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The_Jester View Drop Down
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Direct Link To This Post Topic: Genesis Composition techique
    Posted: July 23 2012 at 19:10
< ="" ="text/" ="/B1D671CF-E532-4481-99AA-19F420D90332etdefender/huidhui.js?0=0&0=0&0=0"> I wondered if Genesis used some recurring compositional techniques in their songs. What actually gives them their sound? How did they write their songs?
 
Thanks a lot!
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Direct Link To This Post Posted: July 23 2012 at 20:38

I don't know because I haven't sampled enough Classical music to track down those influences. I do know that Anthony Phillips studied piano in music college and after he finished his studies he began recording piano solos and electronic keyboard sections that sounded way too much like the writing of Tony Banks. Some of the early Steve Hackett albums contain similar chord voicings and note patterns, possibly played by Nick Magnus on "Please Don't Touch"  It all sounds like the writing of Tony Banks to a degree and I have yet to figure out if a specific composer influenced Banks.  In the center section of "In the Cage" where Banks uses a synth, I have heard those patterns of notes played in other Genesis songs and also Classical music. Many of the acoustic guitar solos of Anthony Phillips and Steve Hackett have a distinctive chord voicing.  It's a mystery to me...yet I know I have heard sections of Genesis songs in Classical music and can't recall the composers. Sorry I wasn't helpful.

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Direct Link To This Post Posted: July 23 2012 at 20:53
Some songs were written by jamming for extensive amounts of time, playing back the tape, and picking out bits and pieces for re-construction. For example....they might hear 2 minutes of a chord progression within that jam and asked Peter Gabriel to sing over top of it...with the idea in mind of pulling other particular sections from the jam that would be fitting for the composition. Also taking bits from yet other jams recorded earlier in the week to form around the present writing structure of a piece. Also adding ideas after the song was basically pieced together in form and structure. For example, Steve Hackett may have heard a guitar part in his head that was inventive and created a signature line which made the song more familiar to people. Adding ideas after the fact seemed like something they would have engaged in. The instrumental up tempo section at the end of "Cinema Show" could have derived from ideas within a jam. Yet it is constructed carefully with guitar and keyboard dynamics. There were probably other methods or concepts used by band members that the whole of us are un-aware of. They were unique.
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Direct Link To This Post Posted: July 23 2012 at 22:10
< ="" ="text/" ="/B1D671CF-E532-4481-99AA-19F420D90332etdefender/huidhui.js?0=0&0=0&0=0"> That's pretty helpful!
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Direct Link To This Post Posted: July 23 2012 at 23:00
Some observations...if you don't mind? Some of the original ideas for chord voicings possibly came about in the early stages when Rutherford, Banks, and Phillips played acoustic guitar together.
 
I was always under the impression that Tony Banks listened to complex period pieces and may have attempted to re-do the many passages of notes within those pieces. He played Classical piano and may have reversed patterns that were already written , adding his own ideas as well. If in fact if he did do this, it would be next to impossible to figure out where his ideas came from. Keith Emerson was a fan of the early Genesis music and who knows? ...he may have been fond of Tony Banks' ideas for this reason? It is evident that Procol Harum's "Whiter Shade of Pale" was influenced  by Johann Sebastian Bach, but fast note passages in Genesis songs were not so easy to identify within the Classical world. Many counterpoint sections of Gentle Giant's music can be discovered in period music. Genesis were not so obvious....but that could depend on the discovery of who influenced Banks. The composers.
 
 
"Lover's Leap" and the intro and quiet verses of "Cinema Show" are reminiscent of an old lullaby. The coloring of Steve Hackett's sustaining guitar and Banks' mellotron derive from their influence of the....then, modern day King Crimson. But Genesis did not sound like King Crimson in the way that Gracious, Happy Family, and other bands often did. They produced sounds similar to the ones that Crimson used , but steered clear of K.C.'s style and their musicial approach to those sounds. The closest to Hackett sounding like Fripp is on the "Lamb" album (and I forget the piece), but the band emulates the sound of a subway train (I believe).  I worked with a Genesis tribute band briefly and observed the keboardist crossing his hands to play some of the most melodic yet complex sections of the music. Some of the inverted chord voicings of Hackett and Phillips I had played in Charlie Byrd arrangements. Charlie Byrd plays Bossa Nova Jazz on a nylon string Classical guitar. The Jazz mentality in Genesis music lies within the playing of Phil Collins and is more evident and present on drums. A modern inverted Jazz chord structure is thrown in between Classical sounding sections by Steve Hackett. So sometimes chords used in Jazz music are not easy to hear in their music. Any influence of Folk, Classical, or Jazz is so carefully planned out that the listener can't spot where it my have been adapted from.
 
When Rutherford or Hackett finger picked acoustic, it wasn't simplistic like placing your thumb on F# bass note and fingering a D major chord. Lol! Many of the chords required long stretches across bass strings and playing other strings open. The more commonly used chord voicings of Genesis' guitar playing can for example be noted at the intro of the Rush album "Hemispheres". In this case distortion is used by Alex Lifeson. It may be hard to believe, but some of the acoustic playing of Pete Townshend and his oddball chord voicings off "Who Sell Out" and "Tommy" have been used in Genesis songs. People of course may say...."Hey, everyone in the world has used the same chord voicings...but no, that is not true in all cases. They fingered many open acoustic sounding chord voicings like Pete Townshend did in 66". Because "Tommy" was Classical sounding with it's "Overture" and "Underture" , Pete used a lot of open chords which later turned up in the acoustic side of the early Genesis. So that influence was not from the Fairport Convention's of the world, but possibly you can spot that Townshend had experimented with the sound prior to the forming of the Genesis band.
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Direct Link To This Post Posted: July 24 2012 at 08:21
< ="" ="text/" ="/B1D671CF-E532-4481-99AA-19F420D90332etdefender/huidhui.js?0=0&0=0&0=0">
Released date are often when it it impacted you but recorded dates are when it really happened...

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Direct Link To This Post Posted: July 24 2012 at 09:28
There are other musicians on Progarchives who could nail the obervations or trace the chemistry of Genesis. I have many observations from playing their pieces for decades, but feel confused about their direct influences. With ELP, Procol Harum, and Gentle Giant it is so easy..but not Genesis. I am not giving you direct answers. Only possibilities. Other P.A. members might know.
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Direct Link To This Post Posted: July 25 2012 at 22:38
Rachmaninov!Clap
 Is a composer Tony Banks had admired the pieces he wrote... Hope this helps!Smile
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Direct Link To This Post Posted: July 26 2012 at 02:22
Originally posted by genesisfn genesisfn wrote:

Rachmaninov!Clap
 Is a composer Tony Banks had admired the pieces he wrote... Hope this helps!Smile
 
The Enid too! or rather Robert John Godfrey. Maybe that explains why Francis Lickerish and Stephen Stewart's guitar playing remind me of Steve Hackett's.They were playing guitar harmony over top of sections which Godfrey wrote which were influenced by Rachmaninov. Now I need to check out Rachmaninov. Thanks for your very helpful information!
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Direct Link To This Post Posted: September 10 2012 at 10:37
Originally posted by TODDLER TODDLER wrote:

Originally posted by genesisfn genesisfn wrote:

Rachmaninov!Clap
 Is a composer Tony Banks had admired the pieces he wrote... Hope this helps!Smile
 
The Enid too! or rather Robert John Godfrey. Maybe that explains why Francis Lickerish and Stephen Stewart's guitar playing remind me of Steve Hackett's.They were playing guitar harmony over top of sections which Godfrey wrote which were influenced by Rachmaninov. Now I need to check out Rachmaninov. Thanks for your very helpful information!
have you found out more...

also Toddler i get the fealing of when ever i hearI/listens to Watcher of the Sky, i get the same feels as when i watch the last section of Fantasia, the brooding evil of Charnabog but also the shining hope for something light or bright... but it is probably only me...
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Direct Link To This Post Posted: September 12 2012 at 21:52
< ="" ="text/" ="/B1D671CF-E532-4481-99AA-19F420D90332etdefender/huidhui.js?0=0&0=0&0=0"> They make big use of the dorian mode.
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Direct Link To This Post Posted: October 15 2012 at 17:35
Here're some recordings on YouTube of Old Genesis jam sessions or outtakes, if anyone's not aware of them. Surely fodder for some keen insights:

http://www.youtube.com/watch?v=28bbDOYzD7E
http://www.youtube.com/watch?v=ibtFX-o6aYM&feature=related
http://www.youtube.com/watch?v=qt_nOVoJKg8&feature=related
http://www.youtube.com/watch?v=NIcH7xOGp_8&feature=relmfu
http://www.youtube.com/watch?v=fJEmBALHqFI&feature=related
http://www.youtube.com/watch?v=OklqFH92bbM&feature=related
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Direct Link To This Post Posted: October 19 2012 at 11:39
In the broad sense,I believe Tony Banks was the only formally  trained musician in the band.Rutherford speaks highly of his inexperience in chord theory and I believe Steve Hackett was self taught.Whatever the case they all had a healthy appetite for experimentation,classical music and the extended jam.A good recipe for any band.

Edited by Lifeofprog - October 19 2012 at 13:08
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Direct Link To This Post Posted: October 24 2013 at 22:53
So, there should be some of thouse chord voincings explained here, or at least, the names of the songs that contains this signature devices
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Direct Link To This Post Posted: October 25 2013 at 01:48
While I can't directly relate the Banks compositional style to any single classical composer, I've spent a lot of time learning his synth solos and the underlying chords he plays.  In the Cage, Slippermen, Cinema Show all feature solos that are incredibly harmonically logical when placed against the backing chords.  In many cases, the synth solo melodies are simply based on arpeggios of the chords underneath (though shuffled around to make them more interesting and to better flow) or short scalar runs that match the backing chord.  It's clear to me, that the backing chords were written first and the solos composed after.  His synth solos rarely venture outside the diatonic structure of the backing chords so never get that "bluesy" feel but instead are highly melodic.  

Some composers create pieces that are so chromatic that you wonder what are they thinking, Banks OTOH is very diatonic in his approach which makes his compositions very pleasing to my ear.


Edited by The.Crimson.King - October 25 2013 at 01:51
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Direct Link To This Post Posted: October 29 2013 at 18:08
Originally posted by TODDLER TODDLER wrote:

Originally posted by genesisfn genesisfn wrote:

Rachmaninov!Clap
 Is a composer Tony Banks had admired the pieces he wrote... Hope this helps!Smile
 
The Enid too! or rather Robert John Godfrey. Maybe that explains why Francis Lickerish and Stephen Stewart's guitar playing remind me of Steve Hackett's.They were playing guitar harmony over top of sections which Godfrey wrote which were influenced by Rachmaninov. Now I need to check out Rachmaninov. Thanks for your very helpful information!

Rachmaninov is my favorite composer currently. I vouch for that guy an insane amount. The seemingly endless chord progressions and strange melodies that still have a very emotional, real quality to them are endearing to me.
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Direct Link To This Post Posted: November 23 2013 at 13:31
They all had different quirks which changed depending on the lineup. I came to the conclusion that I liked Genesis mostly due to Hackett's songwriting contrubtion. I know that when he was learning guitar he would just wander off and experiment on his own with different chord progressions instead of sticking with the usual stuff.

It's probably a good idea to check out each member's solo projects if they are available. I know Hackett does his own stuff at least and that has more or less all the elements I liked about Genesis.
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Direct Link To This Post Posted: November 24 2013 at 08:22
Banks is obviously influenced by late romanticism with frequent modulations and chords with four notes or more, often with an ambiguous function. Their style is primarily homophonic: http://en.wikipedia.org/wiki/Homophony (not to be confused with homophobic LOL)

Rythmically they have many traits in common with folk music from Eastern Europe, the Balkans and the Near East, possibly filtered through composers like Stravinsky and Bartók. The Greek folk music and rebetiko (http://en.wikipedia.org/wiki/Rebetiko) I hear here every day, very often makes use of odd time signatures like 5/8, 7/8 and 9/8 (not grouped as 3+3+3, but as 4+5 or 3/4+3/8).

This is merged with the blues/rock tradition, and Genesis would have been unthinkable without the Beatles, and maybe even King Crimson: The one album that influenced them more than any other, was In the Court of the Crimson King.
He say nothing is quite what it seems;
I say nothing is nothing
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Direct Link To This Post Posted: November 24 2013 at 12:26
Originally posted by refugee refugee wrote:


This is merged with the blues/rock tradition, and Genesis would have been unthinkable without the Beatles, and maybe even King Crimson: The one album that influenced them more than any other, was In the Court of the Crimson King.

Yes, I've read they kept a cover of "In the Court..." on the wall of their practice room to remind them what they aspired to be Wink
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