In this issue we analyze two pieces from the album “Fragments of Light”, one of the most experimental Kotebel albums.
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.
