"Waiting for You" ... and the Recording ... and the Lyrics ... and the Chords

Before the 'practice, practice, practice' part is the 'focus, fockus, fuckus' part.  This one is the latest contender for the song for "The End of the World in Fort Worth" video.  The intro for that video is at least medium cool and I want a song which is worthy of it.

(Ed:  great peace if everybody dies)

That's not the point as the intro shows people vaporizing but none of that will happen once the music starts.  Music is the sanctuary.  They looked for it in "Logan's Run" but (sob) they never asked me ... or any other musician.  It's been here the whole time.

All of the parts below are recorded already as loops but the question remains of musical drama and that may mean changing the middle part to go up a fifth from the Grandiose Intro.  That's not a huge deal but is it worth doing and that's why the focus on the lyrics.  If it is going to change then how much will it change.

Note:  as ever, that which they call drama online is only melodrama and it usually involves dead dogs and/or weeping women but real drama is what makes life interesting.  We love the real thing.  It's exciting ... but how exciting do we need for this.  The hardest part for me is changing something which I have already laid down as that's how it sounds.  How can it sound any other way when this is how it sounds.  I suspect this problem is not uncommon.

So we take a look at what the gods do.  "Phantom of the Opera" will do nicely as Christine (Tarja Turunen) starts on Dm.  The Phantom does his bit on Gm.  Christine comes back on Em.  There's the whizbang outro but the primary structure is as above.

Dm is I, Gm is V, Em is II.  The overall structure is not that complex but, as we've seen in reducing classical to I-V-I, it's not that simple.  Weber doesn't go back to I but rather to II.  Something to observe.

Note:  the Root is I.  V is a musical fifth above root, II is the second, etc.  In this type of notation, everything is relative to a symbolic root rather than a specific key thus any discussion of flat, sharp, etc is secondary but it permits such discussion insofar as what root "I" will be because that will change the others.

(Ed:  do you know anything about music theory?)

Nope.  Braille method ... roll with it.

Grandiose intro part

It's grandiose and you think, hey, them are some fat-ass chords.  What is this coming.

Rambly lost part

(Pending musical question as to whether this goes up a fifth from the root in the Grandiose Intro.  It's not so much to titillate going into the Rambly Part but rather it sets up the change to drop back down a fifth for the Bridge Part.  We're asking the young man to make a new start ... but the key doesn't change.  Pfft.  We shall see.)

Say there, young man,
they have told you all these stories
The Others will come
and take your life away

but here we stand
No-one wants to hurt you
Friends in peace are calling
Is this where you would stay.

You've been told so many things

They made it all so hard

But that only means one thing

It's time you made a start.   <-- update

Break to the bridge part

(High cheeze factor but the cheeze will be cut)

Cross the bridge
It's waiting for you

All this time

they've waited for you

Now
Come
with me
It's waiting for you
in the sun
just for you

It's music and the love
a rainbow you feel
It's dancing here with you
the music made real

Now
Come
with me
It's waiting for you
in the sun
just for you


Hear the sound
it's calling for you
Feel the drums
they're beating for you

Now
Come
with me
It's waiting for you
in the sun
just for you