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PDF can be found at Some useful gumpf; click on SHOW MORE (just below). This is even more adventurous than the Lamb! The keyboard transcription part was relatively straightforward, but as you may've noticed, I decided to add all the other parts too… :) Although this transcription is based on the studio version, as usual I've referenced a few live versions as well, primarily from the 73 & 74 tours. It's all pretty straightforward until bar 49. I've scored (and played) the counter-melody even though Tony never played it live as the Pro-Soloist was monophonic. The same goes for any other instances where there's one melody line (which Tony played live) and a secondary line with smaller note-heads. Once he got the ARP 2600 for live use and then the Quadra, I believe he'd sometimes do duophonic lines (e.g. bars 76-83 & 126-141), but I'm basing the playing (and the sounds) on his Pro-Solist live performances. That's the right hand dealt with; now for the left. On the studio version there are sometimes layered sounds for the RH lead line (which, as I said, I've reduced to one sound a la live) but there are also a few instances where the organ has been layered with a Mellotron Choir or Strings sound. The parts are based on the organ chords but some of the chord inversions are different for the Mellotron sounds. How you play the left-hand chords is really down to what keyboard(s) you have available and to personal taste. Live, I tend to play the string sounds layered together with the organ using a Nord Stage's facility for layers and for fading in/out sounds with a foot pedal - except the majestic choir bit which is just too glorious to layer with anything! :) Talking of the LH chords, my usual notational rules apply. i.e. I don't show held notes or chords as it creates far too many tie-lines. Use your own judgment as to when to hold a note from one chord thru another. This is even more evident when the same note or chord is played in 2 or more consecutive bars - just hold all the notes on for the duration! :) Also, chords that last a whole bar (or more) are deliberately written as semibreves as I think it looks far neater :) Bar 29: up until recently, I've always played the last note as a low E, as my original transcription was based on the vinyl LP from way back when and I was convinced that that's the note that was played :) But I was wrong! Listening to the remaster and some live versions, it should be, as I've written here, an F#!! D'oh! Funnily enough though, I STILL prefer the sound of an E…!! Bars 90 (& 91): Asus4?? Are you sure??!!! Well, having analysed that bar at various speeds and checked multiple live (73 & 74) versions… Yes, I am! :) On Seconds Out, Tony plays a straight A major in bars 90-91 and a G major in bars 92-93, which sound OK, but on the studio version (and earlier live versions) there is definitely no C# in that chord but there is, at the very least, a strong hint of a D; hence Asus4 :) Bars 114 & 117: sorry the counter-melody has got so many ledger-lines, but that seemed the best way to be consistent in my scoring. Bars 116 & 119: I'm not 100% certain about those B5 chords, but they sound right to me… On the 1974 live versions that I have, I believe Tony's playing an F# and an A instead of an F# and a B. Choose whichever you like :) Bars 142-149: the video (and audio) aren't quite right… oops! the 2nd time thru harmony notes actually occur on every note, not just the first note of each triplet as depicted here. The PDF contains the correct version. That's it! Have fun! :) It's scored using Sibelius 7.5 and the programming/audio was done with Presonus Studio One 3 with ProSoloVst, VB3 and, of course, M-Tron Pro for the keyboards and also my usual instrument & processing plugins.
