1. No category

Yes, 'Awaken', and the Progressive Rock Style
John R. Palmer
Popular Music, Vol. 20, No. 2. (May, 2001), pp. 243-261.
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Popular Music (2001) Volume 20/2. Copyright O 2001 Cambridge University Press, pp. 243-261.
Printed in the United Kingdom
Yes, 'Awaken', and the progressive rock style JOHN R. PALMER
Going for the One was a good rebirth of Yes at that time, to find its feet and really know what
it wanted to do. And we made 'Awaken' . . . (Morse 1996, p. 58).
Since the release of their third recording, The Yes Album, in March 1971, the music
of the English band Yes has been associated with the rock music substyle called
'progressive rock'.' The first two Yes albums showcase a very capable, inventive
group of musicians who drew freely from the multitude of sounds around them,
emulating aspects of the various musical styles they found engaging. However, it
was not until they composed the works appearing on The Yes Album that the band
coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums
reveal a predeliction for experimentation and expansion, and successful record sales
in both the UK and US encouraged further development in the same direction.
Although not members of the 'first wave' of progressive rock bands, Yes became
'codifiers' and for many, especially later detractors, the flagship of the 'progressive'
fleet. Before I go on to describe and illustrate, through the analysis of a particular
song, aspects of Yes's musical language, I will briefly describe the environment in
which it appeared and flourished.
The time was ripe for the development of progressive rock. Tendencies toward
slightly longer tracks, experimentation with studio technology, and incorporation
of 'unusual' instruments such as sitars, tabla, Mellotrons, recorders and Western
orchestral instruments became characteristic of several earlier groups, not least
important of which were the Beatles. Jimi Hendrix and Cream, called 'progressive'
by contemporary writers, had stretched the boundaries of blues-based rock through
instrumental virtuosity and descriptions of psychedelic experiences (Whiteley 1992,
pp. 7-27; DeRogatis 1996, pp. 93-107, 183-4). The Soft Machine and other bands
associated with Canterbury experimented with free-form jazz and the avant-garde
(Macan 1997, pp. 12-34; Stump 1997, pp. 27-8, 33-5). Procol Harum's 1967 hit, 'A
Whiter Shade of Pale', features music adapted from a work by J.S. Bach (Duxbury
1985, pp. 50-1; Middleton 1990, p. 30; Szatmary 1996, p. 195; Macan 1997, p. 168).
Also, some record label executives were willing to take chances on bands that might
or might not pay off.' Most importantly, a general economic prosperity in the late
1960s and early 1970s, and particularly the economic prosperity of the recorded
music industry, made it possible to allow performers to record experimental music
(Frith 1978, p. 121; Marshall Cavendish 1990, p. 1,563; McAleer 1995, pp. 76-159;
244
John R. Palmer
Macan 1997, pp. 18,190). Founders of independent record labels established during
the mid- to late-1960s tended to have similar cultural backgrounds and values to
those of the progressive artists they signed, and large labels budded progressive
subsidiaries, or even took the risk of picking up unconventional acts. Then as now,
a burgeoning university circuit provided a forum for non-mainstream bands
(Hesmondhalgh 1997, pp. 256-7; Stump 1997, pp. 72-82). This atmosphere proved
conducive to a previously inconceivable amount and variety of creativity. In a 1991
interview, guitarist Steve Howe spoke of the early 1970s:
The climate that we worked in was a natural progression from the climate of the sixties.
Never before had there been so many opportunities for groups to put out records they
wanted to make. And I suppose the producer role slipped back a little bit as far as groups
starting to write and produce themselves, which is what Yes were doing. It was complete
control . . . (Yesyears 1991)
Bill Bruford, percussionist, concurs: 'Those were more fertile times for
musicians. They were allowed to develop something . . . And record companies
were run by people who liked records.' (Yesyears 1991)
Fertile minds leaped headlong into these fertile times, and the characteristics
of the music created by many of them strayed from those that could be considered
normative in popular music. Such norms include a 4/4 metre with a repeated pattern of stresses (Moore 1993, p. 35); an ensemble made up of guitars, drums, vocalists and keyboards (Stuessy and Lipscomb 1999, pp. 20-5); song forms derived from
traditional blues or a verse/refrain structure (Moore 1993, pp. 47-8); compositions
of a duration appropriate for airplay, generally under four minutes in length; and
the presence of voices singing lyrics about 'real life' (love, dancing and so on)
(Moore 1993, p. 28). Allan F. Moore describes the typical rock texture as consisting
of four layers: rhythm (generally the domain of the drum kit or other percussion),
low frequencies (bass guitar), high frequencies (usually the melody, performed by
a voice or an instrument) and a middle frequency range filled in by harmony (voices
or instruments) (Moore 1993, pp. 31-2).
While most of these norms appear in Yes music, and progressive rock in general, it is the combination of these with other, non-normative, elements that in part
marks the band's style. Some of the non-normative elements listeners will find in
Yes music are: extended forms, prominent instrumental passages, a colourful harmonic palette, wide dynamic contrast, motivic development, lyrics that are positive
in outlook and concerned with spiritual existence, instrumental and compositional
virtuosity, and a contrapuntal texture that may omit a normative 'layer'. Again,
none of these is unique to Yes's output, and examples of each can be found in
recordings produced before their first release. However, the consistent use of these
and other non-normative elements is a fundamental feature of the Yes sound.
Development and experimentation in the late 1960s and early 1970s fostered
the composition of increasingly longer songs, an aspect of progressive rock that, in
part, has origins in the psychedelic experiences of British hippies (Whiteley 1992,
pp. 28-38; Hicks 1999, pp. 58,64). Ex-Soft Machine drummer and songwriter Robert
Wyatt commented on the setting at the UFO club, a recurrent London 'happening'
of great importance in the careers of many progressive rock bands:
In keeping with the general ersatz orientalism of the social set-up you'd have an audience
sitting down . . . Just the atmosphere created by an audience sitting down was very inducive
to playing, as in Indian classical music, a long gentle introduction to a tune . . . [Ilf you've
Yes and the progressive rock style
245
got a floor full of people, even the few that are listening, they're quite happy to wait for a
half hour for the first tune to get off the ground. (King 1994, May 5, 1967)
Pink Floyd is probably the best known example of a band that translated the
timelessness of the LSD experience into music, using repetition, minimal harmonic
movement and slow tempos to avoid a sense of completion (Curtis 1987, p. 290;
Whiteley 1992, pp. 3, 8; Hicks 1999, pp. 64, 65). Other groups took a different
approach and saw the acceptance of an expanded format as a licence to develop
more intense musical material. The desire to unify extended works prompted
musicians to employ techniques previously considered to be outside the realm of
'rock' or 'pop' music.3 That these composer/performers appropriated procedures
(as opposed to surface elements) from numerous, disparate styles of music is evidence of their diverse cultural backgrounds (Macan 1997, pp. 144-51; Stump 1997,
pp. 43-50).
Because progressive rock bears similarities to the various styles from which it
borrows, some of the analytical techniques used for those styles prove fruitful when
applied to it as well. A few scholars have called for new methods to study both
rock and popular music in general (Tagg 1982; Middleton 1990; Moore 1993).While
this is clearly a necessity, certain rock substyles are more amenable than others to
traditional types of analysis, as Moore (1993),John Covach (1997), Nor's Josephson
(1992) and others have demonstrated. Yes and other creators of the progressive rock
substyle were, consciously or subconsciously, influenced by music these techniques
are designed to explain. An application of harmonic or linear analysis enhances
discussion of both the inner logic of some very important rock music, and sheds
light upon connections between music and lyric.
Appropriations from varied repertoire contributed to a change in the role of
instruments in progressive rock compositions. Instruments became more important
in the overall performance and mix in relation to the voice. Richard Middleton
describes what he calls the 'foregrounding' of instrumentation in The Beatles'
'Strawberry Fields Forever', released in February 1967 (Middleton 1990, p. 28). The
choice of instruments for this recording (woodwind, brass, strings, Mellotron,
reversed recordings of cymbal crashes), the tendency of the instruments to move in
and out of the foreground of the mix, plus the presence of an instrumental coda
with its use of collage, upset earlier conceptions of the relationship between lead
vocal and accompaniment in rock and roll. The importance, and often primacy, of
instrumentation is one of the defining characteristics of progressive rock. Furthermore, the incorporation of thematically important instrumental passages into songs
increased the length of tracks to unforeseen proportions. The capacity of one side
of an LP record became the limiting factor in the construction of pieces. Because of
this, most extended progressive rock tracks are around twenty minutes in duration:
'Supper's Ready', appearing on Genesis's Foxtrot LP of 1972, is over twenty-four
minutes long. 'Echoes', 'Shine on You Crazy Diamond' and 'Dogs' by Pink Floyd,
'A Plague of Lighthouse Keepers' by Van der Graaf Generator, 'Tarkus' by Emerson, Lake and Palmer, and The Nice's 'Five Bridges Suite' are only a few examples
of 'side-length' works by some of the better-known progressive rock bands, and all
of these tracks are predominantly in~trumental.~
The challenge to create both variety and unity in extended rock tracks was
accepted by numerous bands, some faring better than others in their quest for
coherence. Arguably, the members of Yes are among the best at producing provocative, tightly knit, extended rock tracks. Since the release in 1969 of their eponymous
246
John R. Palmer
debut album, Yes have produced ten titles that are fifteen minutes or more in
length, and seventeen tracks of nine to fifteen minutes5 The first of these to
encompass an entire record side was 'Close to the Edge', from the album of the
same name, released on 13 September 1972. In 'Close to the Edge', sections are
delineated melodically, rhythmically and, to a lesser extent, harmonically. An
instrumental introduction gives way to a large opening section built of two disparate verses and choruses. A vast, contrasting central section follows, which is itself
sectional. Then, snippets of the introduction and a shortened version of the opening
section reappear to close the nearly nineteen-minute song. Scholars have mapped
different explanations of structure onto 'Close to the Edge', varying from a two-part
structure to sonata form (Moore 1993, pp. 86-7; Covach 1997, pp. 9-31; Macan 1997,
pp. 95-105). Less has been written about the four side-long songs comprising the
album Tales from Topographic Oceans, although these pieces tend to display either an
opening/departure/return format or are suite-like in constr~ction.~
On 5 December
1974, Yes released the album Relayer, containing 'The Gates of Delirium', a twentytwo-minute track consisting of four sections, the outer ones vocal, the inner ones
instrumental, prefaced by an instrumental introduction.
Both in the 1970s and more recently, it was unusual for a Yes band member
to approach the rest of the group with a finished song, requiring only arrangement.
Unlike bands built around one or two writers, Yes often developed full-length songs
from a single verse, a chord progression or melody, or even a brief 'lick'. Most
importantly, to one degree or another all members participated in the composition
of a piece as well as in the arrangement, making for some excruciatingly long and
trying rehearsals (Morse 1996, pp. 34-5,37). This has not always been the case, but
it is safe to say that a Yes recording is rarely, if ever, the product of one mind. A
process of 'sketching', 'drafting' and 'discarding' resulted in 'composed' pieces,
assembled from sections that worked well with one another and yielded a final
product that was acceptable to all. Although recent research shows that this method
of composition is not unique to Yes, knowledge of the process is helpful in discussing the band's music (Fiori 1987; Harrison 1997).
Nearly all of Yes's extended pieces of the 1970s have been examined to one
degree or another in the secondary literature. Allan F. Moore, in Rock: The Primay
Text, offers brief comments on 'Close to the Edge' in the midst of an excellent
discussion of progressive rock styles (Moore 1993, pp. 86-7,107), while in his 'Signifying the spiritual in the music of Yes', Moore tenders observations on 'Close to the
Edge', 'Awaken', 'The Remembering, High the Memory', 'The Ancient: Giants
Under the Sun', and 'Ritual: Nous sommes du Soleil' (Moore 1996, pp. 27, 28, 32,
29,30). Edward Macan and John Covach have produced extended analyses of both
the music and text of 'Close to the Edge', and Covach has also written on Tales from
Topographic Oceans (Covach 1995; 1997, pp. 9-31; Macan 1997, pp. 95-105). Nors
Josephson has published an incisive, albeit brief, discussion of 'The Gates of
Delirium' (Josephson 1992). Also, Thomas M o s b ~(1994) and Bill Martin (1996), in
book-length efforts, make feeble attempts to discuss Yes music in general. Ironically,
the one extended track that has received the least critical attention is the one which
Jon Anderson, co-founder, lead singer and songwriter of Yes, feels is 'the best Yes
piece of music' (Morse 1996, p. 149).
Released on 7 July 1977 as the closing track on the album Going for the One,
'Awaken' is in many ways the consummate Yes song; yet, it differs in structure
from other extended works by Yes7 'Close to the Edge' and three of the four songs
Yes and the progressive rock style
247
that make up Tales from Topographic Oceans are unified by the return of vocal passages and their respective accompaniments. In 'Awaken', however, harmonic progressions and constrasting modes play a more important role in delineating sections
than do vocal lines, while short motivic units, rather than melodic phrases, unify
the large-scale piece. Furthermore, the motives are generally the property of the
instruments, not the voice, and development of these motives both creates variety
and establishes unity with the song. In fact, the vocal lines make reference to the
instrumental motives, achieving the role reversal of instruments and voice
approached in 'Strawberry Fields Forever'. At 15:34 in length, 'Awaken' is 63 per
cent purely instr~mental.~
Perpetual change is characteristic of Yes's membership, but the five men
who assembled in Montreux, Switzerland, in late 1976 to record Going for the
One represent the unit that has recorded the greatest number of studio albums
together. On this release, Jon Anderson is the lead vocalist, Steve Howe the
guitarist, Chris Squire the bassist, Rick Wakeman the keyboard player, and Alan
White plays drums and other percussion instruments. Howe and Squire also
provide vocals, and Anderson plays harp. When sessions for Going for the One
began, the band had not recorded together for over two years, for it follows not
a previous group album but solo efforts by each member. All five musicians
have expressed a genuine satisfaction with the results and have commented
positively on the recording experience (Yesyears; Morse 1996, pp. 56-7). After
having produced individual albums, Yes seemed happy to return to the group
creativity typical of their sessions, and 'Awaken' provides a perfect example of
their compositional process. A glance at the Table, which gives the form of the
entire piece, will help the reader with what follows.
'Awaken' began as the guitar riff that forms the foundation of section A, as
shown in the bass staff of Example 6. Howe has said that the guitar lead beginning
at 2:48 was at one time to be the beginning of the song (Morse 1996, p. 60). The
Table. Large-scale structure of 'Awaken'.
Section
Piano intro.
Intro
A
Time
Text
'High vibration . . .'
'Suns, High . . .'
(guitar lead)
'Star, Song . . .'
'Workings . . .'
'Master of . . .'
Intro
(reprise)
Coda
End
'High vibration . . .'
'Like the time . . .'
Harmonic area; comments
e
to D
begin triple metre
E - 05ths, triple metre
minor chords, general reduction
e (bell, harp, organ)
E - 05ths, triple metre
final E-major chord, fade to +
Emaj9, Dmaj9, Cmaj9 (C#min9)X 2
248
John R. Palmer
Minor
Major
a: prime form
1
b: inversion
c: retrograde
d: retrograde inversion
Example 1. Motive X: major and minor forms.
chord progression of section B appeared next, and when this was fleshed out the
band decided to follow it with a quiet, contrasting area beginning now at 6:42 labelled 'C' in the Table. Squire conceived the idea of following section C with
material built around the chord progression of 8, but at a much slower tempo. This
part ended, as it does now, with a huge close on E major that fades to silence, and
at first the group considered the song finished. However, Yes had never ended a
song in this manner: and sensing that more closure was necessary, they developed
the passage employing major ninth chords and setting the text, 'High vibration go
on . . .', to dissipate the energy of the preceding sections. It was later decided to use
this material to introduce the song and round out the entire structure. The opening
Employing this compopiano solo was the last part of the piece to be comp~sed.'~
sitional process, Yes produced an extended rock piece featuring internal coherence
amid vivid contrast, and it is this internal coherence I describe below.
The large-scale structure of 'Awaken' results, in part, from the juxtaposition
of sections featuring minimal harmonic movement with those of constant, elaborate
harmonic movement, as well as contrasting minor- and major-mode material. As in
much English blues-derived rock and psychedelic music, areas with minimal harmonic change contain the most active melodic material." In contrast, harmonically
active segments have repeated-note vocal melodies. Furthermore, recurring harmonic progressions create relationships between sections of the song that contain
contrasting texts and seemingly disparate vocal melodies. Through detailed analysis
it is possible both to uncover how the style of the music is achieved and to reveal
the inner logic of the piece. From the very beginning of 'Awaken', it is clear that a
limit has been breached, and the language is one whose syntax and grammar are
unusual when judged against the norms of rock.
A salient feature of the musical language of 'Awaken' is its unification
through motivic manipulation. Two motives, which I have labelled X and Y,
appear numerous times, and in numerous forms, throughout the song. Examples
1 and 2 give motives X and Y, respectively, as well as the various forms in
which they appear. Examples l(a) and 2(a) show the motives in both their major
and minor forms, with E-natural as the tonic pitch. These represent the primary
or 'prime' forms of X and Y. Examples l(b) and 2(b) show possible inversions
of the motives - the direction of each interval has been reversed. The retrograde
forms of X and Y appear in Examples l(c) and 2(c), wherein the pitches, intervals
Yes and the progressive rock style
Minor
249
Major
a: prime form
b: inversion
c: retrograde
d: retrograde inversion
Example 2. Motive Y : major and minor forms.
and direction of the intervals are maintained, but the order of pitches and
intervals is reversed. Retrograde inversions are shown in Examples l(d) and
2(d), and are derived through a combination of inversion and retrograde forms:
the directions of the prime-form intervals are reversed, and the resultant form
is performed backwards. Both motives, and all of their permutations, sound at
various pitch levels throughout the song.
RX
RIX
Example 3. Piano introduction.
Yes introduce the motivic building blocks of 'Awaken' in the opening thirtysix-second piano passage. Motive X sounds at the outset, initially in retrograde,
then retrograde inversion (see Example 3). Next, Wakeman proceeds to play the
prime form of the motive nineteen times, closing the flourish with an agogically
accented presentation of motive Y (see Example 4). Wakeman was able to build this
portentous passage as he did because the entire song had already been completed.
The vocal part of the introduction, sung by Anderson, is the most melodically
active of any in the entire song and is harmonised with three major ninth chords
Example 4. Closing measures of piano introduction.
John R. Palmer
250
Past all mor-tal
as we.-
Here we can b
e
.
Here we be.-
Example 5 . Introduction: final vocal passage.
that descend by step - on E, D, then C - closing on C h i n 9 the first time only.
This progression appears twice, supporting two different vocal lines and texts. The
melody during the second appearance of the chord progression, with its clearly
defined arches, stands in stark contrast to most of the vocal material of the piece.
Vocal parts in the harmonically more active sections tend to have less shape. Also,
the introduction lacks an articulated pulse. Seeming to float upon the rich harmonies played without an articulated pulse, the lyrics describe a state to which the
human race aspires:
High vibration go on/To the sun, oh let my heart dreaming/Past a mortal as me
Where can I be.
Wish the sun to stand still/Reaching out to touch our own being/Past all mortal as we
Here we can be
We can be here
Be here now
Here we can be
Here we be
Anderson sings motive X twice in the introduction, at the very end, setting
the words, '(mor)tal as we' and 'we can be' (see Example 5). In the first instance,
the descent is from A through G to E - the minor form - while the second
appearance is A-G#-E - the major form - both sounding over a Cmaj9 chord,
making the appearance of G# more striking. Both forms appear in the piano
introduction, and their immediate juxtaposition anticipates the major/minor contrast that is a prominent characteristic of 'Awaken'. After the second, 'major'
sounding of the motive, the last fives lines of text occur sim~ltaneously.'~
However, the line most forward in the mix, sung by Anderson, is 'Here we be', the
last syllable of which leaves the listener hanging on B-natural, the fifth scale
degree (5) in the context of E minor. Seconds later, the B-natural is resolved
stepwise down to E-natural in the guitar part, but such a resolution does not
occur in the voice until the end of the piece, during the reprise of the introduction. The vocal melody's avoidance of the keynote of the piece suggests that the
human race has not achieved its aspirations. What follows the introduction
elaborates on this suggestion, as Yes infuse the music with characteristics that
can be read as signs of discord.
A descending E aeolian scale on the guitar introduces the A section of the
piece, the sound of the electric twelve string and drum kit providing timbral
contrast. The section is built on an 11-beat riff, a combination of motives X and
Y, performed by Howe (see Example 6, bass clef). The rising E-F#-A is an
inversion of X, its upward motion balanced by repeated, overlapping statements
of Y that trace a stepwise descent from the fifth to the first scale degree, or 34-3-2-1. Although the organisation of the motives seems to make the eleven-beat
passage fall into a 4+3+4 pattern, the percussion insists on 4+4+3, creating tension
through rhythmic dissonance (see Example 6). This riff provides the foundation
A
A
A
Yes and the progressive rock style
251
Example 6. Section A vocal and accompaniment.
for both the verses and refrain. Section A is harmonically static, with a constant
E-natural in the bass and suggestions of E-minor and D-major triads. The vocal
melody, however, is stepwise and has an overall rising shape. The guitar solo
after the second chorus is even more harmonically static but is melodically very
elaborate and active.
Section A verses consist of four words each, separated by a four-word refrain. The
first three words of the refrain are followed alternately by 'touch' and 'touching':
Suns high streams through - Awaken gentle mass touch
Strong dreams reign here - Awaken gentle mass touch(ing)
Star, Song, Age, Less - Awaken gentle mass touch
The rhythmic dissonance in section A (see Example 6 ) suggests we are not in tune
with the 'ageless' Star Song. We must 'awaken' to the song, where 'strong dreams
reign' and the sun 'streams through', but we don't know how. Furthermore, the
final word of each verse and each word of the refrain reinforce the B-natural sung
by Anderson at the end of the introduction, prolonging the unresolved fifth scale
degree. The resultant sense of 'ungroundedness' (the failure to return to the tonic)
is increased by the fact that the B-naturals are approached by a rising scale.
Howe's guitar work in section A is replete with references to, and alterations
of, motive Y, with an occasional reference to motive X. Several rapid, rising and
descending scales lead to a brief passage emphasising the major form of Y (see
Example 7, mm. 1-8). After the fourth performance of this gesture, Howe plays the
major form of X (see Example 7, m. 9). A descending staccato line then leads to two
252
John R. Palmer
RIY 7
-
X
Example 7. Section A guitar lead.
accented statements of Y (see Example 7, mm. 13-15); the pitches are the same as
in the motive's first appearance at the end of the piano introduction (see Example
4). In live performance, whatever decorative flourishes Howe may play between
them, these statements of Y remain in place, attesting to their structural significance.
The descending stepwise approach to Y from an E-natural clearly illustrates the
motive's prolongation of the descent from the second (2) to the first (1) scale
degree, which has been its function since it was first introduced in the opening
piano passage. (As we will see, Wakeman stresses this aspect of the motive in the
central part of 'Awaken'.) All the while, at first very much in the background of
the mix, Wakeman performs motive X on keyboards (see Example 8).A pronounced
statement of the retrograde inversion of X and repeated overlapping statements of
Y return us to the E-aeolian riff and the concluding verse and refrain of part A of
'Awaken'.
Yes next prepare the listener for a change from the aeolian to major mode.
After the final verse and extended refrain of section A, the riff moves to B aeolian
(4:40), introducing both a C# to the pitch vocabulary and a new form of motive X
Example 8. Section A keyboard accompaniment to guitar lead.
Yes and the progressive rock style
253
h B
RIY
Example 9. Modified motive X at close of section A.
(see Example 9). The riff then moves back to El but the C# remains, creating E
dorian. Thus, the appearance of B aeolian serves as a preparation for E dorian,
which in turn is a preparation for the next statement of the riff on D major, requiring
both F# and C#. The group dispenses with the inversion of X, preferring to outline
a D-major triad and use Y to present an entire D-major scale. The shift to the major
mode provides a transition to the B-section, the harmonic progression of which
circumnavigates the circle of fifths.13
The vocal melody of this new, harmonically active section is almost static.
Typically, a single melodic note is repeated over two different chords, and at two
points, over four chords. For example, at 5:39 we hear the text, '. . . by his blindness
to see that the warmth of his . . .',which is recited on a C-natural over the chords
C, F, Bb and Eb major.14 A moment later, at 5:58, Anderson and Squire sing
Workings of man driven far from the path, re-released . . .' on a B-natural, supported by El A, D and G major. The only time the vocal melody is not a series of
repeated notes is at the point where Eb major sustains for four 'measures' ('being',
at 5:42), just after the prolonged C-natural in the vocal. The rapid harmonic changes
move in stark contrast to the static vocal melody, foregrounding the chord progression. As in section A, Yes create rhythmic dissonance by giving each layer of
the musical texture a measure of autonomy. In section B, the harmony changes
every measure, but the bass line implies a hypermetre of three measures, while the
vocals and organ interludes imply two- or four-measure groupings (see Example
10).
The central meaning of Anderson's text for 'Awaken' becomes apparent in the
B section, and numerous musical devices support this meaning. In B, Anderson tells
us that the human race has been led astray. He seems to call for the reunification of
our spiritual essence with its origins - a return to Eden:
Workings of man
Set to ply out historical life
Re-regaining the flower of the fruit of his tree
All awakening
All restoring you
Some of the achievements of the human race attempt to put them back on the
path toward this goal:
Workings of man
Crying out from the fire set aflame
By his blindness to see that the warmth of his being
Is promised for his seeing his reaching so clearly
That such efforts are unsuccessful is shown in both lyrics and music. The
opening lines of the third verse of B leave no doubt that people are not aligned
with their destiny: 'Workings of maddriven far from the path'. Yes musically symbolise this less-than-optimal state of existence by shifting to a circle progression of
minor triads at the end of this verse. More importantly, the insistent and regular
John R. Palmer
254
5:25
Lead vocal
I
AIC#
E
Work- ings
of
man set
D /A
to
1
ply
G
out
CIE
his
re
-
re-gain-
I
Bb
FIC
Eb l ~
I
I
All
re
-
/
stor
-
ing
you.
Work
-
ings
Example 10. Section B vocal and bass.
rhythms and chord changes evoke the machinising tendencies of human society,
and the disparity between where people are and where they could be is illustrated
primarily in the rhythmic incongruity I describe above - the hypermetre suggested
by the bass line does not match that of the vocal and organ lines.
Section B is devoid of motives X and Y, except for two appearances in the
organ and voice at 6:10. Section B ends, slowly and quietly, on F# minor, after which
the central section begins with F#s played on glockenspiel and harp. Yes's method
of closure at this point is noteworthy. The constant falling-fifth chord progression
renders ineffective a close solely in terms of harmony; therefore, closure is achieved
through a decrease in tempo, a diminished dynamic, and thinning of instrumentation. Also, this abatement of intensity and a shift to minor triads anticipate the
mode, texture and dynamic level of the subsequent section.
Of all of Yes's longer pieces, 'Awaken' has the most truly developmental
central section. Motives X and Y appear in various forms and are used to create all
of the melodic material of a dynamically and texturally growing segment that
bridges the two major vocal divisions of the piece. Comments by band members
indicate that the central section was planned, not improvised, revealing that even
Yes's most apparently free and improvisatory music is meticulously constructed
(Morse 1996, p. 60). In this case, the music is derived from, and develops, previous
sections.
Repeated F#s and Gs at the opening of the middle section C provide a subtle
yet unmistakable link with the preceding material of 'Awaken'. F# and G are the
Yes and the progressive rock style
255
Example 11. Section C, organ.
first two pitches of motive Y, as performed in both the opening piano flourish (see
Example 4) and emphasised through agogic accents in the A-section guitar solo (see
Example 7, mm. 13-15). Beginning at 7:40, this is supported by an ostinato figure
consisting of E-natural and B-natural, played on the guitar, reminiscent of the falling-fifth chord progression in the B section. Both our familiarity with Y and the
eventual underpinning of the bell and harp figure with an open E sonority make
the F#/G figure sound incomplete, as the tendency of the motive to fall from
G-natural (5) to the first scale degree, E-natural (i), is denied. Throughout most of
section C, Yes omit the bass layer from the overall texture, eschewing one of rock
music's ultimate norms (Moore 1993, pp. 31ff.; 1996, p. 27).
Wakeman begins C with phrases built on brief, varied statements of motive
X, the first of which I have transcribed in Example 11. As in the piano introduction,
X often appears in descending chains; however, here the tempo is much slower,
and the instrument is a pipe organ. The first few passages emphasise B-natural and
F#, delaying the appearance of E-natural, which is eventually arrived at through
motive Y. Example 11 shows Wakeman's persistent emphasis of 2 and 3 (F# and
B-natural), both of which have a strong tendency to move to the first scale degree,
E-natural. Aside from the A-natural in the fifth measure, the sustained tones are
one or the other of these scale degrees. When Wakeman arrives at 1 through Y in
m. 11, it is on a weak beat, and he quickly passes through it to rest on 3 on the next
downbeat. Example 12 shows the organ part of the second such passage, with its
slightly decorated statements of X. Here, too, the emphasis is on the fifth and,
especially, second scale degrees. However, there is a very 5-2-1 descent in the
highest notes of each phrase, fleetingly giving the listener what is prolonged in a
lower octave; 2 and 1 are reinforced an octave lower. Wakeman's 3-24 descent
marks the first suggestion in 'Awaken' that the spritual existence sought by the
human race is attainable. From this point on, phrases end on E-natural with increasing frequency. The sense of closure is stronger here than in Example 11, in part
because of the 3-2-i descent and in part because the statement of motive Y that
closes the excerpt stops on E-natural on a downbeat. Furthermore, the fundamental
nature of E-natural is made explicit by the appearance, during the sustained F# at
the end of Example 12, of the guitar ostinato on E-natural and B-natural. Wakeman
then plays a variation of the same passage, and a general increase in volume prepares for a change in organ registration.
256
John R. Palmer
Example 12. Section C , organ.
It is here (8:32) that Y gains prominence in the central section, performed much
as it is in section A. Repeated statements of the motive are connected by a rising E
aeolian scale, which climbs higher with each of its five appearances. A descending
chain of X statements releases the accumulated energy, coming to rest on an E-natural. A moment later, variations of both motives are performed on both guitar and
organ, and an extended organ line built of motive Y descends again to E-natural,
closing the central section and introduction B'.
On first hearing, B' seems unlike anything that has come before it; however,
further inspection shows that it is closely related to previous material. Here, as in
B, the harmonic progression traverses the circle of fifths, using the same pattern of
root-position, first- and second-inversion chords. Again, the vocal melody is static,
the text almost spoken and set to repeated notes, but the rhythm is more interesting
than in B. The rhythm of the chord changes, too, is very different from that in the
earlier section. Despite the disparity in terms of tempo, rhythm and lyric content,
the foregrounding of the chord progression both here and in section B, the progression itself, and the instrumentation, all of which are unusual in the rock idiom,
create a relationship between the sections so strong they can be considered parallel.
Thus, I have chosen to label the 'Master of . . .' section as B'. Unlike the B section,
however, B' contains no rhythmic dissonance. Percussion, bass, keyboards and
guitar all follow the same pattern of chord changes in exactly the same rhythm
and with the same accents. Also, the apparent rhythmic irregularity, as well as the
occasional repetition of chords, blurs the tendency of the bass line to fall into threenote groups. The chords change more slowly here than in B, and in an odd rhythmic
pattern:
No.ofBeats: 3 5 1 2 1 3 5 1 2 1 3 5 1 2 1
Harmony:
E A D G C F BbBbEbAbAbDbDbGbB
The text of B' makes it clear that the resolution required by the human race is
not acquired in this, our physical existence, but is possible through the help of an
intermediary. An entity occupying another realm, a 'Master' of 'Images', 'Soul',
'Light', and 'Time' reminds us of a 'closely guided plan' hidden in our hearts, and
Yes and the progressive rock style
257
Vocal
Like
I
time
!l
esmgng
::
#
Bass
the
n,,
ran
---
way
I
I
1
rl
DIE
turned
-
I
h
i
a
C#min71E
a - round
and
you
were
stand
-
ing
;
!
C
to me.
Example 13. Coda vocal and bass.
beckons us to 'bid farewell' to this world. This gnostic path to spiritual clarity and
awareness takes us 'Past all mortal' being, as Anderson sings in the introduction.
(Incidentally, the 'Master' who can show us the way is made palpable through
music: 'Master of Images/Songs cast a light on you1.) Consequently, we hear none
of the rhythmic dissonance here that is prevalent in Section B - all instrumental
parts move in rhythmic unison supporting the recitative-like vocal. Appropriately,
there is no shift to a circle progression of minor triads, as at the end of section B,
and B' ends in the major mode. Like nature itself, the rhythmic pattern of accents
and chord changes seems, on first hearing, unordered, providing a stark contrast
to the use of the same chords in B. Now that the path has been found, the soughtafter state of peace and unity can be achieved and is represented in the return to
the introduction and the coda.
As in the first circle-of-fifths segment, there are no appearances of either
motive X or Y. To end this section, and thus the main body of the song, Yes depart
from the circle progression in order to create a grand close on E major. In the
nine beats before the final arrival on E major, the organ and choir build an F#
half-diminished sonority while the bass outlines a D-major triad. A plagal motion
in the bass (A-natural to E-natural) supports upper voices that resolve by step to E
major, and the entire mass of sound fades, giving way to the music that opens the
piece.
Except for the setting of 'Past all mortal as we/Here we can be', the return of
the introduction is a repetition of the musical material from the beginning of 'Awaken'. In the reprise, as earlier, Anderson sings both the major and minor forms of X
(constrasting G-natural and G#), but does not leap upward to a B-natural after his
second descent to E. In the Coda, Anderson closes the repeated line of text with X,
as does Howe on the guitar at the very end of the piece (see Examples 13 and 14).
The C#min or chord that appears only once in the introduction is of primary importance at the close of 'Awaken'. Here, C# minor both terminates the second line of
the introduction reprise and initiates the Coda. Changing every measure, C#rnin7
alternates with D major, while Squire, on bass, plays E-naturals and B-naturals in
258
John R. Palmer
\
RIX
Example 14. Close of Coda: guitar.
the same rhythmic pattern as Howe does in the central section (see Example 13).
The root movement of C# minor to D major is the first part of Y, and, much as in
the central section, our expectations are thwarted by this partial presentation of Y:
Yes never provide the implied chord built on a root of B-natural - a dominant
sonority. Instead, the progression moves up to E major, satisfying the expectations
set up by the implied dominant, just after Squire plays a B-natural in the midst of
a D-major triad (15:14). The vocal line twice anticipates this root movement in the
Coda, where Anderson sings 'ran away' on G#, A-natural and B-natural (see
Example 13).
When Anderson leaps up to a B-natural at the end of the introduction (1:32),
just before the beginning of section A, tension results that is not resolved vocally
until the return of the introduction over twelve minutes later. The setting of 'Here
we can bef at 14:27 descends from 5 and employs motive X to complete the descent
to i (see Example 15).This descent is reiterated in the repeated melody of the Coda,
confirming the resolution both implied by the text of B' and expected, musically,
since the end of the introduction. What is an unrealised aspiration in the introduction becomes an achieved state of being by the end of the piece.
Both fans and journalists have long regarded Yes as a unique voice in popular
music, a voice that has continued to speak despite the passing of the era that made
it possible. That Yes music can claim an existence apart from the late 1960s cultural
milieu with which it was initially associated is demonstrated by the fact that Going
for the One (1977) was a commercial success at a time when punk was supposed to
be the subculture of the day, and also by the fact that the band still records and
performs. Moore asserts that 'there is not necessarily a time after which [a style]
can no longer have a place. The extension through historical time so prized by art
music aficionados is thus also an attribute of rock' (Moore 1993, p. 164). In order
for this to happen within the rock idiom there must first be an identifiable style,
something to separate a given voice from the multitude of other voices. The musical
processes operative in 'Awaken' exemplify why much Yes music sounds the way
it does - what constitutes the group's style.
'Awaken' exhibits many characteristics not generally considered normative in
rock: extended form; prominent instmmental passages; a colourful harmonic palette;
wide dynamic contrast; motivic development; lyrics that are positive in outlook and
concerned with spiritual existence; instmmental and compositional virtuosity; an
emphasis on linear (as opposed to vertical) writing that leads to a contrapuntal texture; major/minor mode conflict; preparation of mode or key changes; delayed resolSection:
Intro.
A
B
B'
Inuo.%
Coda
Example 15. Delayed resolution of lead vocal.
Yes and the progressive rock style
259
utions; and the creation of music that rewards active and repeated listening. These
components combine to create a style at odds with accepted rock music norms, effectively constituting a substyle within the rock idiom. Although it appeared when the
mainstream absorption of the progressive substyle was in full swing, 'Awaken'
stands as an excellent example of a progressive rock band at the height of its powers,
producing internal coherence within a variegated, large-scale structure.
Acknowledgements
The author would like to thank Dr Camille Crittenden and Dr Allan F. Moore for
their comments on earlier drafts of 'Yes, "Awaken", and the progressive rock style'.
Copyright acknowledgements
'Awaken' words and music by Jon Anderson and Steve Howe O 1977 Topographic
Music, Ltd. All rights administered by WB Music Corp. All rights reserved.
Reprinted by permission of Warner Bros. Publications, Miami, FL 33014.
Endnotes
1. The terms 'art rock', 'progressive rock' and
less often 'symphonic rockhave been applied
to music by musicians under discussion here. I
have chosen to employ the term 'progressive',
despite its vagueness and the fact that it has
taken on a pejorative connotation, because it is
now the most common term in use.
2. Tony Stratton-Smith, owner of Charisma
Records, has said that he expected to wait
three years for Genesis to become profitable
(see Gallo 1980, p. 24).
3. See Eric Tamm (1990, p. xiv) for Robert Fripp's
assessment of what constitutes 'progressi;e'
rock. For descriptions of progressive rock
characteristics, see Middleton (1990, pp. 2732), Moore (1993, pp. 56104), Covach (1997,
pp. 3-5) and Macan (1997, pp. 30-56).
4. Foxtrot (Charisma CAS 1058, 1972); 'Echoes'
appears on Meddle (EM1 EMS-80322, 1971);
'Shine On You Crazy Diamond' appears on
Wish You Were Here (CBS/SONY 25AP 1258,
1975); 'Dogs' appears on Animals (CBS/SONY
25AP 340); 'A Plague of Lighthouse Keepers'
appears on Pawn Hearts (Charisma, 1971,
CAROL 1639-2); 'Tarkus' appears on Tarkus
(Atlantic, Cotillion SO 9900, 1971); 'Five
Bridges Suite' appears on Five Bridges
(Mercury, SR-61295, 1969). Two releases by
Jethro Tull, Thick as a Brick (Chrysalis VK
41003, 1972) and A Passion Play (Chrysalis PV
41040, 1973), are series of interrelated, musically connected songs spanning over forty
minutes. Of the two, Thick as a Brick displays
the greater continuity.
5. Those of fifteen or more minutes are: 'Close to
the Edge', 'The Revealing Science of God',
'The Remembering', 'The Ancient', 'Ritual',
'The Gates of Delirium', 'Awaken', 'Endless
Dream', 'That, That Is' and 'Mind Drive'.
Those between nine and fifteen minutes are:
'Yours is no Disgrace', 'Starship Trooper',
'Perpetual Change', 'Heart of the Sunrise',
'And You and I', 'Siberian Khatru', 'Sound
Chaser', 'To Be Over', 'America', 'Machine
Messiah', 'Brother of Mine1,* 'Quartet1,*
'Order of the Universe1,* 'Be the One', 'Foot
Prints', 'Homeworld (The Ladder)' and 'New
Languages' (*Anderson, Bruford, Wakeman,
Howe [1989]).
6. The four songs are: 'The Revealing Science of
God: Dance of the Dawn', 'The Remembering,
High the Memory', 'The Ancient: Giants
Under the Sun' and 'Ritual: Nous sommes du
Soleil'.
7. Going for the One did very well in England: it
entered the UK album charts in July 1977 and
remained in the top ten for 13 weeks, reaching
No. 1 in August. The album rose to No. 8 in
the United States. The first song on the second
side of the album, 'Wonderous Stories', was
released as a single and spent seven weeks in
the UK Top Twenty, Yes's first such success in
their own country (McAleer 1995, pp. 156-8;
1996, pp. 198-200).
8. Passages featuring non-texted vocal sounds
are classified as instrumental.
9. 'And You and I' was nearly an exception (see
Morse 1996, p. 39).
10. All information on the composition of 'Awaken', unless otherwise noted, is from a personal
260
John R. Palmer
interview with Jon Anderson on 8 February
1998, in San Luis Obispo, California.
11. Middleton (1990), Studying Popular Music, p.
29. Here, Middleton discusses Cream's cover
of Willie Dixon's 'Spoonful'. Middleton points
out that the single-chord foundation of the
song 'has the effect of freeing melody and
form; melodic lines are not constrained by
having to fit changing chords and the form is
not constrained by a particular harmonic
sequence. This encourages improvisation, and
at length and
enables the improviser to
elaborately. . . The building of extended forms
over drones or very simple harmonic progressions (often two alternating chords) or
riffs, was, of course, to become a staple of hard
rock and "heavy metal" music, and encouraged the development of virtuosic soloists,
especially guitarists.'
12. This passage provides an excellent example of
what Allan Moore refers to as 'multivocality'
(Moore 1996, p. 28).
13. The circle of fifths progression in 'Awaken' is
years ahead of, and more complete than, that
in Ozzy Osbourne's 'Mr. Crowley' (see Walser
1993, p. 80).
14. All timings are taken from the studio
recording of 'Awaken' as released on disc 3
of the Yesyears compilation. A live recording of 'Awaken' has been released (1996) that
is three minutes longer than the studio version.
References
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Curtis, J. 1987. Rock Eras: Interpretations of Music and Society, 1954-84 (Bowling Green)
DeRogatis, J. 1996. Kaleidoscope Eyes: Psychedelic Rock From the '60s to the '90s (Secaucus)
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Gallo, A. 1980. Genesis: I Know What I Like (Los Angeles)
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Josephson, N. 1992. 'Bach meets Liszt: traditional formal structures and performance practices in progressive rock', Musical Quarterly, 76/1, pp. 67-92
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The Marshall Cavendish Encyclopedia of Popular Music, 1990. Vol. 14 (New York)
Martin, B. 1996. Music of Yes: Structure and Vision in Progressive Rock (Chicago)
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Middleton, R. 1990. Studying Popular Music (Philadelphia)
Moore, A.F. 1993. Rock: The Primary Text: Developing a Musicology of Rock (Buckingham)
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Morse, T. 1996. Yesstories: Yes in Their Own Words (New York)
Mosber, T. 1994. Yes - But What Does It Mean? Exploring the Music of Yes (Milton, WI)
Stuessy, J., and Lipscomb, S. 1999. Rock and Roll: Its History and Stylistic Development (Upper Saddle
River)
Stump, P.1997. The Music's all that Matters: A History of Progressive Rock (London)
Szatmary, D. 1996. Rockin' in Time: A Social History of Rock-and-Roll (Upper Saddle River)
Tagg, P. 1982. 'Analysing popular music: theory, method and practice', Popular Music, 2, pp. 37-67
Tamm, E. 1990. Robert Fripp: From King Crimson to Guitar Craft (Boston)
Walser, R. 1993. Running with the Devil: Power, Gender and Madness in Heavy Metal Music (Hanover and
London)
Whiteley, S. 1992. The Space Between the Notes: Rock and the Counter-Culture (London and New York)
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Yes and the progressive rock style
261 Discography
Anderson, Bruford, Wakeman, Howe, Anderson, Bruford, Wakpman, Howe. Arista AL85 - 90126. 1989 Yes, The Yes Album. Atlantic 19131. 19 March 1971 Yes, 'Heart of the Sunrise', Fragile. Atlantic 19132. 1 November 1971 (UK), 4 January 1972 (US) Yes, Close to the Edge. Atlantic 19133. 13 September 1972 Yes, Tales from Topographic Oceans. Atlantic 2-908. 9 January 1974 Yes, Relayer. Atlantic 19135. 5 December 1974 Yes, 'America', Yesterdays. Atlantic 19134. 27 February 1975 Yes, Going for the One. Atlantic 19106. 7 July 1977 Yes, 'Machine Messiah', Drama. Atlantic 16019. 18 August 1980 Yes, Yesyears. ATCO 91644. 1991 Yes, 'Endless Dream', Talk. Victory 383-480-033-2. 1994 Yes, 'Be the One', 'That, That Is', Keys to Ascension. CMC International Records Inc., CMC 060768208-2. 1996 Yes, 'Foot Prints', 'Mind Drive', Keys to Ascension 2. Cleopatra Records, Inc., CLP 0159-2. 1997 Yes, 'Homeworld (The Ladder)', 'New Languages', The adder. Beyond Music 63985-78046-2. September 1999 http://www.jstor.org
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Yes, 'Awaken', and the Progressive Rock Style
John R. Palmer
Popular Music, Vol. 20, No. 2. (May, 2001), pp. 243-261.
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References
Listening to Peter Gabriel's 'I Have the Touch'
Umberto Fiori
Popular Music, Vol. 6, No. 1. (Jan., 1987), pp. 37-43.
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Post-Punk's Attempt to Democratise the Music Industry: The Success and Failure of Rough
Trade
David Hesmondhalgh
Popular Music, Vol. 16, No. 3. (Oct., 1997), pp. 255-274.
Stable URL:
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Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive
Rock
Nors S. Josephson
The Musical Quarterly, Vol. 76, No. 1. (Spring, 1992), pp. 67-92.
Stable URL:
http://links.jstor.org/sici?sici=0027-4631%28199221%2976%3A1%3C67%3ABMLTFS%3E2.0.CO%3B2-8
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Analysing Popular Music: Theory, Method and Practice
Philip Tagg
Popular Music, Vol. 2, Theory and Method. (1982), pp. 37-67.
Stable URL:
http://links.jstor.org/sici?sici=0261-1430%281982%292%3C37%3AAPMTMA%3E2.0.CO%3B2-G