|PD: Silver Salmon||08 Sep 2008 05:58|
Title: Silver Salmon
Meter: 4/4 or compound (3+3+3+3+2+2)/16
Form: Intro | Verse AA - Chorus B ||
| Verse AA - Chorus BB || Bridge I-II | Coda - Outro |
This demo track was supposed to be originally a Smile composition, but Tim Staffel could not confirm this. The style of the song is pure heavy metal. The form is assymetric as the verse-chorus sections don't return after the contrasting bridge anymore.
The rhythm department makes heavy use of the 3+3+3+3+2+2 pattern still the 4/4 feel stays strong. The transcription will use double-bars as one, in order to handle the 3+3+3+3+4 patterned double bars as one.
The harmony makes use of power chords and the pitch set of the lead melody suggests a minor key.
The recording starts with a double-bar riff exposing the tonic.
| E5 |
| i |
We have two eigth double-bar verses with AA phrasing. There are minor changes in the linking power chord figures.
| E5 G5 B5 | A5 | D5 C5 B5 | E5 C5 B5 |
| i... | iv | VII... | i |
| E5 A5 | A5 C5 | D5 C5 B5 | E5 |
| i... | iv... | VII | i... |
Both verses are followed by a chorus of four double-bars, the second one being doubled in length with incoplete lyrics.
| D5 | E5 |
| VII | i |
| D5 | E5 |
| VII | i |
There is a two double-bar instrumental link following both cycles. Inner form is AA' AAAB in the first and second link respectively, where B is a fermata ending.
| E5 C5 B5 | E5 G5 B5 |
We have traditional bridge where the contrasting elements are: full triad chords, major chords, only guitar, no 3+3+3+3+4 pattern (double bar mode off).
The metric frame is blurred here, hence the trascription is written phrase by phrase.
| Em D B |
| i VII V |
| C G Am7 D |
| VI III iv VII|
The ending on D exposes the modified tonal center for the next subsection, which could be transcribed as a coda. The backbone of the section is the I-bVII vamping. The two bar figure is repeated nine times in row. Mercury sing semi-improvised ad-lib phrases throughout.
/------ 9x ------\
| D5 E5 | D5 * |
After the repetition the harmony returns to the homekey, and also the 3+3+3+3+4 beat in the drumline (double-bar mode on).
| D5 | - G5 B5 | E1 G5 B5 | E1 G5 B5 |
For the final bars the guitar reprises the 3+3+3+3+2+2 beat for only one double-bar. The
closing double-bar has some metallic tremolo picking on E-string, and a treble lead guitar fill providing a weird non-root ending for the song.
| E1 G5 B5 | E1 G5 B5 | E1 B1 G1
PD. 2008 aug-sept.
Post was edited on 08 Oct 2008 05:52
|1.||Sebastian||08 Sep 2008 13:34|
Having heard the song only once, I cannot remember it, so no idea about the analysis per se. I think Brian confirmed it'd been written by Tim.