One day many years ago, I decided to learn the soulful ballad part of the Flash Gordon theme, by Queen, on piano.
The song is epic, there's a certain majesty and power in the music. It's very dramatic but there was one part I just had to learn, a small segment I was really feeling. It was during the slow part, when Mercury sings:
"No one but the pure in heart, can FIND THE GOLDEN GRAIL, Oh Flash, oh oh..."
It's a 2 Bar Pattern = 1 2 3 4, 1 2 3 4, (repeat & fade), (1) F Major (2), (3) C Major (4), (1) F Major (2) F# Minor 7 Flat 5, (3) G 11 (4). The chords were F Major to C Major with the 3rd (E) in the bass.
(F Major) "No one but the", (E /C major) "pure in heart." Is a descending, chromatic bass line.
But "Find The Golden Grail", was the part that really grabbed me. It was triumphant, uplifting.
" FIND THE GOLDEN GRAIL" was F Major to F# / A Minor (F# Minor 7, Flat 5), to G / F Major (G 11).
It's an ascending chromatic bass line, very powerful.
(I'ave recently discovered that the F# Minor 7 Flat 5 chord is actually a D 9 chord without the D root, which only goes to show you don't have to know what you're doing, to Just Do It.
Anyway, this chord progression would serve as the foundation. You see at that point in time I was much more limited in terms of my awareness of the infinite possibilities, because I had a system. Play the 2 Bar Pattern by finding a cool synth pad mixed with electric piano and laying it down over a funky beat. From there I would add counterparts, layering or building these grooves until it all sounds good, until it works. You listen to the music over and over, picking out the best parts, the most hypnotic riffs, the catchy hooks, the magical moments where holy accidents happen. I was launched, I was on my way, but I had no chorus... Funny thing, after I kinda figured out these chords I stopped learning the Flash Gordon song.
Time would pass, probably years...
One day while learning some Guns n Roses, probably from Guitar Player magazine or some other zine that Transcribed or Lifted the guitar parts of hit songs, it was probably Patience / November Rain or a bit of both.
I found 4 chords: G Major to D Major, F Major to C Major, that was it. Now I had the Chorus or The Hook.
Usually the beat came first, but this time it was created last.
The drum beat would be the foundation, everything else would be built on top.
I made a beat I liked, it reminded me of "The Beautiful Ones" by Prince.
I got hyped, now I was good to go.
I was in the studio now, putting it down, layering tracks.
Things was moving now, the song would be ready soon.
In the studio, you can add parts and layer forever.
But one too many parts, and the song become too muddy / too heavy.
Space was indeed a crucial factor.
One day the voice in my head said, turn off the drums and listen. Just to see if everything works, to check if the seperate parts can both standout on their own, yet compliment each other when played together.
When I turned off the drums that day, that's when I really heard it.
It was orchestral, like a symphony.
It was something new. Unlike anything I'ave ever done before or since.
For me, arranging this song lead to a major breakthrough, I consider it a masterpiece.
The concept of no drums was the last thing I expected, previously the drums and or bass was allways the foundation. By going against the grain I was forced to innovate, creating a style I hope to explore further...
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