Genesis - In The Cage (solo) - Sheet Music + PDF, MIDI file & MP3

A sheet music transcription of the In The Cage solo by Genesis from the Lamb. * * * 31/08/22 also an extra PDF with all the keyboard parts * * * PDFs etc. can be obtained thru or the usual DropBox link if you’ve already donated. Please click on SHOW MORE (just below) for more info. It’s scored, as usual, with Sibelius 7.5 The audio was created, again as usual, in Presonus Studio One v4.5. Synth: u-he Diva; used for simplicity and sounding more like the live versions from 1978 onwards when Tony stopped using the ARP Pro Solist. Organ: GSi VB3 with 00 4666 446 registration; very similar to the studio original sound. The snipets of original audio (first 2 bars and the quiet(ish) bit in the middle) are from the rear (surround) channels of the 5.1 DVD mixes. They’re only used to give context to the keyboard parts and are consequently not used for the majority of the solo. So, this is somewhat different to my usual videos and I’m aiming to do another couple of Tony’s Genesis keyboard solos in a similar vein… It just didn’t seem to make sense to do the rest of the instrumentation (like I did for the Cinema Show solo etc.) as it’s rather time consuming and, after all, the main point of these videos is to provide an accurate score for you all to use. I also didn’t like the idea of having the original Genesis studio track playing quietly in the background (like I did for Slippermen) as that would also have required a fair amount of syncing up although I have kept (to a fair degree) the various tempo changes in the original. The right-hand synth lead part is what Tony plays; easy enough to work out as it’s monophonic and the synth sound is very clear 👍 The left-hand organ chords, as with all sustained organ chords that Tony nearly always used on his solos in the seventies, are slightly trickier… Not so much what the actual notes are (and hence the chord ‘name’), but which inversion is being used. A quick discussion about chord inversions in case you’re not so familiar with them. Take, for example, a C major chord which contains the notes C, E & G. When played with one hand these are almost invariably played together in what’s called ‘close voicing’; i.e. the notes don’t have ‘gaps’ between them, so for a C chord you wouldn’t play (going from lowest note to highest note) C, G & E as there would be a ‘missing’ E between the C & G and a ‘missing’ C between G & E. i.e. there would be ‘gaps’. Plus it would be too much of a stretch for most people! But, because there are 3 different notes in this chord, each of them could be the bottom note. So you can have 3 different close voicing inversions (again, going from low to high): C, E, G ‘root position’ (cos the ‘root’ note is at the bottom) E, G, C ‘1st inversion’ G, C, E ‘2nd inversion’ (there are 3 because ’root position’ counts as an inversion). If you had a 4 note chord like Fm7 (F minor 7th which has F, Ab, C & Eb) then you could have 4 posiible closed voice inversions (called root, 1st, 2nd and 3rd). With a piano, working out any sort of inversions is fairly easy because a piano has a pretty fixed sound so it’s relatively easy to hear which note of a chord is at the bottom etc. But with organ sounds, it’s not quite as straightforward… To start off, you really need to use a fairly similar organ registration when simulating a Hammond tonewheel organ like Tony would use; i.e. you have the 9 drawbars pulled out as close to his original settings as you can. Just figuring out these drawbar settings is itself fairly difficult and takes a pretty good ear and a fair amount of practice/experience…! But, once that’s done it then becomes somewhat easier to figure out what inversions are being used! If you don’t use a similar organ sound it really is much more difficult; trust me! 😂 Which is why I’ve given the registration I used with my VB3 ‘Hammond organ’ VST at the top of this info. The upshot is that I’m 99% certain that the chords (and their inversions) that I’ve scored are correct… Note that the organ part is meant to be played an octave lower than written (hence the (8) below the treble clef) though where exactly ’middle C’ is on an organ keyboard is anybody’s guess 😂 If you use the above drawbar registration, I have no doubt that you’ll be able to figure out exactly where to play it on your keyboard 😉 Nothing else to add except that bar 15 is scored enharmonically simply because using the more correct F♭ and B𝄫 (double-flat) notes and chords just seemed like WAY too much aggro! 😂 The E𝄫 note that I use in the Fdim7 chords is about as far as I felt was necessary to stick to ‘proper’ (for the key) note name/scoring although the eagle-eyed (you know who you are SG 😉) amongst you will also have noticed that I score it as a D for the right hand; just to mix it up a bit… 😂 Enjoy! 😊👍