Experimental piece for metal band ensemble

So, occasionally I tire of writing old man music and go back to my roots in composition, metal, and generally write out a quick piece in three-four days to get all the "weirdness" and "bad noises" out of my system. This particular piece came out of the idea of juxtaposing a classical form (sonata-allegro) in a metal aesthetic. I wrote about half of it out before getting bored and shelving it for about six months. Recently however, I came back to it, decided it had some potential, and decided to slightly reevaluate my goals. This is no longer what I'd describe a "metal song" (or piece rather since there are no intended vocals). It's something much more atypical of metal and experimental. I don't readily know how to describe it but I suppose I'll make an attempt anyway:

(This is a pretty long-winded, yet somehow still unsubstantial analysis and explanation so feel free to skip it if you just want to hear the music.)

Formally, it's still kinda sorta in sonata-allegro form. There are two clear subjects at the very least. The first subject is a pretty typical thrash metal type riff. A dissonant march in 5/4 made up entirely of tritones before dissolving into a flurry of power chords and harmonics in 6/4. Upon the return of the march, a new motif pops up made up of minor thirds which works in a sort of "call and response" dynamic with the tritone riff. The second subject is an abrupt shift to a clean, "jazz" (using the term very loosely) section making fun of genre convention of sudden, often pointless shifts into bad renditions of other genres but also conforming to sonata-allegro form. The important points of this subject is "head" motif and the repeated cadence of B7 - C#maj7th - F#9. From there, another abrupt (and hopefully startling) change back into the power chord/harmonic riff before the start of the development. From there, it gets kinda hard to describe. Manipulation, dissection, elaboration, and parody of the motives occur. I can't really explain (nor would I want to anyway since that ruins half the fun) everything I do here but the whole point is to blur the line between such contrasting subjects and, if you pay attention, you'll probably be able to hear it. There is one part I'm particularly proud of where every part of the exposition is simultaneously heard/referred to in some form or another.

As of yet, there is no real recap. And it may or may not stay that way as I've always thought direct recaps were sort of lame. Either way, the end as it is now is most likely how the work will end and can be interpreted as a coda where every element of the piece thus far is synthesized into a coherent whole. Most of the coda was written while I was depressed and, while I've never been a subscriber to expressing myself in music, I do believe that something of a lament can be heard in it.

Rhythmically, heavy syncopation remains a constant. At its tamest, the piece may stay in the same time sig for about 10-15 measures (though always something asymetrical like 5/4 or 7/8). At its worst, the whole notion of a time signature should be abandoned (think of Rite of Spring). There are a lot of conscious attempts to "throw the audience off" as well. How well I succeeded in this, I don't know since everything (or just about everything) makes rhythmic sense in my mind.

Harmonically, this is even harder to describe as there isn't meant to be any kind of consistent harmonic plan in the first place. What I can say though is that tonality was never something that entered my mind when writing this piece. It simply isn't relevant to what I'm trying to go for here. I'm sure you can find tonal centers (up until the second subject, it's probably all in F in fact) but it defeats the purpose. I was operating more under the theory of "goal rhythms" rather than "goal tones". It's hard for me to describe and it'd take a while for me to do but, if anyone is interested enough (which I doubt), I can attempt to explain it.

Overall, this work is about 90 percent done. I may or may not add something more akin to a direct recap and a lot of transitions will be changed. But mostly, this work is how it is and will be. It's hard for me to say my feelings on it beyond saying it was an interesting experiment and I enjoyed writing it. How YC will react to it, I don't know. Probably not very favorably. There may be more pieces like this in future (working on another one right now) but I'm not sure they'll ever find light here on YC.

B.mid

Sounds like Dillinger Escape Plan, especially having the unexpected "jazzy" breakdown between the more aggressive sections. Well done.

I'm only 3 minutes in, I'll post more when it's finished

As stupid as it sounds, I would listen to it but my PC can't play midis properly. I need to convert it to something else first and it's a hassle, so it'll have to wait. Sorry. :

As stupid as it sounds, I would listen to it but my PC can't play midis properly. I need to convert it to something else first and it's a hassle, so it'll have to wait. Sorry. :<

Heh, strange. The piece is absolutely worth listening to, for sure. :toothygrin:

Well I enjoy the metal sections and the rhythmic dislocations - far more interesting than much metal I have heard! Yes and there is a Zappa feel to it but much clearer of the interlaying lines and less antagonism between them.

The jazzy section starts off well and has its own loopiness - as if the players were falling a bit too far behind the beat from too many cocktails. But not so much liking the trailing off into the metal development I also have trouble connecting the jazz material to your development except for some harmonies that occur later. It helps the jazz material is heard toward the end of the development.

You don't need a recap I like how it trails off at the end with the recall of the jazzy material - in fact I found the last two cadences distracting as it implied too much stability in a piece that aims for destabilization. I'd prefer some space between those chords at a softer dynamic.

So, very good piece, that would benefit from just a tiny little touching up rather than expansion.

Impressive. Your ability to work with the metal genre and to bend it to your own purposes is noteworthy. I hope you keep experimenting like this because the metal world needs some radical inspiration as much as it can benefit from the legitimacy that can come from genuine fusions with more well respected styles.

Impressive. Your ability to work with the metal genre and to bend it to your own purposes is noteworthy. I hope you keep experimenting like this because the metal world needs some radical inspiration as much as it can benefit from the legitimacy that can come from genuine fusions with more well respected styles.

Golden. Tyler, you're actually writing music I don't mind listening to again. The lack of focus on any tonal center is actually satisfying when juxtaposed with what a lot of metal music does - which is a lot of the same chords with lots of screaming. I like your metal. It is riddled with variation. Writing this as if it were a classical sonata movement is brilliant. Very tasteful sections interspersed amidst phases of utter yet organised chaos. I love the jazz sections and the solo work at 2:50 for example. I can't tell what chords you are using yet I still like it. I think you've made some ground on my stingy ears.

Btw, my roomates are actually diggin' this, too.

Like I said in the shoutbox, this is compositionally brilliant. While I don't like the style itself (metal), the piece is great independent of that. One could theoretically orchestrate this piece and it would still work.

One note, the ending seems to just fall away. A return to the power chord idea at the beginning would make it a better complete totality in my opinion.

so ... werid

Amazing. Hand's down. I agree with Nathan in that it's a must listen and Tokkemon in that's it compositionally brilliant.

I also like the style when done right, and I agree it could be orchestrated and be made into a very successful piece.

This is on the verge of mastery in my opinion.

fun stuff. very much into shining's 'grindstone' album (sorry, if this makes you sad). certainly a feast for anarcho metalheadz.

like your metal. It is riddled with variation

This piece is very, very weird and abnormal, but that completely works to its advantage in this case! It's sort of prog metal, with jazzy, swing-like interludes thrown in neat places through-out. This isn't mindless metal, like some metal is: this clearly had much thought and effort put into it, and the outcome is genuinely amazing.

First of all, I have to say that listening to metal as a midi file is absolutely hilarious.

Anyway, this is a cool piece. If you're in a band playing this kind of music at the moment, you should definitely try to get yourself a recording. It has some great potential if you can throw it at a good enough group of musicians!

It reminded me a bit of Mr. Bungle's first album in the way it starts out with a lot energy and changes, and eventually fades out to distant jazz chords.

I'd say that the drummer might struggle banging away so quickly on the double kicks at the end's soft volume, but with a drummer good enough to play the rest of it, it might not be an issue, anyway. And it's not really an issue for him to change what he plays in that section.

Suave work.

Michael.

It's a Bit of Slayer (the intro ) but i think that after the firs min it starts to sound a little "Jazzy" which you should NEVER do in a heavy Metal band. but after that it sounds great (actually it's sounds much like Dream Theatre !! :phones: )

the only thing missing: a good Guitar solo (like john petrucci's or like the Axell Rudi Pell's )

ps: a part from being a bit thrash'y in the intro and a bit progressive (with the Dream Theater bit)I couldn't really figure out the "Genre" of the piece , which i think in a Metal band should be very clear !!

good job ;)

ha! meshuggah much?? this is great! technical death metal without the mindlessness.. do you have lyrics? and they to be sung by a dinosaur?? XD