Duel With the Devil Pics

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DUEL WITH THE DEVIL 1

Written by Neal Morse, Roine Stolt, Pete Trewavas and Mike Portnoy

MELODIC PARTS IN MUSIC NOTATION

The discussion in this document is mostly the same as that in the TAB based arrangement but

the musical examples are illustrated with notation in place of tablature. The separate

reference chart is still required for structure detail.

A NOTE ABOUT TRANSPOSING

The recordings sound one semitone lower than the keys depicted in these charts. Guitars and

Keyboards are transposed to B - thus C=B A=Ab etc. On "Live In Europe" Neal can clearly be

seen playing a Bb-pedal note in the introduction but it sounds as an A-note. On "Building The

Bridge" Neal's run-through at Dark Horse Studios is played in Bb-minor (preceded by Roine'stheme in Db). However, the final recording must have been played in A-minor because the Piano

is tuned to concert pitch. Similarly, his Hammond and Rhodes overdubs were played a semitone

lower. Neal evidently has little difficulty in re-learning these parts for the live shows.

A separate arrangement has been prepared illustrating the introduction at concert pitch.

PRELUDE:

RIFF:

Four note motive in two parts:

These notes are played in varying octaves with multiple embellishments.

Note that the Riff begins on Beat-3 and the following chord is syncopated.

7/8 bar includes 'bagpipe' Bbm-turn figure discussed later.

RIFF-GROOVE:

Shortened form with Riff beginning on Beat-1



2



LINK-A: 3

ROINE'S-THEME:

Neal's piano track originally opened the song with this theme leading into the arpeggio riff

but it was replaced by a transposed arrangement of the strings prelude from "Stranger In YourSoul". The theme is reprised in different keys and over varying harmonic progressions with a

shorter complimentary theme. Those later sections are all in 6/8 time where the three-note

groups are clearly even eighths, however when played in 4/4 the rhythm is closer to a rhumba

pattern (3+3+2-sixteenths) than quarter-note triplets.

Aside from all of the variation there is some confusion over the written melody. During

overdubbing sessions Neal rang Roine to confirm the pick-up into the second phrase.

Guitar tracks included scalar steps G A Bb C or minor-third skips G Bb A C

While the 'skips' appeared to be favoured by Roine and the other declared a "scratch track"

the final mix alternates between the two. However, on "Live In Europe" Roine plays the 'steps'

in all cases except the two repeats in Part IV. The early mix on Portnoy's instructional DVD

"Chaos In Motion" also features the 'steps' melody.



BAGPIPES: 4

Mike Portnoy referred to this section as 'bagpipes' during rehearsals.

The lick can be broken into parts of four notes over 2 beats and 3 beats.

2 beat part is an arpeggio 3 beat part is a turn or step up the scale

The step part has two variations skipping a degree.

skip to 2nd-note skip to 3rd-note

The complete lick lasts 5+5+8 beats in a combination of

2 beat arpeggio + 3 beat turn

2 beat arpeggio + 3 beat step2 beat arpeggio + 3 beat turn + 3 beat step

TAB and chord-chart are labelled with abbreviations of the above:

Am- representing the arpeggio based on the root (A) with quality (minor)

then either of the words turn step skip2 or skip3

EXAMPLE:

From Chord chart

5/8 8/8

Cm-turn |Cm-step |Cm-turnskip2 |

This motif recurs in varying combinations transposed to different keys. The part is split

across the instruments - organ and bass alternately carrying the melody, hitting syncopated

accents, guitar joining in unison, and finally two keys at once.

The minor-turn pattern is also used as an answering phrase to the RIFF. These always begin on

the second quarter-note creating a bar of 7/8. Two reprise phrases include the skip pattern.



Additionally, the minor-turn pattern is transformed to D-major and played over different 5

chords in varied time signatures with altered rhythms.

EXAMPLE from LINK-3:

EXAMPLE from VERSE (Part III Silence Of The Night)

D-Pedal

F-Pedal

Bass-Melody Organ-Accents



Bass/Drums-Accents 6

Unison



Polytonal 7

RIFF-REPRISE:

Bass plays the minor-turn figure with a flattened fifth under the diminished seventh chord.



LINK-B: 8

Organ, synth and guitars play slightly different rhythm patterns in sixteenths.

First three chords are reprised in the key of C for the ending.

Cb and Fb are enharmonics of B and E respectively and may be considered under those names

during performance. However, in the key of Eb they are the flat-6 and flat-2 and have been

notated accordingly. A comparison in the more familiar key of C shows only two accidentals

in each chord. In contrast notating B and E chords in the key of Eb requires an accidental

on every note and confusingly the high pedal tone appears to change.

I. MOTHERLESS CHILDREN

Several of Mike's fills in the links accent the second 16th of the beat creating a littleconfusion of the down-beat. In fact they follow the phrasing of the synthesizer lines.

Corresponding parts on the instructional performance are much less ambiguous.



LINK: 9

E-note sixth in the Gm7-lick is prominent on LIVE performance.

Drum part shows rhythm only; snare/tom movement is not represented.

LINK-LONG:

Minor-third Eb-note is played over C-major.



VERSE: 10

Three note melody is made interesting by Neal's idiosyncratic harmonies which only hint at

the key centre of G-minor. Keyboard voicings below are taken from first verse. Seventh may

be added to Gm - it is definitely played in live performance.

II. WALK AWAY

D-figure

Vocal melody, synth and guitar outline Dadd9 while 12-string part playing simultaneously

creates dense voicings without becoming muddy. LIVE performance is simpler with 12-string

part replaced by 6-string playing triads D G/B Csus2 G/B.

LINK-1:

synth part adds maj7 to Bb guitar overdub clashes B-natural



LINK-2: 11

pedals D-note on Beat-2

LIVE Pete plays lower A-figure in sixth bar and pedals on Beat-1

LINK-3:

FRANTIC-BIT:

III. SILENCE OF THE NIGHT

INTERLUDE:

Note that the F#m-chord always has a duration of seven eighths - after the

time signature changes to 4/4 the G-chord anticipates the down-beat.

Sax-figure recalls the guitar riff from the introduction with a sequence and another

harmony variation.

RIFF:

VERSE:





BAGPIPES-REPRISE: 13

RIFF-REPRISE:

V. ALMOST HOME

Note that the choir melody is different from the refrain in Part I.

Final verse is sung a third higher over the (mostly) same chords.

Guitar adds a low third to the Cadd2 hence the name change to Cadd9.



ROINE'S-THEME-FINALE: 14

Roine plays the 'steps' pick-up line on "Live In Europe".

ENDING:

Keyboard ostinato adds maj7 and #11 guitar adds 6ths.

After the drum cadenza the final chord is held and a high F# appears.

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Duel With the Devil Pics