From the Undertow

F/D¨ A¨&/D¨
b b 4 U nœœœ œœœ nœœœ œœœ
& b b 4 nw
w
w
w
b œœ
nœ œ œ
œœ œœ
œ œ œ nœ œ œ
œ
œ œœ œ
? bb b 44 w
{ b
w
w
w
w
w
4 A¨/E¨
b nœ œ nœ œ nœ œ bœ œ
& b bb nœœœ œœ œ œœ œ œœœ nœœœ œœ œ œœ œ œœœ nœœœ œœ œ œœ œ œœœ bœœœ œœ œ œœ œ œœœ
œ œ œ œ œ œ œ œ
? bb b w
{ b w w
w
w
w
w
w

8 A¨&/D¨ A¨/E¨ A¨&/D¨

b b nœ œœ œ b œ œœ œ nœ œœ œ nœ œœ œ
& b b nœœ œ œ œ œ œ œ bœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb b w
{ b w
w
w
w
w
w
w
12 A¨&/A E/A
œœ œœ #w U
bbbb œœ nœœœ œ œ
œ œ nœ
œ œ œ
œ n w nœ
œ w
& nœ œ œ œ œ œ œ œ n#w #œ nœ
œ œ nœ œ œ
nœ
? bb b #œ nœ
{ b nw
nw
nw
nw
nw
nw
15 B/A D¨‹ E¨/D¨

bbbb #œ nœnœ œ œ#œ œ #œ nœ#œ œ œnœ œ bœ œbœ œ œbœ œ œ œ œ œœ

& #œ œ #œ œ bœ œ œ œ œ
? bb b
{ b <n>w
<n> w
nw
nw
w
w
w
w
A¨‹ E¨7/G
19
b œ œ b œj œ b œ œ b œ œ œ œ œ œ nœ
∏∏∏∏∏

∏∏∏∏∏

∏∏∏∏∏

b œ œ œ œ œ œ œ œ œ
& b bb bbœœœ œ œ œ œœœ œ œ œ œœœœ œ œ œ bœœœœ ‰ œ bœ œ bœ œ œ œ œ œ nœ
∏∏∏∏∏

b w “œ”
? bb b w ˙
˙ œ bœ œ œ œ œ œ œ
{ b ‰ œ œ
J bœ
2 From the Undertow

C F‹7 C
22 3 3
b b n œœ œ œ œœ
œœœ œœ œœ bœœ nœœ œœ œœ œœ nœœœ œœ3 œ œ œœ
&b b œn œœ œœ œœ œœ œœ œœ
n œœ n œœœ bœœ œ œ œ œ œ œ œ œ œœ n œœœ
œ œœ
nn œœ ™™ œœ b œœœ œœœ œœœ nœœœ œœœ œœ n œœ ™™ œœ
? bb b nœ œ ™ œ Œ œ œ œ™ œ Œ
{ b
nœ
J Ϫ
Ϫ 3
œ
œ
J

F‹7 E¨/B¨ F‹/B¨ œœ E¨/B¨œ

25 3 œ
œœœ œœœ œœœ œœ œœ œœ œœ œ F‹/B¨œœ œœ œœ
œœ
b œœ œœ bœœ nœœ œœ œœ œœ œ œ œœ œœ œ
& b bb bœ œ œœ œ œ œ œ ‰ œJ ‰ œJ ‰ œœ ‰ œJ
œœ J
b œœœ œœ œœ nœœ œœ œœ œœ œœ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ
? bb b
{ b Ϫ
Ϫ 3
œ
œ
œ
œ
œ
œ
œ
œ
A¨Œ„Š7 E¨‹(„ˆˆ9)/A¨ A¨Œ„Š7
28 3
3
b œœ œœ œ œ œœ œ œ œœ œœ3 œ œ œœ
& b bb
œ œœ œœ œœ œ
œœ œ œœ œœ œ œœ œœ œ bœœœ œ œ œ nœœ œ œœ œœ œ œœ œœ
b œœ œ
œœ œ œ Œ œœ œœ œœ œœ œœ œ œœ œ œ Œ
? bb b bœ œ
{ b œ
œ
Ϫ
Ϫ 3
œ
œ
E¨‹(„ˆˆ9)/A¨ D¨‹9
31 3 bœ 3 œ œœ œœ œœ œœ œœ
b œ œ œœ œœ
& b bb œ
œ œœ œœ œ b œ œ œ œ
bœœœ œ œœ œ œ bbœœœœ
œ
b œœ œ œ b œœœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœ
bœ œœ œœ œœ œœ œœ b œ œ
? bb b œ
{ b Ϫ
Ϫ 3
Ϫ
Ϫ 3
F¨^7/E¨ F¨Œ„Š7(b5)/E¨ E¨7[áÁ]
33 b œœ œœ œœ
b œœœ œœœ œœœ ∫ œœœ œœœ œœœ j
& b bb ‰ bœœJ œœ œœ ‰ œ œ œ ‰ ∫œ œ œ ‰ bœœœœ œœœœ œœœœ
J J ∫œ œ œ
œ œ œ œœœœ œœœœ œœœœ b œœœœ œœœœ œœœœ
? bb b bb œœœ œœœ œœœ ∫
{ b
œ
œ
œ
œ
œ
œ ˙
˙
35 A¨ D¨‹ A¨
b
& b bb œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ b œ œ œ œ œ œ œ
? bb b ˙™™ œ bœ bœ ™ bœ œ œ bœ
{ b J œ ˙™™
 From the Undertow 3

38 D¨‹ A¨
b
& b bb œ œ œ œ œ œ œ œ
œ bœ œ œ œ œ œ œ
? bb b bœ œ œ bœ
{ b œ œ œ œ w

40 A¨&/D¨ A¨/E¨ A¨&/D¨ A¨/E¨

b b nœ œ b œ œ nœ œœ œ b œ œœ œ
& b b nœœ œ œ œ œ œœ bœœ œ œ œ œ œœ nœœ œ œ œ œ œ bœœ œ œ œ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
? bb b w
{ b w w
w
w
w
w
w

44 A¨&/D¨ A¨&/A
b b nœ œœ œ nœ œœ œ nœ œœ œ nœ œœ œ
& b b nœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb b w
{ b w w
w nw
nw
nw
nw
48 E/A
U œ œœ n œœœ œœ
A¨&/A
œ œœ n œœœ œœ A¨&/F
œ œœ n œœœ œœ
bbbb nn#w
w nnœœ œ œ œ œ œ œ
œ nœœ œ œ œ œ œ œ nœœ œ œ œ œ œ œ
& #w
w #œ nœ
nœ nb ˙˙ nbb ˙˙˙˙ n ˙˙˙˙
? bb b #œ nœ b ˙˙
{ b nw
nw
n˙
n˙
n˙
n˙
˙
˙
52
œ œœ n œœœ œœ w
w C/F U
œ E¨/F
œœœ bœœœ œ œ œ œœ
bbbb nœœ œ œ œ œ œ œ b w w œ œ œ
œ œ œ
& œ œ J
R.H.
n ˙˙˙˙ L.H.
b œœ ˙˙
˙
? bb b
{ b ˙
˙
b w
w
Ϫ
Ϫ
J

55 F B¨/F C(„ˆˆ4)/F F‹(Œ„Š7)

œ œ œ œ™ œ œ œ œ œ œ œ œœ œ œ U
&b œ œ œ œ œ œœ ˙ bw
œœ ˙˙˙ œœ ˙˙˙
?b
{ Ϫ
œ ™
J
Ϫ
œ ™
J
w
w
w
w
4 From the Undertow

If you don’t have an Electric Grand (or simulation thereof), don’t worry;
it still sounds great on a ‘real’ piano (or simulation thereof) :)

First things first; this is the way I perform it. In fact the audio is actually based on a performance with a
small amount of tidying up seeing as how this is a 'recording'.
It's based mostly on Tony's piano parts but there are instances where I've had to compromise, like where
the synth plays the melody (e.g bars 28-31) or some of the piano is in a really high register and the synth
pad is covering the middle ground (bars 26-28).
In a nutshell, I've tried to make it sound like the overall piece rather than just the piano part.

I've given no indication of tempo. The beauty with this piece is that you can play with the tempo as much
or as little as you like. To me it has a real Rachmaninov feel to it with the big two-handed and unusual
chords. It’s VERY cinematic too (it was actually used a lot in the 1978 film ‘The Shout’) and simply
demands a ‘performance’! :)

It's important to understand that Tony makes extensive use of augmented chords here to allow him to
pivot to new key centres even if only for a few bars (e.g.14-16) but that makes choosing a key-signature
that's not going to cause too many 'accidental' notes a tricky proposition...

So, the key signature; four flats usually means the piece is in Ab Major (or F minor) but this piece (like
many by Tony/Genesis) is very hard to pin down as it modulates, as mentioned above, to other key centres
(it actually ends up in F major hence the only key signature change at the end of bar 52).
But a lot of the time, the tonal centre is based around the chord (if not the key) of Ab major, so it seemed
the most appropriate key-sig to use. Of course, there are bars (like the aforementioned 14-16) where I've
had no real choice but to use sharps but it would have been silly to stick rigidly to flats or change the key
signature for just a few bars.

Bar 1: Hold this bar for as long as you feel like.

Same goes for the last bar and also as to when you actually play the very last note itself :)

Bar 14: The ‘small’ notes. These (as with all ‘small’ notes in this piece) are optional and are not played on
the original. I include them to kind of ‘fill in’ the gaps as on the record there’s a lot of sonic stuff going on
with the (I believe, Yamaha CS80) synth in the background. Like the first bar, you can hold this bar on for
as long as you like and the small notes (if you do decide to play them) can be played as fast or as slow as
you like. Same with bars 48 & 53.

Bars 20-21: It took up less room to notate the end of bar 20 as I have rather than put in a treble clef for
the last 3 left hand quavers. Just remember they’re bass clef notes (Eb, Db, Cb) but played an octave
higher than written.

Bars 22-34: I’m sorry if your hands are too small to play some of this, I honestly am :(
But there really is no other way to make this sound as grand and Rachmaninovy with ‘smaller’ chords.
Also, feel free to write in your own simpler note letters for bars 33 and 34 if all the extra flats and double
flats are giving you a headache! :)
Speaking of which; tech-talk alert!!
The Bbb notes are just A notes really but Sibelius didn’t allow a b9#4 chord which is what it would then
be called.
Also, bar 34 is really an Eb(b9b5) - or Eb(b9#4) - chord but, again, blame Sibelius as it only understood
the altered notes if I made it a dominant 7th chord i.e. Eb7(…).
But it’s not as there’s no Db in it. Ah well…
That was all a bit techie and if you’re not into advanced chord theory, feel free to just ignore the last bit
entirely and simply play the notes! :)

Bar 32: The two bracketed notes are already played with the thumb of the right hand so can be ignored.

And that’s it! It’s all relatively easy from there on in. Have fun! :)