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The free nature of the arcana is represented in the music by improvisatory passages wonderfully executed by Omar Acosta (flute) and César G. Forero (electric guitar). Since the arcana also represents eccentricity, there is a bit of craziness at the beginning and ending of the piece. Also, the improvisatory sections are nested by more reflexive passages, based on non improvised music. These passages at the beginning and end of the piece represent the fact that “The Fool” is one of the most spiritual cards in the Tarot.

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Credits

Music written and arranged by Carlos G. Plaza Vegas. Flute solo by Omar Acosta. Guitar solo and guitar arrangements by César G. Forero.

Omar Acosta: Flute
César G. Forero: Guitars
Carlos Plaza: Keyboards, bass, drums

© 2016 Carlos G. Plaza Vegas. All Rights Reserved

Description of the “Le Mat” arcana taken from the book “Tarot de Marsella” by José Antonio Portela (in Spanish). © 2015 Sincronía JNG editorial, S.L.
www.sincroniaeditorial.com

“Le Mat” picture taken from my personal deck of Rider-Waite Tarot cards.

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Credits

Music written and arranged by Carlos G. Plaza Vegas

Omar Acosta: Flute
Miguel Rosell: Cello
Carlos Plaza: piano, electric bass, synthesizer

© 2016 Carlos G. Plaza Vegas. All Rights Reserved

Perpetual Movement photo by NASA/JPL-Caltech/SSI – http://www.jpl.nasa.gov/spaceimages/details.php?id=PIA17172, Public Domain, https://commons.wikimedia.org/w/index.php?curid=29584973

Finnegans Wake started as a group back in 1993 and progressively became a vehicle for one of the greatest composers in contemporary art music: Henry Krutzen. FW is one of the most underrated art music projects and certainly deserves much more attention and recognition.

In my opinion, 4th is the album that better represents the musical world of FW. The composition, arrangements, performance and overall production of this album is very rarely matched by much better known bands. Henry Krutzen has always been a master in writing music that rocks but with a classical chamber music soul. 4th definitely excels in that respect. If you like progressive rock and also enjoy chamber music from the late 19th century onwards, you have to listen to this album!!!

Here you can reach FW’s page in Bandcamp. In addition to 4th, you can listen to and purchase other FW’s albums as well as Krutzen’s solo works.

Unfortunately you can only acquire 4th in digital format. However, Henry has a few physical copies left. If you want one, let me know and I will put you in contact with him.

Legal Identity

Mirrors

Legal Identity

The name of this piece comes from the fact that I used two ID numbers to build the main motif of the piece. The piece is written in straight 4/4 rhythm; the structure is:

Intro-A-B-C-A’

Intro

Given the overall length of the piece (3:43) the introduction is quite long – almost one minute. It is based on a melody that sits on five different ostinato figures that are introduced gradually: drums, synth, bass, piano and guitar. After all the ostinato layers are presented, the melody is presented. This melody introduces the main melodic line exposed by the guitar, on section A. Here’s the intro:

Section A

This is where the identity numbers are introduced:

• ID #1: 5.539.662
• ID #2: 47.540.738

separated by a short melodic phrase played by the guitar. The numbers are represented by strong beats in the pattern. ID #1:

ID #2 was trickier because it had a cero. Instead of skipping a beat, I decided to use a note far from the preceding melodic line followed by a rest, to give the impression of hitting a bump in the way:

Section B

This section presents a contrasting theme using only piano to provide the rhythmic and harmonic base, and organ with a complex solo that sounds as if it were improvised, but was written down to the very last note. Towards the end, guitar and bass provide a syncopated pulse, on top of which the organ builds a chord by adding notes progressively. This chord is sustained and gradually distorted using a Low Frequency Oscillator (LFO) to modulate it, until it becomes undistinguishable. By the way, this is not a real organ, it is a sound that I crafted using the Roland JP8080.

Section C

This section consists of a guitar solo written by César G. Forero. Notice the pattern of the piano accompaniment is based on the ones presented in sections A and B.

Section A’

This section is almost identical to A, but I call it A’ in order to highlight the fact that the piano introduces a small variation.

Here’s the complete song:

This is a very rare live version of Legal Identity, recorded in Spain in October 2007:

In the album “Ouroboros” (2009) we included an alternate version of Legal Identity. Whereas the 2003 version was a studio version where I played all keyboards, drums and bass (obviously by overdubbing), this version features the full Kotebel band and was recorded live in the studio. The main differences are in the guitar solo and in the syncopated pulses in section B where we add the drums, giving an additional thrust when compared to the original version. You may have noticed that this is the arrangement featured in the live video. Here it is:

Credits

Song written and arranged by Carlos G. Plaza. Guitar solo by César G. Forero.

Carlos G. Plaza: keyboards, bass, drums.
César G. Forero: guitar

© 2003 Carlos G. Plaza Vegas. All rights reserved.

Mirrors

This is one of the most experimental pieces that I have written. The title reflects the resource used to construct section B: it is the mirror image of section A. In other words, once you reach the final measure of section A, you create section B by reading backwards from the last to the first measure. As a way to introduce a very interesting effect and prove that indeed section B is section A backwards, when section A is presented again towards the end of the piece, you hear a piano with inverted sound. It is the recording of the piano on section B, but flipped digitally.

The piece is structured in three major blocks, each in turn with their own structure. I will label the major blocks with uppercase and their corresponding sections with lower case.

The overall structure of the major blocks is:

A-B-A’-Coda

Section A

Section A is built with three different sections and a coda (a – a’- a”- coda). The coda is based on jazz inspired chords, used to modulate to the tone of section B.

a (ends at 0:16), a’ (0:17 to 0:39), a” (0:40 to 0:58), coda (starts at 0:59). Note that there is a short piano phrase used to link sections a to a’ which is also used to link a” to the coda.

Section B

This is where the mirror image occurs. The structure is a simple aba form, where b is the mirror image of a. In order to clearly see the effect, here is the section but only with the piano part. The recapitulation of part a is done using the recording of part b, but flipped digitally.

part a (ends at 0:44), part b (0:45 to 1:38), part a (b inverted) (starts at 1:39)

Now, section B in the piece is longer because themes a and b are repeated. On theme a, the first time it is piano solo; the second introduces an electric bass. The arrangement of theme b is based on piano, electric bass, electric piano and strings. The recapitulation of a is really an a’ because the inverted piano is complemented by sound effects, a synth doubles the melody to make it clearer and the bass is replaced by a voice mellotron. Theme a’ is repeated, adding strings to the arrangement.

a (ends at 0:45), a again (with bass) (0:46 to 1:32), b (1:33 to 2:25), a’ (recap piano inverted – first time (2:26 to 3:17), a’ again (recap second time w/ strings) (starts at 3:18)

Section A’

This section features a full development of the first part of section A and uses part of the second theme to reach the coda. Let’s compare the presentation of the first theme in A and its development in A’.

Coda

The coda is based on a partial recapitulation of the first theme of section B. It breaks the phrase and ends at a point where it modulates, in order to create a feeling of suspense.

With this analysis in mind, let’s listen to the whole piece:

Credits

Song written and arranged by Carlos G. Plaza.

Carlos G. Plaza: keyboards, bass, drums.

© 2003 Carlos G. Plaza Vegas. All rights reserved.

You may be wondering, if the term is misleading, why is it commonly used in Phaedrus? The reason is that this magazine appeals to a wider audience than followers of the current art music scene. Most people would not be aware of what this magazine is all about if the term “progressive rock” was omitted. With this in mind, I invite you to read this insight on how we label our dear genre and its different subcategories.

Progressive Rock – A Misleading Tag

Carlos G. Plaza Vegas

December 30th, 2006

The title of this article[i] seems to suggest that this is yet another attempt to define what or what not ‘progressive rock’ is. My purpose, however, is not to propose an alternative definition but rather to alert the community of the pitfalls inherent in the use of the words ‘progressive’ and ‘rock’ to define our genre. Indeed, ‘Progressive Rock’ is a term that many musicians and bands stray away from. It also generates negative connotations in both critics and the music industry alike. But what is even worse, the term itself leads fans and musicians to wrong expectations and assumptions, and it is here where the use of this misleading tag has its most negative consequences.

Throughout the years, our music has been subject to a wide range of definitions, classifications and sub-classifications. Books like Edward Macan’s Rocking the Classics[ii], Jerry Lucky’s 20th Century Rock and Roll – Progressive Rock[iii] or Progressive Rock Reconsidered by Kevin Holm-Hudson[iv] are attempts to define the genre following different criteria. Sites like www.progarchives.com or www.progressor.net, likewise, provide definitions of the genre itself and a wide variety of sub-styles, such as:

Art Rock
Canterbury Scene
Experimental/Post-Rock
Indo-Prog/Raga Rock
Italian Symphonic Prog
Jazz Rock/Fusion
Krautrock
Neo Progressive
Prog Folk
Prog Related
…

Although these classifications are useful to guide fans through such an enormous musical offer, I’ve always felt that the focus must be on the music and not on its different tags. If this is my position, why then do I propose the subject of classification as a topic for discussion? It is because I believe the term ‘Progressive Rock’ is one of the main elements preventing the expansion of the genre.

Those who believe that “progressive rock” cannot enjoy a healthy fan base because “it’s too complex” for the average listener, must ask themselves why jazz and classical music do have a healthy minority, big enough to allow musicians to make a living of music and to generate hundreds of festivals and concerts throughout the world. Let me take the analogy with jazz and classical music a step further by asking some questions, in order to show why it makes little sense to use ‘progressive’ as a noun, instead of as an adjective:

1. Do you think that a jazz fan would discard listening to contemporary musicians playing classical jazz?
2. Would the term “progressive” be appropriate to describe avant-garde groups that are experimenting with the fusion of jazz and electro-acoustic music?
3. Do you think a jazz fan would say: “the only jazz worth listening to is avant-garde. If I go to a jazz club and see a group playing classical jazz, I leave immediately”
4. What about classical music? Do you think there are no classical composers who could be considered as progressive as the most radical RIO group? Well, they definitely do exist so, why bother going to a concert to listen to Bach or Ravel?

The Term “progressive”

For jazz or classical music fans, progressive or avant-guard is nothing more than an attribute. Not the main, definitely not differential, and by no means a mandatory way to lead the listener towards the type of music he listens to. In the classical world, fans of Mozart or Clementi feel as classically oriented as fans of Messiaen or Hindemith. Yet, this is not the case with progressive music… Despite their obvious differences, Arena and Univers Zero, for example, must have something in common: both appear in similar webzines and magazines, share fans, they play in similar venues and festivals, even though one is unquestionably prog while the other one is not. Either we leave one of them out, or something is definitely not working with the way the term ‘progressive’ is currently applied.

Many musicians demand that bands labelled ‘progressive’ must be innovative. Let me quote Steve Wilson as a case in point:

In his excellent book “Zen and the Art of Motorcycle Maintenance”, Robert Pirsig explains that the way we perceive reality is heavily dependent on the way we use our “analytical knife” to splice it into categories.[vi]
The way Wilson uses his knife leads him to conclude that contemporary progressive rock bands “[follow] the blueprint from 1972 so closely; it’s completely pointless and redundant. They’re never going to better the originals, anyway – why bother?”[vii]

Now, if instead of using our analytical knife to divide music into prog or non-prog, we use it to divide the music into Art Music and Commercial Music, let us look at how music could be currently classified:

(1) Academic in the sense that formal training is required to compose and, generally, to perform this kind of music
(2) More on this term later in the article
(3) Under this alternative classification, Neo-Prog should be used to label contemporary progressive bands like, for example, Miriodor. Bands we currently classify as “neo-prog” should rather be classified as “neo-classic.” In the remainder of this article, I will use this term to refer to neo-prog.

This alternative classification allows, for example, the attribute ‘Symphonic’ to be applied to both Classical or Progressive oriented musicians. Arena would be an example of a Classic-Symphonic band. Kotebel would be an example of a Progressive-Symphonic band.

Wilson’s statement is only correct when applied to avant-guard artists in all forms of art, not just our genre. This is the root of the problem. We cannot discard art just because it is not progressive. ‘Progressive’ is about the future and only a few artists take upon themselves the challenge of expanding their language and exploring new grounds. But there are hosts of artists whose creative urge can be satisfied with the means already at their disposal. They do not feel the need to go further. But be careful: innovation cannot be an end in itself! The artists that innovate AND transcend, are those who break new grounds as a means to fulfil their creative urge; they are compelled by their inspirational drive to create new languages.

Rachmaninov wrote his music when few composers dared to put a key signature (tonality) in their score. He was not progressive; quite the contrary, he was quite regressive. Nevertheless, he is regarded as one of the most important classical composers of the 20th century. In fact, much more than a fair number of his contemporary “progressive” peers.

Looking at our genre from this angle, allows excellent neo-classic artists like Matthew Parmenter to co-exist and be appreciated along with the bands/artists who are breaking new aesthetics grounds. These artists will transcend depending on the intensity of their music and their ability to deeply affect the listener. Bad copy/paste neo-classic bands full of clichés will be forgotten in the same way that RIO bands whose only aim is to sound original. Both cases will not sustain the passing of time.

I invite you to consider the impact of this Copernican shift, not only amidst fans and musicians, but mostly with regards to the interaction of our genre with the outside world. If a current neo-classic band wipes out any reference to the term progressive in its literature, they would be able to avoid the attack of both anti-proggers outside our circle and anti neo-proggers within our fan base. They could approach the outside world saying that what they offer is not progressive but … what? Well, this takes me to consider what Arena and Univers Zero have in common.

The progressive bands in the 70s incorporated a fair number of elements that, used in conjunction, created a whole new genre. Thomas Olsson[viii] accurately describes these main elements, identifying, among others:

• The use of a wide variety of instruments
• Notated music
• Modal harmonic principles are widespread
• Classical forms are common
• Complex compositions and arrangements

Nowadays, most of these attributes are also present in other music styles. However, there is one that is rather unique to our genre and shared only by classical music: structured development of thematic material.

This is, in my view, the back-bone of our genre. It is very difficult to find a “progressive rock” band where there is no organic growth of thematic material. You can find it (at least an attempt) in any long neo-classic song, as well as in most complex RIO compositions. Any band/composer who takes thematic cells (melodic, rhythmic, harmonic) as building blocks and develops these ideas in a structured form to reach a climax, will sooner or later find its way into our genre. Some will do it using a simple traditional language, others will achieve it through complex compositions; sometimes so complex that the building blocks are not apparent anymore. But in essence, they are writing the same kind of music.
I hope by now it appears clear why the term ‘progressive’ is not helping out in clarifying what our genre is all about. It confuses us internally and misleads the outside world. You might be asking yourself: “progressive is clear enough, but what is wrong with the term ‘rock’?”

The Term “rock”

Even at the climax of its popularity by the mid 70’s, Progressive Rock was under constant attack from music critics. Most argued that this genre betrayed the basic principles of Rock, which originated as an expression of counter-culture, aimed at the masses, with simple musical structures (mainly ABA) and lyrics about day-to-day themes that people could easily relate to. From this point of view, our genre should have been called something like “Progressive Anti-Rock”: complex musical structures frequently based on lyrics full of abstractions or based on mythological and ancient literature. Quite the opposite of the basic postulates of Rock.

Many groups presently working under our music genre are increasingly incorporating elements from other styles, giving an eclectic nature to the music produced. It is true that most bands have the typical rock quartet or quintet configuration, but so do many Jazz bands and they are not labelled rock because of their use of electric guitars, electric basses and drums.

Because of the complexity of our music, defining our genre as a rock manifestation is misleading.

Perhaps intuitively, some have moved away from the term ‘rock’, and changed the genre’s main label to “Progressive Music”. Others discarded the word ‘progressive’ and have come up with the term “Art Rock”. If we eliminate ‘progressive’ and ‘rock’, we end up with “Art Music”. It might be a start, the problem is that any musical manifestation conceived as an artistic expression not subject to commercial considerations, can rightfully be called “Art Music”. Jazz, classical, or folkloric music fits under this category.

As an invitation for people to come up with an alternative term, it would certainly be worthwhile to consider a term that is recently gaining popularity to define current art in all its manifestations: Neo-Baroque. I believe our genre fits very well in its definition. One of the most distinct attributes of our genre is its tendency to integrate styles, instruments, exotic modes and rhythms. And integration is precisely one of the main characteristics of Neo-Barroque, as most authoritative authors explain:

Alejo Carpentier, a notable exponent of 20th century literature, defines the term as “an aesthetics and ideology of inclusion.”[x]

In a way particularly relevant to our subject, the similarities between baroque and neo-baroque types of art were described in a recent exposition in Spain as:

Other attributes of Neo-Baroque that equally describe aspects of our genre very well are:

• the aesthetic of repetition and variation
• a tendency towards expansion, creating ambiguity in the frontier between pieces
• a desire to evoke states of transcendence

Art is Communication

Music, as the most ineffable form of art, has been a vehicle used by men to communicate sublime and transcendental messages that cannot be expressed by rational means. Inspiration emerges from the need to say something. Art, in any of its forms, is the vehicle. If there is no inspiration, nothing sublime to transmit, the result might be intellectually challenging or interesting, but sterile. Of course, inspiration is not enough; you need a correct media to transmit it. Without proper technical skills, it is not possible to project the idea effectively and accurately. A Master Work of Art, therefore, can only be achieved when these two elements are combined.

When I say that Art is the vehicle, I am implicitly stating that it is a tool to serve inspiration. Accordingly, art is subordinated to inspiration, to the message being conveyed. When an artist attempts to innovate for the sake of originality, because he/she wants to be considered “progressive”, he is transforming the vehicle into the end in itself. This is precisely the greatest danger with the improper use of the word progressive. It gives the idea that innovation is the end to be pursued and what should always remain a vehicle becomes, rather, the criteria to judge the value of a work of art. In the meantime, of course, inspiration and message are lost in this terminological jungle, to the benefit of people incapable of either understanding or conveying the true language of music.

I will finish this article with an analogy extracted from a letter I sent to the Spanish Progressive Rock Forum “La Caja de Musica” in March 2002:

Credits

[i] The ideas in this article were used as basis for the discussion forum on Gouveia Art Rock Festival – April 9th, 2006

[ii] Edward Macan. Rocking the Classics – English Progressive Rock and the Counterculture. (Oxford: Oxford University Press, 1997.)

[iii] Jerry Lucky. 20th Century Rock and Roll – Progressive Rock. (Burlington: Collector’s Guide Publishing Inc., [no year stated in publication. Probably 1999 – 2000].)

[iv] Kevin Holm-Hudson. Progressive Rock Reconsidered. (London: Routledge, 2002)

[v] Interview with Steve Wilson. Explicitly Intense magazine (December 2005) quoted in The Ministry of Information blog, http://www.ministry-of-information.co.uk/blog/archives/001321.htm. The quote also appears in the Porcupine Tree forum (http://www.porcupinetreeforum.co.uk/).

[vi] Robert Pirsig. Zen and the Art of Motorcycle Maintenance. (New York: Bantam Books, 1974), p. 72.

[vii] Interview Steve Wilson.

[viii] Thomas Olsson. Rock progressivo hoje. Is there anybody out there? (Gouveia: Cadernos Progressivos Nº 1, 2006)

[ix] Francesco Guradiani. Old and New,Modern and Postmodern:Baroque and Neobaroque. Full article can be viewed at: http://www.chass.utoronto.ca/mcluhan-studies/v1_iss4/1_4art2.htm. For a very extensive analysis of Neo-Barroque, centered around audiovisual arts and cinema, follow this link to the article “The Baroque and the Neo-Baroque” by Angela Ndalianis: http://web.mit.edu/transition/subs/neo_intro.html

[x] Taken from the article Comparative Literature in an Age of “Globalization” , by Lois Parkinson ZAMORA. http://clcwebjournal.lib.purdue.edu/clcweb02-3/zamora02.html Link not active at time of publication in Phaedrus issue # 3 January 2016.

[xi] Baroque and Neo-Baroque – The Hell of the Beautiful (art exposition in Spain October 2005 – January 2006). Taken from an article published in the website of ‘Non Starving Artists’ http://www.nonstarvingartists.com/News/ImagedNewsItem.2005-10-16.4920.html Link not active at time of publication in Phaedrus issue # 3 January 2016.

[xii] http://www.dlsi.ua.es/~inesta/LCDM/Archivo/lcdm0348.txt (La Caja de Música # 348)

Featured image is a wallpaper from the outstanding webpage “ProgArchives”. This site is in my opinion the best reference for “Neobaroque Art Music” aka “Progressive Rock” This is the link to the wallpaper: http://www.progarchives.com/wallpapers/PACollage2.jpg

If you are not acquainted with ProgArchives, you should pay them a visit: http://www.progarchives.com/

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Welcome to the third edition of the Classic of the Month. Today: “Tarkus” by Emerson Lake & Palmer.

When we explored the secrets of Close to the Edge, we examined a piece with is a very tight connection between music and lyrics. Jon Anderson, main composer of the music together with Steve Howe, is also the author of the lyrics. Tarkus on the other hand, was a result of merging two parallel processes. Most of the music with the exception of “Battlefield” was written by Emerson while all the lyrics were written by Greg Lake.

It is a relatively well known fact that Tarkus initially generated friction between Emerson and Lake. According to Emerson:

Lake was finally convinced to give it a shot and the music gradually grew within him, to the point that he developed some of his finest lyrics and included a piece of his own.

As a result of these independent endeavors, Tarkus is quite self-sufficient as an abstract music piece. However, a full interpretation of the conceptual framework behind the piece allows a true rediscovery of this progressive rock masterpiece.

Tarkus is a multi-movement suite, where all the movements, except ”Stones of Years” and “Mass” share common melodic material. There are also other very interesting musical considerations but I will go back to them later in the analysis. Let’s concentrate on the conceptual framework which is what will truly allow us to listen to this piece under a very different light.
There have been different interpretations of what Tarkus represents. Edward Macan, in his book “Rocking the Classics” makes an accurate summary:

More than non-exclusive, I would say that they complement each other. In fact, here’s another interpretation based on my article “The Cult to the Ephemeral and its Effect on Art”: Tarkus could represent the entertainment society that is devouring culture, transforming it into mass entertainment.

The 11 images in the album’s inner gatefold, created by William Neal, are crucial to creating a framework through which the piece’s concept is conveyed.

The first image represents the opening section “Eruption”. It depicts Tarkus emerging from an egg on the side of an active volcano:

Notice that Tarkus is really a cybernetic creature, part armadillo and part tank:

It fights, and claims victory, over different cybernetic animals:

However it is defeated, at least temporarily, by the only creature that is completely biological, the “Manticore”.

This strange figure, mixture of different animals (man, lion, scorpion, among others) is able to sting Tarkus’s left eye, forcing him to retreat.
The final panel is perfectly described by Edward Macan:

The whole suite revolves around this concept. As we will see, the lyrics reflect on the state of mankind and the struggle for human nature to prevail over the diverse forces that are slowly annihilating the sense of individuality in every human being. By the way, this struggle between man and machine is also represented in Karn Evil 9, which we will analyze in a future program.

It is no coincidence that the concepts behind “Close to the Edge” and “Tarkus” share many common views. CTTE is more spiritual and Tarkus more political, but they all point in the same direction: warning signs about where political, economic and technological forces can lead us to… Both pieces were written still under the influence of the psychedelic hippie movement; it was losing its grip on society in the early 70’s but still had a strong inertia.

Looking at the piece from a musical structure point of view, the first organizing principle is the juxtaposition of odd-numbered instrumental movements with even-numbered “song” movements. A second organizing principle has to do with the tempo. The first three instrumental sections are fast, whereas the first and third songs are slow – in line with the mournful character of the lyrics. The sharp and ironic lyrics of the second “song” are represented by a faster tempo. The final instrumental section combines a slow tempo – the funeral march – with the recapitulation of the sizzling opening theme.
From an overall perspective, Tarkus is organized following a nested structure:

Inst Fast – Song Slow – Inst Fast – Song Fast – Instr Fast- Song Slow – Instr Fast

So, starting from the middle movement – the only fast song (Mass) – the suite is symmetrical and begins and ends with the same material.

Now let’s look at each of the movements in more detail.

Eruption

The music in “Eruption” perfectly depicts the first scene. Its obsessive pattern in 5/4 gives a dynamic representation of what is going on: The rising pressure of the lava generated within the volcano, ends up spitting an egg out of which Tarkus emerges and runs down the hill to destroy everything at sight. One could claim that the lava represents the different forces – sociological, economic, technological – that have created this “entertainment society” devoid of spirit, cultural values, solidarity – who tries to find sense in life by way of a relentless mass consumption. The Tarkus.

The piece starts with a vocal effect. Lake recorded 20 different “ahhs” at different pitches, creating a volcanic mass that explodes into an ostinato figure. Fans with music knowledge frequently refer to this ostinato as a classic example of progressive rock using odd tempos, because the figure is written in 5/8. However, if you followed my explanation on music phrases in the analysis of “Close to the Edge”, you will see that the phrases that build up the melody rather suggest a 4+3+3 or a 4+6. So, this fragment of Tarkus is actually not an accurate example of a 5-beat rhythm. Let’s listen to it:

The form of “Eruption” is:

A – B – A’ – C – A” – C’ – Coda

Here are the beginnings of each section, so you can easily identify them:

The “A” sections are built with different variations of a bass ostinato. The use of ostinato bass figures became a trademark of Emerson’s music. Tarkus is an excellent example of his mastery in the use of this resource. It is introduced in “Eruption” but used in other sections of the suite. Here’s where you can find them in other movements:

Finally, it is interesting to point out that a rhythmic motif is used to relate the B and C sections.

In order to help you identify it, here’s a piano example. The bass note presents the figure and the treble note indicates the beats.

In section B, notice how it is used in the bass:

And then, by the organ, with a rhythm variation:

In section C, the pattern is used but in a compressed format:

And once again compressed, but this time adding two quarter note chords as a way to go back to the 5/4 pattern in A’’:

The Stones of Years

As Edward Macan points out, the lyrics of “The Stones of Years” can be summarized with the phrase:

“Tarkus has obliterated cultural tradition.”

“He speaks of time that has been ‘Overgrown, never known’, days that have ‘made you so unwise’”

With this insight, the lyrics are straightforward and require no interpretation:

Has the dawn ever seen your eyes?
Have the days made you so unwise
Realize, you are?

Had you talked to the winds of time,
Then you’d know how the waters rhyme,
Taste of wine,

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,
Never known.

Have you walked on the stones of years?
When you speak, is it you that hears?
Are your ears full?

You can’t hear anything at all.

The only matter left to interpretation is who are these lyrics addressed to. According to Peter Ford in his master’s thesis, the rhetorical questions in the lyrics are directed at the Tarkus. In my opinion, they are aimed at the listener.

The structure of the movement is:

A-inst-a-B-inst-A-inst-A-coda

I use the lowercase “a” because only 4 measures from “A” are used before entering section “B”. Each sung section is separated by instrumental passages that are based on the same bass pattern. It is interest to point out that this pattern is introduced in the coda of “Eruption”. Let’s listen to some fragments:

This “state of affairs” described in the lyrics is represented by a strange cybernetic artifact that seems to be a building that might very well represent mankind’s current situation:

Tarkus doesn’t seem to find much trouble in destroying it. It is very small in comparison to him, and the music doesn’t portray a sense of battle, but rather despair.

The second victim of “Tarkus” is a cybernetic pterosaur/warplane mutant called “Iconoclast”.

Iconoclast

This movement clearly shows the “Tarkus” in all its fury, as it goes about his business of destroying everything at sight. The ostinato figure presented in “Eruption” returns but in diminution (sixteenth notes) to convey the idea of a forceful and dynamic movement. Most of the movement is in 5/8 with intricate changes of tempo showing ELP’s performing abilities at its best.

The initial descending scale, in 2/2, represents the Iconoclast flying down to meet the Tarkus ….. and his defeat.

The form of “Iconoclast” falls into a large binary form. Part “A” includes the bass ostinato while “B” presents a more static bass with occasional ostinato appearing on Emerson’s right hand. Here’s my interpretation of what is going on: During part “A”, the Iconoclast is flying while fire and bullets are spit out of Tarkus’ fiery turrets. He runs at full speed to avoid the Iconoclast attack. Do you want to listen how Tarkus fires at the sky? Here it is:

And how the Iconoclast is shot and falls down to earth:

This event marks the end of part “A” and beginning of “B”. Now Tarkus runs to find where the Iconoclast has landed and stops in front of him. The iconoclast is in the ground, at his mercy. The ostinato figure stops – Tarkus moves in for the kill. The final measures with a breaking rhythm – short and long notes alternating in the bass, quite eloquently describe the final struggle before the Iconoclast is put to rest.

Mass

Although it may appear that the title refers to a Roman Catholic liturgical celebration, my interpretation of the lyrics is that Tarkus is destroying all forms of spiritual tradition. Religions turn into fanatic movements that defeat their own purpose: “The weaver in the web that he made”. Religion followers “committing every sin that they could”. The situation of the Middle East at the beginning of the 21st century is perfectly described with phrases like “minister of hate”, “messenger of fear”. Again, from this perspective, the lyrics require no further interpretation. They call forth some of Lake’s angriest and most imaginative lyrics:

The preacher said a prayer.
Save ev’ry single hair on his head.
He’s dead.

The minister of hate had just arrived too late to be spared.
Who cared?
The weaver in the web that he made!

The pilgrim wandered in,
Committing ev’ry sin that he could
So good…

The cardinal of grief was set in his belief he’d saved
From the grave
The weaver in the web that he made!

The high priest took a blade
To bless the ones that prayed,
And all obeyed.

The messenger of fear is slowly growing, nearer to the time,
A sign.
The weaver in the web that he made!

A bishops rings a bell,
A cloak of darkness fell across the ground
Without a sound!

The silent choir sing and in their silence,
Bring jaded sound, harmonic ground.
The weaver in the web that he made!

The form of Mass is very simple. There is no contrasting “B” section. All strophes use the same musical idea, with a tonal change in the last two. After the third strophe, there is a long instrumental section where tension is built gradually. It may very well represent the scene battle with the lizard/locust/missile launcher cybernetic creature depicted in the inner fold. It is also defeated by the Tarkus.

We finally reach the only fully biological creature, and the only one able to withstand the attack of the Tarkus: The Manticore.

Manticore

From a musical point of view, “Manticore” is very similar to “Iconoclast”. Themes are built around an ostinato, this time in a metric figure of 9/8. Again, strong syncopated sections seem to represent Tarkus firing at his enemy:

There is however, a significant deviation from previous instrumental movements: the rapid ostinato that represents the Tarkus, is suddenly stopped by fragments where the organ remains solo. The organ is presented under a rich sea of reverb, as if being played in an enormous cathedral. This might represent the spiritual or human aspect of the Manticore. Tarkus’ attacks are stopped by some sort of supernatural (mystic?) power. Let’s listen to the fragment with this interpretation:

The battle goes on and the drum solo in the end seems to signal the moment when Tarkus is stung in the eye and retreats. Note that the drum solo is preceded by the same syncopated sections that represent the attack, but this time it is the Manticore who is in control, whipping the Tarkus repeatedly with his tail until he hits the target – Tarkus’ only vulnerable spot: his eyes.

According to Peter Ford, the form of the Manticore is a six-part form with Coda. However, I believe it is better interpreted as a theme and variations with an interlude:

A – A’ – B – A’’ – A’’’ – A – Coda

Where A’ through A’’’ are variations on “A”. “B” is a short contrasting theme in the middle. At the end of the movement, the “A” theme is recapitulated and the coda is in the form of a drum solo.

Let’s listen to the movement and I will identify each section:

When the battle is over, the Manticore reflects on what has happened, as he watches the Tarkus flowing down the river, while blood pours from his left eye. He appears to be dead. But, is he?

Battlefield

Within the context of the suite, “Battlefield” appears to be a reflection, a sort of debriefing of the battle that has just ended. However, given the nature of the Tarkus, its annihilation should not produce the sense of bitterness portrayed in the lyrics. Lake, or rather, the Manticore, is clearly not singing to the defeated Tarkus. He would not tell him: “You talk of freedom, starving children fall”. Lake is clearly talking to the listener. Both Macan and Ford argue that “Battlefield” is a protest song related to Vietnam War. And I believe that they are correct. However, there is a phrase that is significant and links back to the conceptual framework of the piece:

Where the blades of grass and arrows rain
Then there’d be no sorrow, be no pain.

Quoting Macan:

This ties in nicely with the fact that the Manticore is the only non-cybernetic creature.

Here are the lyrics:

Clear the battlefield and let me see
All the profit from our victory.
You talk of freedom, starving children fall.
Are you deaf when you hear the season’s call?

Were you there to watch the earth be scorched?
Did you stand beside the spectral torch?
Know the leaves of sorrow turned their face,
Scattered on the ashes of disgrace.

Ev’ry blade is sharp; the arrows fly
Where the victims of your armies lie,
Where the blades of grass and arrows rain
Then there’d be no sorrow,
Be no pain.

Note:
There are different versions of the phrase “Where the blades of grass…..” posted in the Internet:

Where the blades of brass and arrows reign
Where the blades of brass and arrows rain
Where the blades of grass and arrows reign
Where the blades of grass and arrows rain

I’m using the latter in line with Edward Macan’s article. Obviously this is the only version where Macan’s interpretation makes sense.

The form of “Battlefield” is a simple strophic form, using almost identical music for each strophe:

Intro – A (verse 1) – A’ (verse 2) – instr solos (2) – A’’ (verse 3)

The harmonic structure of the solos, follow the same pattern of the verses.

The most interesting aspect from a musical point of view, is the anticipation of the “Aquatarkus” theme that appears between verses 1 and 2, before solos 1 and 2, and before verse 3.

Even though the music of “Battlefield” is credited to Lake, I strongly believe that some passages correspond to Emerson. Ford in his thesis also supports this theory. The complex harmony of the initial 7 measures carry the stylistic stamp of Emerson. Also, of course, the “Aquatarkus” theme corresponds to Emerson; not only because of stylistic reasons but also because the last movement “Aquatarkus”, is credited only to Emerson. I also invite you to listen to what the organ is doing while Lake is singing. I believe the harmonic embellishments also correspond to Emerson. So in addition to the lyrics, Lake is probably the author of the melody and the harmonic structure of each verse.

Let’s listen to the fragments that I believe correspond to Emerson:

Aquatarkus

The time signature, a simple 4/4, and the drum pattern, suggest a march. A “Funeral March” for Tarkus, who is forced to deal with the fact that he must now adapt to his new environment, a river. He becomes an “Aquatarkus”. The music effectively describes the “Aquatarkus” floating away, and like an agonic creature, he has sudden spams to try to recover its vitality:

The music starts to recede slowly, leaving only the snare drum. This depicts the Manticore watching as the “Aquatarkus” fades away in the distance. The snare drum keeps the mournful character of the piece.

We have stated all along that the Tarkus may not have been destroyed but was only temporarily disabled. The reason for this is by interpreting the last section of this movement: a straight recapitulation of “Eruption” indicates that the struggle is not over. Tarkus seems to come back but in what form? The last measures of the suite may give you a clue:

Resources

This analysis would not have been possible without the solid foundation laid by these two academic works:

“Rocking the Classics” by Edward Macan. Oxford University Press. 1997.

“The Compositional Style of Keith Emerson in Tarkus”. Master’s thesis presented to the School of Graduate Studies – Department of Music – Indiana State University. Peter T. Ford. August 1994.

If you have music theory knowledge and want to delve deeper in the harmonic, melodic, intervallic, modal and rhythmic world of Keith Emerson, I thoroughly recommend that you read Mr. Ford’s thesis.

All music examples have been taken from the Steven Wilson remix published in 2012. It is not better than the original, just different. It highlights details that were hidden or even omitted in the original mix. This box set is not easy to find at an affordable price. If you want it, drop me a line at contact@phaedrus.es and I will connect you to the right guy.

All the illustrations are taken from my personal copy of the Tarkus vinyl edition that I purchased around 1975.

Background music

The background music has been based on a selection of works by different Japanese bands:

• “Aurora” from the album “The Earth Explorer” by “The Earth Explorer“
• “Puyol” from the album “QUI” by “QUI“
• “Minamo Ni Tsuki” from the album “QUI” by “QUI“
• “Shadow Picture” from the album “Five Evolved from Nine” by “Ain Soph“

 
Here’s a link to the Tarkus score.

There is an excellent orchestral version of Tarkus. This video offers several movements of the suite:

There are several piano solo versions of Tarkus. This is my favorite, performed by Massimo Bucci:

YouTube link.