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Tarkus (German Wikipedia)

Analysis of information sources in references of the Wikipedia article "Tarkus" in German language version.

Last modified:

Ref.Un. Ref.Website
Global rank German rank
1111web.archive.org
1st place
1st place
33keithemerson.com
low place
low place
33fu-berlin.de
3,170th place
384th place
22redirecter.toolforge.org
29th place
2nd place
22ladiesofthelake.com
low place
low place
22offiziellecharts.de
180th place
16th place
22billboard.com
20th place
29th place
11iabotmemento.invalid
low place
low place
11williamneal.co.uk
low place
low place
11nbn-resolving.de
1,834th place
106th place
11jazzitalia.net
low place
low place
11officialcharts.com
65th place
32nd place
11riaa.com
153rd place
225th place
11allmusic.com
27th place
88th place
11babyblaue-seiten.de
low place
1,719th place
11rezensator.de
low place
low place
11zdb-katalog.de
107th place
5th place
11afka.net
low place
low place
11popmatters.com
567th place
2,488th place

afka.net (Global: low place; German: low place)

  • The 50 Albums That Built Prog Rock. In: Classic Rock. Nr. 146, Juli 2010, ISSN 1464-7834 (englisch, afka.net [abgerufen am 21. September 2022]).

allmusic.com (Global: 27th place; German: 88th place)

  • François Couture: Tarkus. In: AllMusic. Abgerufen am 23. August 2023 (englisch).

babyblaue-seiten.de (Global: low place; German: 1,719th place)

billboard.com (Global: 20th place; German: 29th place)

fu-berlin.de (Global: 3,170th place; German: 384th place)

diss.fu-berlin.de

  • Rock und Kunstmusik – Geschichte, Seite 79; auf www.diss.fu-berlin.de
  • Dazu Emerson: „Der Song war ja ziemlich modal, weil Greg in diesem modalen Stil komponierte. Deshalb würde das Experimentieren mit den Harmonien die Schlichtheit des Songs ruinieren. Sicher, im Soloteil von ‚Take a Pebble‘ war es nötig, sich nicht allzu weit von dieser Modalität zu entfernen, warum ich auf das Ostinato für die linke Hand kam und mit der rechten improvisierte. Diese Technik verwende ich immer noch recht häufig.“; aus www.diss.fu-berlin.de

refubium.fu-berlin.de

iabotmemento.invalid (Global: low place; German: low place)

jazzitalia.net (Global: low place; German: low place)

  • „Ma cominciamo dall’inizio: la successione degli accordi è semplice e ricorda molta musica di quegli anni, in cui le progressioni discendenti erano molto sfruttate. In questo caso Emerson arricchisce gli accordi con note di tensione (9, b9, #9, #5). […] L’assolo è in Do min. con la sola variante che nella cadenza ii-v7 al posto del più „canonico“ accordo semidimuito usa quello di dominante alterato dalla b9 e #5. […] Sin dall’inizio (bars 4, 5, 8, 9, 10 ma anche 56) Emerson tradisce la sua passione jazzistica usando frasi che potremmo benissimo usare nei nostri standards preferiti.“; aus http://www.jazzitalia.net/lezioni/organo/o2_stonesofyears.asp www.jazzitalia.net

keithemerson.com (Global: low place; German: low place)

  • Übersetzt nach: „I’d originally heard Ginesteras’ work in 1969. Earlier, 1971, while creating ‚Tarkus‘, Ginestera’s influence was pervasive to such an extent that I wanted to create sounds such as his but using unconventional instruments such as the Moog modular system proved testing … nevertheless I gained the Maestro’s approval.“; auf www.keithemerson.com
  • Emerson: „I don’t think I’ve said this before but, from the very beginning of ELP, Carl Palmer encouraged me in the direction of Bartok and Prokofiev … even Panufnick. It may have been because of the percussive element. So, when I introduced the music of Alberto Ginestera to him I knew it would work.“; auf www.keithemerson.com/AskEmo
  • Emerson über den Einfluss von Brubeck auf ihn

ladiesofthelake.com (Global: low place; German: low place)

  • Greg Lake: „The first LP was three individuals, then on the second we came together as a group. auf […] The time when Emerson, Lake and Palmer began to make music as one was with Tarkus. […] The reason for that was that we discovered in each of us a kind of percussive property.“
  • Emerson: „Tarkus was like a testing ground for us, I think, mainly because of the time changes and key changes. I think it was a good start for us to get into doing something that was really experimental. To that extent it means a lot to me.“; auf www.ladiesofthelake.com

nbn-resolving.de (Global: 1,834th place; German: 106th place)

officialcharts.com (Global: 65th place; German: 32nd place)

offiziellecharts.de (Global: 180th place; German: 16th place)

popmatters.com (Global: 567th place; German: 2,488th place)

redirecter.toolforge.org (Global: 29th place; German: 2nd place)

rezensator.de (Global: low place; German: low place)

riaa.com (Global: 153rd place; German: 225th place)

web.archive.org (Global: 1st place; German: 1st place)

  • Pictures at an Exhibition. In: William Neal Artist. Archiviert vom Original (nicht mehr online verfügbar) am 27. Oktober 2022; abgerufen am 15. März 2022 (englisch).  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.
  • Übersetzt nach: „Have the days made you so unwise? […] How can you know where you’ve been? In time you’ll see the sign, and realize your sin. Will you know how the seed is sown? All your time has been overgrown, …“ auf tarkus.hyperlink.cz (Memento vom 8. Dezember 2007 im Internet Archive)
  • Übersetzt nach: „The pilgrim wandered in, Commiting ev’ry sin that he could. […] A bishop rings a bell, A cloak of darkness fell across the ground, Without a sound.“; auf tarkus.hyperlink.cz (Memento vom 8. Dezember 2007 im Internet Archive)
  • „Clear the battlefield and let me see. All the profit from our victory. You talk of freedom, starving children poor. Are you deaf when you hear the season’s call?“; nach tarkus.hyperlink.cz (Memento vom 8. Dezember 2007 im Internet Archive)
  • Analyse des Stückes Close to the Edge (Memento vom 30. November 2007 im Internet Archive)
  • Nach www.emersonlakepalmer.com (Memento vom 12. Dezember 2007 im Internet Archive)
  • Emerson: “I’m very aware of what Carl and Greg like to do, and in the case of Tarkus, Carl was very struck by different time signatures. He told me that he’d like to do something in 5/4, so I said that I’d keep that in mind and started writing 'Tarkus' from there. Greg wasn't too sure about it from the beginning. It was too weird. But he agreed to try it, and afterwards he loved it.”; aus Contemporary Keyboard magazine, 1977, zitiert nach www.emersonlakepalmer.com (Memento vom 12. Dezember 2007 im Internet Archive)
  • www.s21.hopemoon.com (Memento vom 6. November 2007 im Internet Archive)
  • Emerson: „William Neal was an art student and he actually popped by Advision Studios when we were recording Tarkus and before we had a name for the music that I’d written. He came by with a set of artwork and I arrived there, took one look at it and thought it was amazing. It fully complimented the music. William had painted this mechanical creature and there were a lot of other extraordinary mythical creatures like the Manticore Lion’s head with the Scorpion’s tail, all incorporated into mad imaginary, really, and I think we pieced it together. It was almost like the painting was made to fit the music and the music was made to fit the painting, we could see some sort of surreal storyline. Although it wasn’t really portrayed in the lyrics, it was enough for the imagination to take over.“; nach www.interx.net (Memento vom 12. Oktober 2007 im Internet Archive)
  • Übersetzt nach: ‚People has stirred moved by the word. Kneel at the shrine, deceived by the wine. […] Can you believe, God makes you breathe. Why did he lose six million Jews. […] Don’t heed the word, now that you’ve heard. Don’t be afraid: man is man made.‘; auf tarkus.hyperlink.cz (Memento vom 8. Dezember 2007 im Internet Archive)
  • David Lebin: Album Reviews: Emerson, Lake & Palmer - Tarkus. In: Ro-lling Stone. 19. August 1971, archiviert vom Original (nicht mehr online verfügbar) am 10. November 2007; abgerufen am 23. August 2023 (englisch).

williamneal.co.uk (Global: low place; German: low place)

zdb-katalog.de (Global: 107th place; German: 5th place)

  • The 50 Albums That Built Prog Rock. In: Classic Rock. Nr. 146, Juli 2010, ISSN 1464-7834 (englisch, afka.net [abgerufen am 21. September 2022]).