One Last Time LSFNY

[changing_seasons]

I know you all love this piano intro by the virtuoso himself, but can anyone actually hear which notes he plays? I really want to see some sheet music of that, or some tabs or anything.. Anyone?

[Arda]

http://rapidshare.de/files/10842003/olt.zip.html (http://rapidshare.de/files/10842003/olt.zip.html)
I found this somewhere on this forum but i can't remember well so i uploaded it to rapidshare.. Hope this helps..

[Awake]

I know you all love this piano intro by the virtuoso himselfIt starts pretty good, but it really would have presented an opportunity to not play quite so many notes. It is, in fact possible, see e.g. Headspace, Hourglass.

[changing_seasons]

http://rapidshare.de/files/10842003/olt.zip.html (http://rapidshare.de/files/10842003/olt.zip.html)
I found this somewhere on this forum but i can't remember well so i uploaded it to rapidshare.. Hope this helps..


WOW that's amazing! Thanks alot! You don't happen to know who made that file? They probably tabbed out the whole intro, and maybe even more?

Man I love Jordan Rudess..

[changing_seasons]

It starts pretty good, but it really would have presented an opportunity to not play quite so many notes. It is, in fact possible, see e.g. Headspace, Hourglass.

You have a problem with Rudess playing many notes? I mean, it's just beautiful right there, and the album version also had some fast runs, so why not do it live?
Now, I'm not one who defines good music by how many notes per second is played, but I really think that fits perfectly with the song. Plus it is awesome to see him do that live.:biggrin:

[Awake]

You have a problem with Rudess playing many notes? I mean, it's just beautiful right there, and the album version also had some fast runs, so why not do it live?I didn't mean to imply that the live version's duplication of the album version was problematic; I just don't think the introduction to that song supports those fast runs, live or on record.

I'm not advocating brutal minimalism - I don't like the idea of playing "only what the song needs," because I think that can often lead to excluding a lot of things that the song doesn't strictly need, but which would none-the-less add to the song. I think a better simile (although I'm actually importing the conceptualization from statutory construction, not structural engineering) is that a song is a building; you don't have to stop once you've poured the foundation, and you don't even have to stop once you've put up four walls and a roof. You can add dormers and interior walls and all manner of stuff that it doesn't actually need, but which is nice to have. What you can't do (or at least, what you can't do and still get away with it), though, is try to put more weight on the foundation than it will support. I don't think With or Without You necessarily precludes a big guitar solo, but it does preclude a Dream Theater-style instrumental section. Likewise, I think the introduction to One Last Time simply tries to put more notes into the song than it either calls for or will support. It's just too much for that song at that part of the song; while it might have worked later in the song, if the introduction reprised, where it sits now, it overwhelms the underlying theme, and detracts from the song.

It's similar to the JP solo in Hollow Years on L@tB: that solo might well sit perfectly well in the middle of another song, but in the middle of Hollow Years, it detracts from (and in my view, it butchers) the song. Music is contextual; it isn't something you can mechanically reduce to "this number of notes is appropriate and this number isn't," it depends on context. I think One Last Time called for a more sparse approach, more similiar to, for example, Liquid Dreams or most aptly of all, State of Grace.

[changing_seasons]

I didn't mean to imply that the live version's duplication of the album version was problematic; I just don't think the introduction to that song supports those fast runs, live or on record.

I'm not advocating brutal minimalism - I don't like the idea of playing "only what the song needs," because I think that can often lead to excluding a lot of things that the song doesn't strictly need, but which would none-the-less add to the song. I think a better simile (although I'm actually importing the conceptualization from statutory construction, not structural engineering) is that a song is a building; you don't have to stop once you've poured the foundation, and you don't even have to stop once you've put up four walls and a roof. You can add dormers and interior walls and all manner of stuff that it doesn't actually need, but which is nice to have. What you can't do (or at least, what you can't do and still get away with it), though, is try to put more weight on the foundation than it will support. I don't think With or Without You necessarily precludes a big guitar solo, but it does preclude a Dream Theater-style instrumental section. Likewise, I think the introduction to One Last Time simply tries to put more notes into the song than it either calls for or will support. It's just too much for that song at that part of the song; while it might have worked later in the song, if the introduction reprised, where it sits now, it overwhelms the underlying theme, and detracts from the song.

It's similar to the JP solo in Hollow Years on L@tB: that solo might well sit perfectly well in the middle of another song, but in the middle of Hollow Years, it detracts from (and in my view, it butchers) the song. Music is contextual; it isn't something you can mechanically reduce to "this number of notes is appropriate and this number isn't," it depends on context. I think One Last Time called for a more sparse approach, more similiar to, for example, Liquid Dreams or most aptly of all, State of Grace.

I see your point, absolutely. But, to some degree at least, I consider the whole album to be kind of one big production. Through My Worlds, Fatal Tragedy, Through Her Eyes and The Spirit Carries On all begin with soft, easy piano playing, and thus I think One Last Time really calls for some fast, really beautiful parts.

As for the Hollow Years solo, I think it is some of JP's best work (along with LOTS of other people), but when I think about it, it might not fit that well into the song. Neither the music or the lyrics calls for a fast solo, and I can't even begin to compare it to the album version. Still, I prefer the Budokan version largely to the album version.

[Awake]

I see your point, absolutely. But, to some degree at least, I consider the whole album to be kind of one big production. Through My Worlds, Fatal Tragedy, Through Her Eyes and The Spirit Carries On all begin with soft, easy piano playing, and thus I think One Last Time really calls for some fast, really beautiful parts.We will have to agree to disagree. ;) I mean, I certainly agree with the proposition that music on an album such as Scenes or The Wall - which are specifically designed to be one, coherent entity, rather than simply a collection of independent songs - can and should be assessed in not only the context of the individual song, but of the album itself. I'm just not sure this rubric gets One Last Time off the hook.

As for the Hollow Years solo, I think it is some of JP's best work (along with LOTS of other people), but when I think about it, it might not fit that well into the song. Neither the music or the lyrics calls for a fast soloSee, I can't evaluate the solo on its merits, because its so contextually inapt; I'm not saying that a fast solo over a slow groove can't ever work, I'm saying it doesn't work in that song, IMHO (I'm aware that there are many people - in particular, although not exclusively, fans who DT have recruited since Scenes, and a fortiori, since Train of Thought - disagree with my assesment). To my mind, it just breaks the song's back, it makes it unlistenable in its entirety, even if I rather like the arrangement up to the point of the guitar solo.


Still, I prefer the Budokan version largely to the album version.For me, the definitive version remains the OiaL version. I love that arrangement, particularly Derek's piano work, I think it's beautiful. And it incorporates a slightly more note-dense guitar solo without going over the top.