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The Gates of Delirium Diagram ScriptWholeogram Man said Sep 29, 12:54 PM: |
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As is the Phoenix (the sacred firebird in Egyptian mythology where the bird fiercely and painfully burns and then somehow rises, transforms, from its own ashes of despair into a new young bird), so too is The Gates of Delirium. From the new book “Spontaneous Evolution,” “The story of a structure (humanity) failing and something else rising is a familiar one that plays out over and over again in the biosphere (nature). Life is in a constant state of perpetual re-creation.” *** The Gates of Delirium by Yes The script to the audio CD (a voice-over diagram) by Mark Smith Inspired deeply from Thomas Mosbo’s book “Yes – But What Does It Mean?”
Out of the ashes our spirits will rise again. Introduction The introduction sets the stage for the drama about to unfold. Theme A is then intoned by Howe’s guitar. Suddenly it is interrupted (Squire’s Bass) by the 1st third of Theme B.Howe quickly returns to Theme A. But Squire cut’s in again, adding the 2nd third of Theme B. Opening sounds are heard again, yet are embellished, followed by Howe’s restatement of Theme A. The complete B Theme (or the “Voice of Reason” theme) is then boldly stated. This important Theme will be heard later in the Development section of the song. A combination of both Themes A (Howe) and B (Anderson) is heard, on top of a portentous bass statement that will also be heard again in the Development. Howe then takes up a variation of the 2nd half of Theme B for the final segment of the Introduction, which ends with powerful and rhythmically descending notes.
Exposition Relaxing the musical tension slightly, thus starts the intro of the Exposition, Theme C - the song proper – sung by Jon Anderson. (Verse 1 “Stand and fight” & 2 “Stand the marchers”) Howe plays a brief snatch of Theme D, which will also play an important role later in the Development section. Theme E “Choose and renounce” (similar to Theme C) Howe presents the transitional Theme F. Theme C expanded. (“Wars that shout”) Theme D is repeated. Theme E repeated. (“Words cause our banner”) Moraz on keyboards adds intensity to transitional Theme F. Development Howe uses Theme D to transition seamlessly into the Development section. With great fervor, Howe expands on this same Theme. “The Voice of Reason” Theme B is heard, then, like a Jekyll and Hyde flip “The Voice of Delirium” Theme B is heard. (The same Theme using different lyrics). Howe uses Theme D again to transition into the completion of the Development section. Alternating between Theme’s D and A, and Squire accompanying with his own determined riff, Howe prepares for the Recapitulation section with his guitar becoming increasingly shrill and nerve wrenching. Recapitulation A feverish Theme E “Devil’s Sermon.” (“The fist will run”) Howe leads the band with Theme D for the last time to complete the Development section and to segue into the Battle Sequence. Battle Sequence 1 Galloping like a horse in the Apocalypse, the feverish Theme G is introduced by Squire’s bass. Moraz’s keyboards adds to it with his Theme G(a). The fever of delirium is darkened by Howe’s Themes G(b) & G(c). Moraz’s intelligent, yet horrifying, Theme G(a) is repeated. Howe continues the poison with Themes G(b) & G(c) again, yet adding to it by pronouncing Theme G(d) that concludes with 4 beats. Moraz then intensifies it! The delirious fever increases with an extremely powerful restatement of Theme G. Moraz’s distressing Theme G(a) is heard again. Howe reaffirms the evil with Theme G(d), that concludes this time with 5 beats. Battle Sequence 2 Without a breath, we dive into the heat of the bloodbath. The deadly sharp blade of Theme H is declared by Squire’s bass, a 3+4+4 rhythm. The blade is sharpened by the jagged Theme I, a (2+3) + (2+4) + (3+3+3) rhythm. Like a gang of demons, Howe and Squire join forces by restating Theme H. The lust for blood increases as the jagged Theme I is repeated. The evil is now eerily beyond words as the Squire-and-Howe-gang unite to restate Theme H. The deliriously insane passion for blood is completely out of control by the restatement of Theme I. Battle Sequence 3 The madness intensifies and concludes with Moraz’s return to the expanded Theme G(a). The insane rage is completed by White’s bludgeoning of the enemy over and over and over again! Demonic Victory Song The victor gloats over his decimated adversary in delirious delight! Moraz screeches and howls out the Demonic Victory Song, a Theme all its own.The sinister laughter from Howe’s guitar, and the pulsating blasts from Squire’s bass, ride the wave of the power of the battle and transform it into a wickedly glorious triumphant revel!Then the music collapses with a last few shudders, as if falling asleep after gorging itself. ***
Angelic Forgiveness Song The war is over. Our spirits are crushed. And the music has left us exhausted. Dreaming contentfully of victory, the demon then senses a presence. A kindly light breaks through in the demon’s dream. At first sickened by the lights kindness, eventually the demon yields to the depths of the lights sad beauty. As Forgiveness’s companion, Howe then tenderly introduces to us Theme J. The voice of the Angel echoes Theme J by affirming prayerfully “Soon, oh soon the light” and “Soon, oh soon the time” Theme K (“Long ago”), with the added beginning piece of the “Angelic Forgiveness Song.” Returning to the prayerful affirmation of Theme J. (“Soon, oh soon the light”) Howe tenderly echoes this Theme, then expanding with passionate modulations. Encapsulating the affirmative prayer is Jon Anderson’s Theme J “Soon, oh Soon the light” The loving conclusion to the “Angelic Forgiveness Song.” Like flowing water that fills the low places, forgiveness naturally brings love from the source where God resides, within each of us, and within the demon. “Hymn of Compassion” Finale Out of the ashes our spirits will rise again.### (Personal Note: I chose the title “Angelic Forgiveness Song” as opposed to Thomas Mosbo’s “Angelic Victory Song,” for I feel that this piece is not so much about good triumphing OVER evil as it is good transcending evil, transforming beyond them both, and thus awakening from a nightmare. For the audio CD (free) email Mark Smith at dimension05@sbcglobal.net . The music of “The Gates of Delirium” is on their 1974 album “Relayer.” |
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