Music
The song centres around a signature chord progression, which first appeared on Page's home-studio work tapes. It was an extension of a guitar-cycle that Page had been working on for years. This was the same cycle that produced "Black Mountain Side", "White Summer" and the unreleased track, "Swan-song". Because bass player and keyboardist John Paul Jones had been late for the recording sessions, Page used the time to work on the riff with drummer John Bonham. The two demoed it late in 1973. Plant later added the middle section and in early 1974 Jones added the string parts.
Page adopted an alternative guitar tuning: the strings are tuned to 'Open Dsus4' or DADGAD. Bonham's drums featured a phasing effect courtesy of an Eventide Instant Phaser PS-101 supplied by engineer Ron Nevison. Plant stated that Bonham's drumming is the key to the song: "It was what he didn't do that made it work". Sections of the song utilize a polymeter effect, with the drums and lyrics in quadruple meter while the melodic instruments play a triple meter rhythmic pattern.
The song includes many distinctive musical patterns of classical Moroccan, Indian and Middle Eastern music. Page explained, "I had a sitar for some time and I was interested in modal tunings and Arabic stuff. It started off with a riff and then employed Eastern lines underneath."
Orchestral brass and strings with electric guitar and mellotron strings appear in the song. This is one of the few Led Zeppelin songs to use outside musicians. Session players were brought in for the string and horn sections. According to Jones, "the secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts are allowed, but keep them to a minimum. Think melodically".
Read more about this topic: Kashmir (song), Overview
Famous quotes containing the word music:
“The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.”
—Adlai Stevenson (1900–1965)
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“Who that has heard a strain of music feared then lest he should speak extravagantly any more forever?”
—Henry David Thoreau (1817–1862)