements and awards

The album reached number one in the UK June 20-26. It reached number 4 in Germany and number 9 in the American Billboard charts. In 1971 , Tarkus was voted LP of the year in the Melody Maker pop poll . As a single, Stones of Years was released with A Time and a Place on the B-side.

Track list

  1. Tarkus - 20:35
    • Eruption (Emerson) - 2:43
    • Stones of Years (Emerson, Lake) - 3:44
    • Iconoclast (Emerson) - 1:15
    • Mass (Emerson, Lake) - 3:11
    • Manticore (Emerson) - 1:52
    • Battlefield (Lake) - 3:51
    • Aquatarkus (Emerson) - 3:59
  2. Jeremy Bender (Emerson, Lake) - 1:46
  3. Bitches Crystal (Emerson, Lake) - 3:55
  4. The Only Way [Hymn] (Emerson, Lake; theme in intro and bridge from Toccata in F and Prelude VI by J. S. Bach ) - 3:48
  5. Infinite Space [Conclusion] (Emerson, Palmer) - 3:18
  6. A Time and a Place (Emerson, Lake, Palmer) - 2:57
  7. Are You Ready Eddy? (Emerson, Lake, Palmer) - 2:10

Individual evidence

  1. ^ Bradley Smith, The Billboard Guide to Progressive Music , 67
  2. ^ Peter Buckley: The Rough Guide to Rock , 338
  3. ^ A b c Edward Macan, Rocking the Classics , 87
  4. ^ Siegfried Schmidt-Joos, Bary Gravesl: Das neue Rocklexikon , 1982, page 132
  5. ^ Bernward Halbscheffel: Progressive Rock and Avantgarde . In: Rock music and classical-romantic educational tradition . Free University of Berlin, Berlin 2000, p. 242 , urn : nbn: de: kobv: 188-fudissthesis000000000224-1 ( fu-berlin.de [PDF; accessed April 10, 2021] dissertation).
  6. ^ Edward Macan: Rocking the Classics - English Progressive Rock and the Counterculture , page 87
  7. ^ "Another famous record featuring pieces built mostly on ostinato figures is the Emerson, Lake & Palmer album Tarkus (Manticore ESM CD 341)." ; from: Riccardo Scivales: Jazz piano - the left hand , page 240
  8. "Ma cominciamo dall'inizio: la successione degli accordi è semplice e ricorda molta musica di quegli anni, in cui le progressioni discendenti erano molto sfruttate. In this case caso Emerson arricchisce gli accordi con note di tensione (9, b9, # 9, # 5). […] L'assolo è in Do min. Con la sola variant che nella cadenza ii-v7 al posto del più “canonico” accordo semidimuito usa quello di dominante alterato dalla b9 e # 5. […] Sin dall 'inizio (bars 4, 5, 8, 9, 10 ma anche 56) Emerson tradisce la sua passione jazzistica usando frasi che potremmo benissimo usare nei nostri standards preferiti. " ; from http://www.jazzitalia.net/lezioni/organo/o2_stonesofyears.asp www.jazzitalia.net
  9. Translated from: “Have the days made you so unwise? [...] How can you know where you've been? In time you'll see the sign, and realize your sin. Will you know how the seed is sown? All your time has been overgrown,… “ on tarkus.hyperlink.cz ( memento of the original dated December 8, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / tarkus.hyperlink.cz
  10. ^ Edward Macan: Rocking the Classics , 99
  11. ^ A b Edward Macan: Rocking the Classics , p. 88
  12. Translated from: “The pilgrim wandered in, Commiting ev'ry sin that he could. [...] A bishop rings a bell, A cloak of darkness fell across the ground, Without a sound. " ; on tarkus.hyperlink.cz ( memento of the original dated December 8, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / tarkus.hyperlink.cz
  13. Pete Prown, HP Newquist: Legends of Rock Guitar - The Essential Reference of Rock's Greatest Guitarists , 86
  14. ^ "Clear the battlefield and let me see. All the profit from our victory. You talk of freedom, starving children poor. Are you deaf when you hear the season's call? " ; according to tarkus.hyperlink.cz ( memento of the original dated December 8, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / tarkus.hyperlink.cz
  15. ^ Edward Macan: Rocking the Classics , 89
  16. ^ Greg Lake: " The first LP was three individuals, then on the second we came together as a group. on [1] […] The time when Emerson, Lake and Palmer began to make music as one was with Tarkus. [...] The reason for that was that we discovered in each of us a kind of percussive property. " [2]
  17. ^ Bill Martin: Music of Yes - Structure and Vision in Progressive Rock , 144
  18. Analysis of the piece Close to the Edge ( memento of the original dated November 30, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.yesworld.com
  19. According to www.emersonlakepalmer.com ( Memento of the original dated December 12, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.emersonlakepalmer.com
  20. ^ Emerson: "Tarkus was like a testing ground for us, I think, mainly because of the time changes and key changes. I think it was a good start for us to get into doing something that was really experimental. To that extent it means a lot to me. " ; at www.ladiesofthelake.com
  21. ^ Edward Macan, Rocking the Classics , pp. 54-55
  22. Translated from: "I'd originally heard Ginesteras' work in 1969. Earlier, 1971, while creating" Tarkus, "Ginestera's influence was pervasive to such an extent that I wanted to create sounds such as his but using unconventional instruments such as the Moog modular system proved testing ... nevertheless I gained the Maestro's approval. " ; at www.keithemerson.com
  23. Klaus Wolters: Handbook of piano literature for two hands , page 596
  24. Emerson: “I don't think I've said this before but, from the very beginning of ELP, Carl Palmer encouraged me in the direction of Bartok and Prokofiev ... even Panufnick. It may have been because of the percussive element. So, when I introduced the music of Alberto Ginestera to him I knew it would work. " ; at www.keithemerson.com/AskEmo
  25. ^ Edward Macan, Rocking the Classics , 104
  26. Keith Emerson in: Fachblatt Music Magazin No. 74 , Cologne 1979, page 120
  27. Emerson: “I'm very aware of what Carl and Greg like to do, and in the case of Tarkus, Carl was very struck by different time signatures. He told me that he'd like to do something in 5/4, so I said that I'd keep that in mind and started writing 'Tarkus' from there. Greg wasn't too sure about it from the beginning. It was too weird. But he agreed to try it, and afterwards he loved it. " ; from Contemporary Keyboard magazine, 1977, quoted from www.emersonlakepalmer.com ( Memento of the original from December 12, 2007 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.emersonlakepalmer.com
  28. Mick Berry and Jason Gianni: The Drummer's Bible - How to Play Every Drum Style from Afro-Cuban to Zydeco , page 119
  29. Emerson on Brubeck's influence on him
  30. ^ Edward Macan: Rocking the Classics - English Progressive Rock and the Counterculture , page 48
  31. www.s21.hopemoon.com ( Memento of the original dated November 6, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / s21.hopemoon.com
  32. Emerson: "William Neal was an art student and he actually popped by Advision Studios when we were recording Tarkus and before we had a name for the music that I'd written. He came by with a set of artwork and I arrived there, took one look at it and thought it was amazing. It fully complimented the music. William had painted this mechanical creature and there were a lot of other extraordinary mythical creatures like the Manticore Lion's head with the Scorpion's tail, all incorporated into mad imaginary, really, and I think we pieced it together. It was almost like the painting was made to fit the music and the music was made to fit the painting, we could see some sort of surreal storyline. Although it wasn't really portrayed in the lyrics, it was enough for the imagination to take over. " ; to www.interx.net ( Memento of the original from October 12, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.interx.net
  33. ^ Edward Macan: Rocking the Classics , 87
  34. Lake in an interview in the New Musical Express on February 29, 1971: “It's about the futility of conflict expressed in the context of soldiers and war. But it's broader than that. The words are about revolution that's gone, that has happened. Where has it got anybody? Nowhere. " ; quoted from George Forrester, Martyn Hanson, and Frank Askew: Emerson, Lake & Palmer: The Show That Never Ends , Helter Skelter, 2001, 84
  35. ^ Edward Macan: Rocking the Classics , 88
  36. ^ Edward Macan: Rocking the Classics , pp. 88-92
  37. ^ Siegfried Schmidt-Joos, Bary Graves: Das neue Rocklexikon , 1982, page 132
  38. Rock and Art Music - History , page 79; at www.diss.fu-berlin.de
  39. Translated from: 'People has stirred moved by the word. Kneel at the shrine, deceived by the wine. [...] Can you believe, God makes you breathe. Why did he lose six million Jews. […] Don't heed the word, now that you've heard. Don't be afraid: man is man made. ' ; on tarkus.hyperlink.cz ( memento of the original dated December 8, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / tarkus.hyperlink.cz
  40. Emerson: “The song was pretty modal because Greg composed in this modal style. Therefore, experimenting with the harmonies would ruin the simplicity of the song. Sure, in the solo part of 'Take a Pebble' it was necessary not to stray too far from this modality, which is why I came up with the ostinato for the left hand and improvised with the right. I still use this technique quite often. "; from www.diss.fu-berlin.de
  41. ^ Frank Laufenberg: Frank Laufenbergs Rock- und Pop-Lexikon Volume 1 , 2002, page 471

literature

  • Peter T. Ford: The Compositional Style of Keith Emerson in "Tarkus" 1971 for the Rock Music Trio Emerson, Lake and Palmer . Indiana State University, Indiana 1994 (dissertation without ISBN).
  • Edward Macan: Rocking the Classics - English Progressive Rock and the Counterculture . Oxford University Press, Oxford 1996, ISBN 0-19-509888-9 (English).
  • Edward Macan: Endless Enigma: A Musical Biography of Emerson, Lake and Palmer . Open Court, Chicago 2006, ISBN 978-0-8126-9596-0 (English).
  • George Forrester, Martin Hanson, Frank Askew: Emerson, Lake and Palmer: the show that never ends: a musical biography . Helter Skelter, London 2004, ISBN 1-900924-17-X (English).

Web links

This version was added to the list of articles worth reading on December 10, 2007 .