Nic Caciappo
What recording would be your choice of your greatest or favorite drumming performance?
I have numerous favorite pieces from different eras of the YES catalog, but certainly Cinema would be one, and Sound Chaser, of course. Sound Chaser was YES trying to sound like a manual shift car, constantly changing gears and speeds; that was our inspiration for that piece.
What recording would be your choice of your greatest or favorite drumming performance?
I have numerous favorite pieces from different eras of the YES catalog, but certainly Cinema would be one, and Sound Chaser, of course. Sound Chaser was YES trying to sound like a manual shift car, constantly changing gears and speeds; that was our inspiration for that piece.
Deb Valle
I’ve always been curious about how you went about forming/picking drum parts for cinema, in particular the hi-hat accents. what informed your choices? and was it yours or the band’s thought to have that tune be so drum-centric.
I love the words “drum-centric”. The rhythms became something I was interested in working out as the song was being developed. Trevor [Rabin] picked up on it, and built a front end to it, and off we went. The reason that the hi-hats are where they are is because I was experimenting with playing different things with different hands on the drum kit, and where most people would put a regular drum break, I would do the drum break on the hit-hat as part of the drum break. Thanks for your question!
I’ve always been curious about how you went about forming/picking drum parts for cinema, in particular the hi-hat accents. what informed your choices? and was it yours or the band’s thought to have that tune be so drum-centric.
I love the words “drum-centric”. The rhythms became something I was interested in working out as the song was being developed. Trevor [Rabin] picked up on it, and built a front end to it, and off we went. The reason that the hi-hats are where they are is because I was experimenting with playing different things with different hands on the drum kit, and where most people would put a regular drum break, I would do the drum break on the hit-hat as part of the drum break. Thanks for your question!
Hans Annellsson
Dear Alan, do you remember the first thing you wrote for YES? Is there anything on Topographic, like a melody, a chord sequence or anything else that would give you credit as a composer? If not, which is the first part of any song that has your mark on it?
The first thing that I wrote for YES was a series of chord changes and other passages that connected various parts of the Topographic album. Chris [Squire] and I contributed that way quite a bit, especially on side three, The Ancient, probably more than on some of the other parts, and of course we came up with all of the rhythmic elements in Ritual. Jon [Anderson] wrote all of the lyrics, and he and Steve [Howe] came up with a lot of the main musical themes. If you listen to side three, you can hear that a lot of the melodies are based off of what the rhythms are doing.
Dear Alan, do you remember the first thing you wrote for YES? Is there anything on Topographic, like a melody, a chord sequence or anything else that would give you credit as a composer? If not, which is the first part of any song that has your mark on it?
The first thing that I wrote for YES was a series of chord changes and other passages that connected various parts of the Topographic album. Chris [Squire] and I contributed that way quite a bit, especially on side three, The Ancient, probably more than on some of the other parts, and of course we came up with all of the rhythmic elements in Ritual. Jon [Anderson] wrote all of the lyrics, and he and Steve [Howe] came up with a lot of the main musical themes. If you listen to side three, you can hear that a lot of the melodies are based off of what the rhythms are doing.
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