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Contents:
  1. Where Can I Read
  2. Echoes - Remastered Version, a song by Pink Floyd on Spotify
  3. More by Pink Floyd
  4. Echoes Act 3

Wright plays an organ solo, which lasts through the end of the "build-up". At the end of the "build-up" is a musical climax, where Gilmour plays high guitar notes in A major while the rest of the band plays only the bass notes. Following this is a short sequence structurally similar to the "build-up", except the entire chord progression is transposed up a whole tone to match the tonic of the song, C minor.


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The end of the instrumental climax leads into the song's third verse, followed by another "chorus". The band plays over two more "chorus" structures, and then a repeated, quiet verse progression serves as the outro of the song. In this section, a "choral"-sounding segment is heard. This was created by placing two tape recorders in opposite corners of a room; the main chord tapes of the song were then fed into one recorder and played back while at the same time recording.

Where Can I Read

The other recorder was then also set to play what was being recorded; this created a delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very "wet" and "echoey" feel. The piece had its genesis in a collection of separate musical experiments written by the band, some of which had been left over from previous sessions. The group then arranged the pieces in order to make a coherent minute piece originally referred to as "Nothing, Parts 1—24".

In an interview in with Mojo , when asked who had composed "Echoes", Wright stated he had composed the long piano intro and the main chord progression of the song. In the same interview he confirmed that Waters wrote the lyrics. It originally referred to the meeting of two celestial bodies.

Echoes - Remastered Version, a song by Pink Floyd on Spotify

The first verse originally took words from Muhammad Iqbal 's poem "Two Planets", and later this was rewritten with the incorporation of original underwater imagery instead. The title "Echoes" was also subjected to significant revisions before and after the release of Meddle : Waters, a devoted football fan, proposed that the band call its new piece "We Won the Double" in celebration of Arsenal 's victory, [12] and during a tour of Germany he jovially introduced it on two consecutive nights as "Looking Through the Knothole in Granny's Wooden Leg" a reference to The Goon Show and The Dam Busters , respectively.

The song was performed for Live at Pompeii , where it was split in two halves to open and close the film. It was performed eleven times on the band's A Momentary Lapse of Reason world tour , in a slightly rearranged version trimmed down to 17 minutes. Gilmour resurrected the song on his On an Island Tour as the closing number of the main set.

Wright would bring the Farfisa out of retirement just for this song for the tour. Gilmour told Rolling Stone in upon returning to Pompeii to play a solo show that he would have loved to perform "Echoes" but felt he could not do so without Wright, who had died in — "There's something that's specifically so individual about the way that Rick and I play in that, that you can't get someone to learn it and do it just like that. Similar to the Dark Side of the Rainbow effect, at-large rumours suggested that "Echoes" coincidentally synchronises with Stanley Kubrick 's film A Space Odyssey , when played concurrently with the final minute segment titled "Jupiter and Beyond the Infinite".

At the time of the film's production in —, Pink Floyd was not working on any material suitable for the film, nor were they contacted about supplying music. It is likely that Kubrick never heard the band's music until after the film was finished. The George Greenough film Crystal Voyager concludes with a minute segment in which the full version of "Echoes" accompanies a montage of images shot by Greenough from a camera mounted on his back while surfing on his kneeboard.

In interviews promoting Amused to Death , Waters claimed that Andrew Lloyd Webber had plagiarised the riff from "Echoes" for sections of the musical The Phantom of the Opera ; nevertheless, he decided not to file a lawsuit regarding the matter. He said:. Yeah, the beginning of that bloody Phantom song is from Echoes. I couldn't believe it when I heard it. It probably is actionable.

It really is! But I think that life's too long to bother with suing Andrew fucking Lloyd Webber. From Wikipedia, the free encyclopedia. It was written in by all four members of the group. Containing several extended instrumental passages, largely ambient sound effects, and musical improvisation , the track has a running time of and comprises the entire second side of the vinyl and cassette recordings.

It also appears in shortened form as the fifth track on the compilation album which took its name, Echoes: The Best of Pink Floyd. The song was used to open the band's A Momentary Lapse of Reason Tour after not having been played for more than a decade, but was retired again after eleven shows. It was revived for Gilmour's On an Island Tour , where it was performed at every show. The song begins with a "ping sound", created as a result of an experiment very early in the Meddle sessions, produced by amplifying a grand piano played by Richard Wright , and sending the signal through a Leslie speaker and a Binson Echorec unit.

After several "pings", a slide guitar played by David Gilmour gradually joins. Gilmour used a slide guitar in other certain sound effects on the studio recording and for the introduction in live performances from to In place of a chorus, a guitar riff descends chromatically from C to A, and re-ascends chromatically to C , several times before playing E major , B major , and C major. Another verse and "chorus" follow the first, and then a guitar solo plays over a verse progression and climaxes at the end of two "chorus" progressions.

More by Pink Floyd

In some live versions, a third "chorus" progression was added. Following the climax is the beginning of an extended improvisatory passage, at the seven-minute mark. Gilmour plays several short, sometimes distorted, guitar solos in C minor as well as E major, F major , A major, and B major. At eleven minutes, the improvisatory section crossfades with the "noise" section of the song which begins with a "wind" crescendo, created by Waters using a guitar slide on his bass strings and sending the signal through a Binson Echorec.

Echoes Act 3

A high-pitched screeching noise, played by Gilmour on guitar, is prominent during this largely ambient section. After observing the song being created, Nick Mason noted: "The guitar sound in the middle section of 'Echoes' was created inadvertently by David plugging in a wah-wah pedal back to front. Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we'd received from Ron Geesin in going beyond the manual had left its mark. Rooks were added to the music from a tape archive recording as had been done for some of the band's earlier songs, including " Set the Controls for the Heart of the Sun ".

At fifteen minutes, the "noise" section melts away and a Farfisa Compact Duo organ played by Wright fades in. Mason's cymbals begin faintly, then crescendo as the section continues.


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Gilmour plays muted guitar notes to match the bassline, which Waters himself begins halfway through the section. Wright plays an organ solo, which lasts through the end of the "build-up". At the end of the "build-up" is a musical climax, where Gilmour plays high guitar notes in A major while the rest of the band plays only the bass notes.

Following this is a short sequence structurally similar to the "build-up", except the entire chord progression is transposed up a whole tone to match the tonic of the song, C minor. The end of the instrumental climax leads into the song's third verse, followed by another "chorus".

The band plays over two more "chorus" structures, and then a repeated, quiet verse progression serves as the outro of the song. In this section, a "choral"-sounding segment is heard. This was created by placing two tape recorders in opposite corners of a room; the main chord tapes of the song were then fed into one recorder and played back while at the same time recording.

The other recorder was then also set to play what was being recorded; this created a delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very "wet" and "echoey" feel. The piece had its genesis in a collection of separate musical experiments written by the band, some of which had been left over from previous sessions. The group then arranged the pieces in order to make a coherent minute piece originally referred to as "Nothing, Parts 1—24".

Related: Echoed ; echoing. Sanskrit vagnuh "sound," Latin vagire "to cry," Old English swogan "to resound". Related: Echoes. What Is Phonetic Spelling? Spelling is how we put words together, but what is phonetic spelling? An alternate way to create words? Well, yes!