Скачать с ютуб Rush ~ YYZ ~ Time Machine - Live in Cleveland [HD 1080p] [CC] 2011 в хорошем качестве

Rush ~ YYZ ~ Time Machine - Live in Cleveland [HD 1080p] [CC] 2011

"YYZ" (pronounced "Why-Why-Zed") is the third song from the band's eighth studio album "Moving Pictures" which was recorded in October & November 1980 and released on February 12, 1981. YYZ is the IATA airport identification code for Toronto Pearson International Airport, of Rush's native area of Toronto. It is common practice for air navigation aids to broadcast their identifier code in Morse code using VHF omnidirectional range (VOR). A plane using VOR equipment would then always know it's tracking the right station. The song's introduction, played in a time signature of 10/8 repeatedly renders the letters "Y-Y-Z" in Morse Code. (YYZ = .- .- --.. in Morse Code) These codes are also written on your luggage tags when you fly. The band was introduced to the rhythm as Alex Lifeson flew them into the airport. Peart said in interviews later that the rhythm stuck with them. "YYZ" is structured on the sectional arrangement of A-B-C-B-A (with each of these sections containing smaller subsections). The song starts with the YYZ Morse Code played by Peart on the crotales (A). The guitar and bass join this pattern, using the dissonant interval of the tritone (also known as the augmented 4th or diminished 5th) to distinguish Morse Code dots and dashes. The guitar and bass render the code by playing the root note of C for the "dashes" and the tritone F# for the "dots". In live performances, the synthesizer part is played by bassist/keyboardist Geddy Lee using a pedal MIDI controller (Korg MPK-130 & Roland PK-5) while he simultaneously plays the bass part. After two cycles of the melody, the synth ceases, and the bass drops one octave, the introduction ending on the guitar, bass, and drummer making hits on only the "dashes". A brief (one measure of two-four time; i.e., a half-note rest) pause follows, before the next section. The next section features the guitar, bass, and drums playing stop time scale runs for three measures in melodic and rhythmic unison. The first two measures of this section follow scale patterns in several keys, before resolving to set up the key of the following section. The next pattern follows a verse structure, going from an F sharp minor (F# blues scale) tonality to a Am (A blues scale) tonality and back again. Alex Lifeson then introduces another theme, this time in a B mixolydian tonality, while Geddy plays supporting bass notes which follows the new chord progression. The chord progression is B7 to C major with each player's part interacting with the other melodically and rhythmically. In the next section (C), the guitar provides structure with rhythmic B7 and C7 chords, with the bass and drum trading fills at the end of each section. After the final, extended drum fill, the guitar solo is based on the 5th mode of E Harmonic Minor, sometimes called B Phrygian dominant, amongst other names. As the B major and C major chords are the V and bVI chords of the key of E minor this is a brilliant musical deduction on Alex's part, as using this scale helps him to achieve a seamless integrated tonality in the solo (and quite exotic sounding too), rather than basing his solo lines on a more jagged, tonally clashing approach, such as basing his lines on alternating B mixolydian and C mixolydian (He does this, interestingly enough on his solo in The Camera Eye, although using Db and C major/mixolydian scale lines, to great, seamless success). The solo climaxes with a legato, descending guitar lick followed by a soaring synthesizer break accompanied by equally soaring guitar lines. Following this section, the song returns to the earlier sections introduced in the song, after which it ends in a musical run with rhythmically synchronized bass and drums (with the guitar sustaining its last note from the previous section), a short reprise of the odd time tritone intro, and finally- by using the F# note in the tritone riff as a dominant (V) of sorts- the song's final cadence is a 4-note descending B minor pentatonic scale in unison by bass, guitar, and rhythmically by drums, ending on a B note to close the song. Per Geddy: "Pretty much it’s about coming back home. It’s that call to home. Being a band that spends so much time on the road, whenever we would check-in for that flight home, we’d see that YYZ on our ticketed bags and it was always really exciting. We’re coming home. We wanted to put together a song about that. Even though it’s instrumental, it’s about our town, kinda where we came from. Good to come home." * The crashing noise you hear between the breaks of the guitar solo is the sound of wind chimes tied to a 2x4 slapped against a wood table. The band confirmed this in an interview on WNEW New York in the winter of 2002. * YYZ was nominated and was the runner up for the Best Rock Instrumental award in the 1982 Grammys. It (amazingly) lost to The Police's "Behind my Camel." Alex Lifeson - Guitar Geddy Lee - Vocals, Bass, Synthesizers Neil Peart - Drums, Percussion #MysticRhythmsLive