References analysis of the Wikipedia article "Tarkus" in the German version

IABotmemento.invalid

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.

fu-berlin.de

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

Bernward Halbscheffel: Progressive Rock und Avantgarde. In: Rockmusik und klassisch-romantische Bildungstradition. Freie Universität Berlin, Berlin 2000, S. 242, urn:nbn:de:kobv:188-fudissthesis000000000224-1 (fu-berlin.de [PDF; abgerufen am 10. April 2021] Dissertation).

jazzitalia.net

„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

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

Greg Lake: „The first LP was three individuals, then on the second we came together as a group. auf [1] […] 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.“ [2]

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

redirecter.toolforge.org

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).

web.archive.org

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)

williamneal.co.uk

Tarkus (German Wikipedia)

IABotmemento.invalid

afka.net

allmusic.com

babyblaue-seiten.de

fu-berlin.de

diss.fu-berlin.de

refubium.fu-berlin.de

jazzitalia.net

keithemerson.com

ladiesofthelake.com

nbn-resolving.de

popmatters.com

redirecter.toolforge.org

rezensator.de

web.archive.org

williamneal.co.uk

zdb-katalog.de