Chords for Tony Banks describes writing Supper's Ready
Tempo:
79.75 bpm
Chords used:
E
B
Em
F#
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I think what made a big difference to Sapper's Ready and stopped it being just another musical
box was the idea of putting in the song Willow Farm in the middle of it.
Up to that point
it had been meandering a bit like a lot of our acoustic kind of long pieces did and then
you know we decided to just stop and just come straight in with this very ugly sort
of sequence you know and it just sounded great that.
It took the whole thing, it suddenly
made the thing electric too, rather than just being an acoustic thing it became sort
of very live and from then on it developed and the main bit I think we wrote sort of
on the spot really was the bit that was called Apocalypse in 9-8 which was Mike had this
idea of just alternating between the sort of bass pedals and his guitar and you just
got to go sort of like you know in a very random fashion, he wasn't doing anything particular
at all and then Phil had the idea of sort of trying to tie it down to a riff and I said
also the other thing to try and do is to tie it down to just three notes because then
I can play any chord I like on top of it because it was going to be a keyboard solo so you
know so we went with it.
[B] And with those just those three notes [E] there you can play any chord
you like on that in minor and major keys so you've got this sort of you know the major
stuff in there's no problem [Em] but you can also do minor and all the associated [F#] chords you
know so it can be happy or sad and [B] just by keeping that relentlessly going through all
the time and I just play across the top of it I wouldn't worry about what you know what
the beat was or anything I just play across the top of it and it just produced a really
exciting result and it's sort of building up to this sort of you know giant sort of
climax where you sort of finally you know having [C] threatened to do it for a long time
you come in with this sort of you know that chord [Em] which is a really sort of dramatic chord
in [E] the song [C] and you slowly build up to the sort [E] of major key you know [B] so [E] you've got all
the way you got there.
[F#] [D#] It just was I don't know why and then with what Peter sang on
top of it again there's another of those bits in fact that I originally intended to have
no vocal on you know and we were in the studio and I [G] put the sound on it and I thought it
was great fantastic and then Pete suddenly starts saying I'm going to sing on this so
he starts singing on this and I say oh no no this is such a great bit with that voice
you know and then suddenly I think this is really sounding good you know again I've got
to say we've got to you know it's so good we're going to keep it obviously and I think
that bit the 666 section in Suppers Ready was the real key it just gave such a strong
thing to build to and live it was fantastic you know and it just it worked well the ending
was a sort of like a sort of nice relaxing kind of and quite triumphant sort of bit I
was never really happy with the title I always felt it sort of made it sound too I
box was the idea of putting in the song Willow Farm in the middle of it.
Up to that point
it had been meandering a bit like a lot of our acoustic kind of long pieces did and then
you know we decided to just stop and just come straight in with this very ugly sort
of sequence you know and it just sounded great that.
It took the whole thing, it suddenly
made the thing electric too, rather than just being an acoustic thing it became sort
of very live and from then on it developed and the main bit I think we wrote sort of
on the spot really was the bit that was called Apocalypse in 9-8 which was Mike had this
idea of just alternating between the sort of bass pedals and his guitar and you just
got to go sort of like you know in a very random fashion, he wasn't doing anything particular
at all and then Phil had the idea of sort of trying to tie it down to a riff and I said
also the other thing to try and do is to tie it down to just three notes because then
I can play any chord I like on top of it because it was going to be a keyboard solo so you
know so we went with it.
[B] And with those just those three notes [E] there you can play any chord
you like on that in minor and major keys so you've got this sort of you know the major
stuff in there's no problem [Em] but you can also do minor and all the associated [F#] chords you
know so it can be happy or sad and [B] just by keeping that relentlessly going through all
the time and I just play across the top of it I wouldn't worry about what you know what
the beat was or anything I just play across the top of it and it just produced a really
exciting result and it's sort of building up to this sort of you know giant sort of
climax where you sort of finally you know having [C] threatened to do it for a long time
you come in with this sort of you know that chord [Em] which is a really sort of dramatic chord
in [E] the song [C] and you slowly build up to the sort [E] of major key you know [B] so [E] you've got all
the way you got there.
[F#] [D#] It just was I don't know why and then with what Peter sang on
top of it again there's another of those bits in fact that I originally intended to have
no vocal on you know and we were in the studio and I [G] put the sound on it and I thought it
was great fantastic and then Pete suddenly starts saying I'm going to sing on this so
he starts singing on this and I say oh no no this is such a great bit with that voice
you know and then suddenly I think this is really sounding good you know again I've got
to say we've got to you know it's so good we're going to keep it obviously and I think
that bit the 666 section in Suppers Ready was the real key it just gave such a strong
thing to build to and live it was fantastic you know and it just it worked well the ending
was a sort of like a sort of nice relaxing kind of and quite triumphant sort of bit I
was never really happy with the title I always felt it sort of made it sound too I
Key:
E
B
Em
F#
C
E
B
Em
_ _ _ _ I think what made a big difference to Sapper's Ready and stopped it being just another musical
box was the idea of putting in the song Willow Farm in the middle of it.
Up to that point
it had been meandering a bit like a lot of our acoustic kind of long pieces did and then
you know we decided to just stop and just come straight in with this very ugly sort
of sequence you know and it just sounded great that.
It took the whole thing, it suddenly
made the thing electric too, rather than just being an acoustic thing it became sort
of very live and from then on it developed and the main bit I think we wrote sort of
on the spot really was the bit that was called Apocalypse in 9-8 which was Mike had this
idea of just alternating between the sort of bass pedals and his guitar and you just
got to go sort of like you know in a very random fashion, he wasn't doing anything particular
at all and then Phil had the idea of sort of trying to tie it down to a riff and I said
also the other thing to try and do is to tie it down to just three notes because then
I can play any chord I like on top of it because it was going to be a keyboard solo so you
know so we went with it.
_ _ _ [B] And with those just those three notes [E] there you can play any chord
you like on that in minor and major keys so you've got this sort of you know the major
stuff in there's no problem [Em] but you can also do minor and all the associated [F#] chords you
know so it can be happy or sad and [B] _ just by keeping that relentlessly going through all
the time and I just play across the top of it I wouldn't worry about what you know what
the beat was or anything I just play across the top of it and it just produced a really
exciting result and it's sort of building up to this sort of you know giant sort of
climax where you sort of finally you know having [C] threatened to do it for a long time
you come in with this sort of you know that chord [Em] which is a really sort of dramatic chord
in [E] the song [C] and you slowly build up to the sort [E] of major key you know _ _ _ [B] so [E] you've got all
the way you got there.
_ [F#] _ [D#] It just was I don't know why and then with what Peter sang on
top of it again there's another of those bits in fact that I originally intended to have
no vocal on you know and we were in the studio and I [G] put the sound on it and I thought it
was great fantastic and then Pete suddenly starts saying I'm going to sing on this so
he starts singing on this and I say oh no no this is such a great bit with that voice
you know and then suddenly I think this is really sounding good you know again I've got
to say we've got to you know it's so good we're going to keep it obviously and I think
that bit the 666 section in Suppers Ready was the real key it just gave such a strong
thing to build to and live it was fantastic you know and it just it worked well the ending
was a sort of like a sort of nice relaxing kind of and quite triumphant sort of bit _ I
was never really happy with the title I always felt it sort of made it sound too I
box was the idea of putting in the song Willow Farm in the middle of it.
Up to that point
it had been meandering a bit like a lot of our acoustic kind of long pieces did and then
you know we decided to just stop and just come straight in with this very ugly sort
of sequence you know and it just sounded great that.
It took the whole thing, it suddenly
made the thing electric too, rather than just being an acoustic thing it became sort
of very live and from then on it developed and the main bit I think we wrote sort of
on the spot really was the bit that was called Apocalypse in 9-8 which was Mike had this
idea of just alternating between the sort of bass pedals and his guitar and you just
got to go sort of like you know in a very random fashion, he wasn't doing anything particular
at all and then Phil had the idea of sort of trying to tie it down to a riff and I said
also the other thing to try and do is to tie it down to just three notes because then
I can play any chord I like on top of it because it was going to be a keyboard solo so you
know so we went with it.
_ _ _ [B] And with those just those three notes [E] there you can play any chord
you like on that in minor and major keys so you've got this sort of you know the major
stuff in there's no problem [Em] but you can also do minor and all the associated [F#] chords you
know so it can be happy or sad and [B] _ just by keeping that relentlessly going through all
the time and I just play across the top of it I wouldn't worry about what you know what
the beat was or anything I just play across the top of it and it just produced a really
exciting result and it's sort of building up to this sort of you know giant sort of
climax where you sort of finally you know having [C] threatened to do it for a long time
you come in with this sort of you know that chord [Em] which is a really sort of dramatic chord
in [E] the song [C] and you slowly build up to the sort [E] of major key you know _ _ _ [B] so [E] you've got all
the way you got there.
_ [F#] _ [D#] It just was I don't know why and then with what Peter sang on
top of it again there's another of those bits in fact that I originally intended to have
no vocal on you know and we were in the studio and I [G] put the sound on it and I thought it
was great fantastic and then Pete suddenly starts saying I'm going to sing on this so
he starts singing on this and I say oh no no this is such a great bit with that voice
you know and then suddenly I think this is really sounding good you know again I've got
to say we've got to you know it's so good we're going to keep it obviously and I think
that bit the 666 section in Suppers Ready was the real key it just gave such a strong
thing to build to and live it was fantastic you know and it just it worked well the ending
was a sort of like a sort of nice relaxing kind of and quite triumphant sort of bit _ I
was never really happy with the title I always felt it sort of made it sound too I