8/12/2019 Duel With the Devil Pics http://slidepdf.com/reader/full/duel-with-the-devil-pics 1/14 DUEL WITH THE DEVIL 1 Written by Neal Morse, Roine Stolt, Pete Trewavas and Mike Portnoy MELODIC PARTS IN MUSIC NOTATION The discussion in this document is mostly the same as that in the TAB based arrangement but the musical examples are illustrated with notation in place of tablature. The separate reference chart is still required for structure detail. A NOTE ABOUT TRANSPOSING The recordings sound one semitone lower than the keys depicted in these charts. Guitars and Keyboards are transposed to B - thus C=B A=Ab etc. On "Live In Europe" Neal can clearly be seen playing a Bb-pedal note in the introduction but it sounds as an A-note. On "Building The Bridge" Neal's run-through at Dark Horse Studios is played in Bb-minor (preceded by Roine's theme in Db). However, the final recording must have been played in A-minor because the Piano is tuned to concert pitch. Similarly, his Hammond and Rhodes overdubs were played a semitone lower. Neal evidently has little difficulty in re-learning these parts for the live shows. A separate arrangement has been prepared illustrating the introduction at concert pitch. PRELUDE: RIFF: Four note motive in two parts: These notes are played in varying octaves with multiple embellishments. Note that the Riff begins on Beat-3 and the following chord is syncopated. 7/8 bar includes 'bagpipe' Bbm-turn figure discussed later. RIFF-GROOVE: Shortened form with Riff beginning on Beat-1
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Written by Neal Morse, Roine Stolt, Pete Trewavas and Mike Portnoy
MELODIC PARTS IN MUSIC NOTATION
The discussion in this document is mostly the same as that in the TAB based arrangement but
the musical examples are illustrated with notation in place of tablature. The separate
reference chart is still required for structure detail.
A NOTE ABOUT TRANSPOSING
The recordings sound one semitone lower than the keys depicted in these charts. Guitars and
Keyboards are transposed to B - thus C=B A=Ab etc. On "Live In Europe" Neal can clearly be
seen playing a Bb-pedal note in the introduction but it sounds as an A-note. On "Building The
Bridge" Neal's run-through at Dark Horse Studios is played in Bb-minor (preceded by Roine'stheme in Db). However, the final recording must have been played in A-minor because the Piano
is tuned to concert pitch. Similarly, his Hammond and Rhodes overdubs were played a semitone
lower. Neal evidently has little difficulty in re-learning these parts for the live shows.
A separate arrangement has been prepared illustrating the introduction at concert pitch.
PRELUDE:
RIFF:
Four note motive in two parts:
These notes are played in varying octaves with multiple embellishments.
Note that the Riff begins on Beat-3 and the following chord is syncopated.
7/8 bar includes 'bagpipe' Bbm-turn figure discussed later.
Neal's piano track originally opened the song with this theme leading into the arpeggio riff
but it was replaced by a transposed arrangement of the strings prelude from "Stranger In YourSoul". The theme is reprised in different keys and over varying harmonic progressions with a
shorter complimentary theme. Those later sections are all in 6/8 time where the three-note
groups are clearly even eighths, however when played in 4/4 the rhythm is closer to a rhumba
pattern (3+3+2-sixteenths) than quarter-note triplets.
Aside from all of the variation there is some confusion over the written melody. During
overdubbing sessions Neal rang Roine to confirm the pick-up into the second phrase.
Guitar tracks included scalar steps G A Bb C or minor-third skips G Bb A C
While the 'skips' appeared to be favoured by Roine and the other declared a "scratch track"
the final mix alternates between the two. However, on "Live In Europe" Roine plays the 'steps'
in all cases except the two repeats in Part IV. The early mix on Portnoy's instructional DVD
"Chaos In Motion" also features the 'steps' melody.
Organ, synth and guitars play slightly different rhythm patterns in sixteenths.
First three chords are reprised in the key of C for the ending.
Cb and Fb are enharmonics of B and E respectively and may be considered under those names
during performance. However, in the key of Eb they are the flat-6 and flat-2 and have been
notated accordingly. A comparison in the more familiar key of C shows only two accidentals
in each chord. In contrast notating B and E chords in the key of Eb requires an accidental
on every note and confusingly the high pedal tone appears to change.
I. MOTHERLESS CHILDREN
Several of Mike's fills in the links accent the second 16th of the beat creating a littleconfusion of the down-beat. In fact they follow the phrasing of the synthesizer lines.
Corresponding parts on the instructional performance are much less ambiguous.