Genesis - Eleventh Earl of Mar - Piano Sheet Music + PDF, MIDI file & MP3

A sheet music transcription of Eleventh Earl of Mar by Genesis from Wind & Wuthering.
PDF etc. can be obtained thru https://www.buymeacoffee.com/ElektrikHob or the usual
DropBox link if you've already donated. Please click on SHOW MORE (just below) for more info.

Had a few requests for this one. Wasn’t sure how well it would turn out as there’s barely any noticeable piano in it; organ and synths are much more prominent.
In fact the only stand-out piano bit are the arpeggios at the end of the Bridge section!
But I’ve given it a go and hopefully it’s turned out Ok… 🙂

Anyway, it's scored, of course, with Sibelius 7.5

In the audio, Phil’s vocals and Steve’s guitar come from the centre channel of the 5.1 DVD mixes although I’ve had to add the short “Eleventh Earl of Mar…” bits myself because they weren’t isolated on the centre channel; they were mixed in with the instruments on the two surround channels.
The “ahh” vocals towards the end are pitch-shifted & cross-faded versions of Phil’s original “ahh” sound at the end of “…features are burning”.

The piano audio was created in Presonus Studio One v4.5 using Modartt’s Pianoteq 7 Steingraeber Grand piano and processed thru FabFilter’s Pro-Q3 and Valhalla’s VintageVerb & Delay.
A quick shout-out for FabFilter and Valhalla; I regularly use their stuff and highly recommend pretty much ANY of their plugins!
And u-he (who I’ve also used before) deserve a big hello too; their Diva, Repro and freebie Triple Cheese synth plugins are superb!

Although I think this transcription works well on a real grand or upright, I’d recommend adding a touch of slightly-modulated delay as well as reverb if you’re using an electronic keyboard or computer plugin; just to give it, as I’ve done here, a little more sense of depth and impact.

As is often the case, liberal use of the sustain pedal is required.

First thing to note is the time signature for nearly all of it (except the 7/4 bars in the Middle).
I’ve simply called it 8/8 (in the PDF - thanks Si 👍 In the video it’s 4/4).

If I were being fussy, I would’ve put:
3+3+2/8 for the end of the Intro and the Verse;
4/4 for the rest of the Intro, Bridge, Middle End & Outro;
3+2+3/8 for the rest of the Middle with the exception of bars 86-87 & 90-91 which would’ve been 3+3+2/8 (and the 7/4 bars obviously).
Actually this is what I did originally, but it looked far too complicated and unnecessary!

These 3,3,2 & 3,2,3 rhythms are pretty essential to the piece and I feel my way of grouping the quavers to indicate such is preferable even without the time-signature emphasising the point.
I reckon that any of you playing this piece, using my score, will know the original so you’ll be aware of the rhythmical emphasis in each bar so don’t need me complicating things.

More performance notes are available in the PDF.