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Take a Pebble (ELP) - Behind the Score: Episode 25 (Patreon)

Published:
2022-08-09 21:27:52
Imported:
2023-05

Content

I'm excited to finally dive into this piece, which I found to be already one of my favorites from this band. Join me as I peel back the layers of this beautiful and poignant classic song!

Unlisted Vimeo Link: https://vimeo.com/738042007/72e2d51a4c

Files

Take a Pebble (ELP) - Behind the Score (Episode 25)

This is "Take a Pebble (ELP) - Behind the Score (Episode 25)" by Doug Helvering on Vimeo, the home for high quality videos and the people who love them.

Comments

MrWondrous David Beckwith

I got yer plagal cadence right here in my britches! I'll prolong yer tonic! Kidding. I'd get caught. With that out of the way, let me congratulize you for this most tasteful classic, which more than most songs, showcases Greg's angelic voice. Using only piano was a good editorial choice too. Some of the percussion seemed supererogatory and added little...at least until the end, where the tympanic tonitruations were a source of horripilation and resolve.

Frank D

I love the Behind The Score episodes! You always look so happy following and explaining and critiquing the piece. I've loved this piece since it was released, lord knows how many times I've played it. Also, it was uncanny how well they reproduced this in concert. Keith really was such a great talent, as were Greg and Carl. The first supergroup indeed! Great episode Doug!

Tony Wawryk

A beautiful piece, which I never tire of hearing over 50 years since the first time. As our dictionary-swallowing friend David Beckwith says (I learned three new words today, though I'm not sure when I'll get the chance to use them - horripilation though, got to get that one in somewhere! :) ), it showcases Greg's superb voice, but also his guitar and bass playing, the latter particularly tasteful. I happen to think Palmer's work, especially with brushes, fits in well and adds tonal and rhythmic variety over the top of Keith's left-hand ostinato. They really stretched out when they played it live - sometimes a little too far - but that they took on and successfully played this incredible music live showed what talents they were (are, in Palmer's case, still a superb drummer). Thanks for walking us through this one, Doug! Pirates live from Montreal Olympic Stadium next, please!

Randy Hammill

I think I’ve always loved Keith’s piano pieces the most. Live this would become an extended improvised piano solo where he would throw in quotes from various classical, jazz, and other pieces. Greg would then have an acoustic solo section, not this solo but several of his pieces (like Lucky Man and Still…You Turn Me On). Keith tended to speed up the solo sections, though, which I think impacted their musicality. Although it did highlight how good his left hand was.

Allen

I'm wondering if Doug considers this "progressive rock": some jazz improvs, but mainly a classically-folk arranged piece?

doughelvering

It’s definitely a hybrid style…but its backbone is folk/singer-songwriter…which, given this expert treatment, becomes something really special.

Allen

Just to further the conversation about the archetypal progressive rock piece (or album), it seems like the Moody Blues's "Days of Future Passed" relies on soulful, blues-derived wailing to deliver a "mood" across their melodic/rhythmic compositions (I don't have the background you do to assess what their song structure is based around, such as meter, chord progressions, etc.). If that style of vocal delivery were to change, would it assume a more "pop"-oriented sound? Maybe that's the key to defining "progressive rock": its hybridity? Regardless, I'm looking forward to "The Inner Mounting Flame," a truly unique and standout album!

doughelvering
>>89542806

I tend to think of 'progressive' music as having a more substantial connection to the western tradition of notated/scored formal composition than 'non-progressive' music. The tradition of songwriting as a truly aural art is just as ancient as the tradition of notating compositions. Both are valid...and both continue. But, I find prog a neat vehicle for performer/composers past and present to use...as its fans seem to thrive on interesting instrumental combinations, longer-form works, a variety of styles and influences, daring rhythmic motives, and soaring melodies. This is an audience that any composer would love to write for...as the craft excites them as much as the sounds. That being said, I don't think a change in vocal delivery would make any piece of prog into a piece of pop. The vocal itself might be described as 'poppy', but the piece's structure would still be present.

Allen

Thanks Doug! I'm interested in vocalization because my gut sense is Led Zeppelin, for example, would have a different audience if someone like Buddy Holly were singing to the music of Bonham, Page, and Jones? I'm assuming, however, that Holly would be motivated to sing in a different manner based on Zeppelin's hard-driving rhythm section and Page's mode of composition. It's an interesting question as to how vocalists contribute to the songwriting process. I guess it depends on the seed of the song (if the vocalist presents a piece of music, a demo on tape, and the bluesy quality is already there, vs. the guitar/bass player initiating the first fragments of what would become the finished song).

Gerard Dion

Thank you Doug for your analysis of this beautiful song! I really enjoyed it! It really presages what ELP will later become and is a fine showcase for the brilliance of Keith Emerson IMO. It's terribly sad that he's no longer with us. I would have loved to hear you both discuss this song together. Now, when are you getting to Pirates, please?

Gerard Dion
>>89352943

This song is a great example of prog rock as the band seamlessly combined different musical genres. Emerson was the greatest at it IMO.

Gerard Dion
>>89542806

I agree with your analysis of prog rock, Doug as I've been an ardent fan for over fifty years! it's a pity that this subgenre fell out of fashion so quickly, especially given the sorry state of pop/rock music today.

Kathy Ratino

Did you catch Bach's Two-Part Invention No. 1? https://www.youtube.com/watch?v=sQIVQ3ZirPA