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Messages - Beethoven

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Metal / Edrihan
« on: December 10, 2010, 03:29:28 AM »
You're skeptical.. I know, I understand, it's hard to believe.
I've been playing music for most of my life.. unlike many here I appreciate music in general, from Bach to Britney Spears. I'm simply a professional. Of course I differentiate quality, but my job is to understand from a technical/historical/societal/emotional standpoint what's going on with any and all music forms. I finally am getting my shit together, so I recorded 24 songs this week. I think some would appreciate my approach to metal. You can sample the music here:
If you go over to MIDI creations, that's where all my metal composition lies.
What sets my music apart is that I'm equally influenced by Slayer, Hermeto Pascoal, Bach, James Brown and too many others to name. I try to synthesize paradigms. Please let me know what any of you think.. but don't talk shit until you listen first.
My music is like Dimmu (aesthetically) if they studied metal and counterpoint a little more and worried less of image
I appreciate criticism more than praise and hope many will hate my music/persona but that maybe a few may enjoy as well.
My regards to the ANUS community after a long silence (here).

Interzone / Re: forum for original composition criticism
« on: October 30, 2009, 11:44:24 PM »
writing in midi is not necessarily writing for midi..  all midi is is a digital interface for sheet music. Most of the time I play the riffs before notating anyways but there's only so much one person in their room can do as far as counterpoint with a single guitar. For example if you're writing for two guitars bass and drums that would be a metal instrumentation.. if you're writing for a low, middle, and two high string parts that would resemble a string quartet. Both would sound like blips and blops in midi. Not all of us have "access to classical musicians" but most have access to an imagination. Lots of times these notated ideas can be the foundation for real instrumentation, as is actually the reality with some songs in my metal band. In the metal vein here are two totally incomplete ideas and one complete. If you want to focus on aesthetic don't bother but if you have an imaginative ear give a listen and tell me what you think. As for eleison I'd be curious to see what you've accomplished. It doesn't have to be digital (audio or midi) it could be standard sheet music, but if you share your idea that's what this thread is all about and will expand the discussion rather than attempt to limit with criticism.

( filenames pointless + ridiculous, I know)
So the 2 preliminary ideas:
and the one more complete:
http://www.mediafire.com/file/jtnfmmk1gwm/Song B.mid

Interzone / forum for original composition criticism
« on: October 30, 2009, 09:09:59 PM »
I've always thought that it would be a good idea to open up this forum to composers wanting a reasonable and knowledgeable group of people to get an alternative set of thoughts on their compositions. I'm not sure if many out there also compose, by which I mean notate, and I'm also unsure of what formats people are using or would have wide enough distribution to be somewhat standardized. I myself use guitar pro for the most part, which tends to suck balls for anything but guitar but is standard enough and functional enough and also affordable (or easy to pirate). if anyone is interested in hearing works in progress (in midi... yeah I know it's tedious unless you're also a midi nerd like me) let me know and I'd be interested to hear what others are working on.

Metal / Re: Classical Guitar
« on: September 15, 2009, 01:30:42 AM »
If it's in a major key I almost certainly won't like it.  And many minor pieces shade into major keys partway through the piece.

Oftentimes sadness and despair seem to carry a greater weight than joy and happiness. I found that as a teenager I did not generally enjoy classical works in major keys. However I found it to be trapping as I was trying to find something within classical music rather than accepting what it was trying to do. Just as a soft piece can hit one as hard as the loudest I have come to find that works in a major key can go as deep as those in any somber scale. If one looks at the second movement of Beethovenís 8th piano sonata one can see a great sadness amidst the more apparent peace and tranquility.
Great example! I used to be very biased towards the darker sounding modes in classical, but something I realized by countless exposures was that often the perceived major/minor-ness is actually more of an interpretive construct based on the series of repetitions. An example of what I'm talking about is Beethoven's Sonata no. 23 mvmt. 3 (a very grim, headbanging piece, especially the last movement) where you have the main theme which starts on an f minor arpeggio (starting from the fifth, C) and then an alternating scale pattern (also f minor in first inclusion) which is recurrent in the piece. No one will deny that this is aeolian/minor/heavy sounding (for the uneducated) but something to watch out for as the piece re-iterates this theme is that as it traverses positions, it also changes in modality, to major. Now, in context it is no less powerful than the minor patterns, and in fact is necessary for Beethoven's true effect, which is the effortless mastery of making a single, simple idea diversified in many ways throughout an entire piece. It may be all well and evil to only play minor chords in black metal, but there is a huge void where the genius foresight of the masters would expand, modify, contort, and re contextualize. You won't find only one single type of chord in Beethoven's "atrociously happy" sonatas. From the superficially grim, to the majestic and downright jubilant, masters will utilize most, if not all of the basic triad modalities (major, minor, diminished, augmented) to re contextualize ideas.
I'm not attacking metal for its simplicity, and I'm not really criticizing the bias towards the darker sounds, I'm just talking about a different paradigm of heaviness perhaps, where it's not the sheer "minorness" that makes it epic, but the vast genius of utilizing multiple connotations of a single idea.
You wanna start talking about adhering to modality? Don't even get me started on Bach...

Metal / Re: Metal Future
« on: April 23, 2008, 07:56:12 PM »
because it ends up like yngwie malmsteen? I understand what you mean though. all midi blackmetal perhaps?


work in progress (about 40 percent done, but oddly the more I do the less percent done it seems)

Going along with the ideas of this thread is my work in progress, to be recorded at some point. It's basically classical metal fusion minus the masterbating. Metal riffs with classical arrangements.

Before people start pointing out parts that aren't fully realized, I know it's far from finished horizontally or vertically.

Interzone / Re: Poetry for lack of a better word?
« on: April 16, 2008, 08:00:06 PM »
Are those meant to be serious?

What do you mean by serious?

Interzone / Poetry for lack of a better word?
« on: April 15, 2008, 08:13:43 PM »
I'm wondering if anyone on the forum writes creatively as hobby, or job. (I know many do) I'd like to see what verse or stories hessians have composed.

I'll start it off with two I recently wrote. I'm quite new to writing while mindful of rhythm and metre, and would appreciate any thoughts on my compositions, but more so I'm curious as to others' works.

there is no reality for cretins but beastiality
the brutality of man sodomising animal is beautiful
to those obsessed by the twisted push and pull
of an unnatural union between the sphincter and man
of the unwilling beast being filled with semen
He robs the chastity voilently of a horse
and leaves nothing but dismembered corpse


Calculated cogs comprise the great Machine
Devices of degeneracy manufactured in multitudes
By the grandest and most sinister engineer.
The architect of collapse continuously contorts
the calm contours of natural simplicity.

The mother of monsters has no real resistance
to the persistant insistance of countless instances
of man-made modernity, the ignoble inverse of nature's
infinite improbabability, for Nature's force is that of death and growth,
while parasites desire damage more and most.
Their toxic orgasm poisons her deeply when her rape
is concluded collosally
Vote for your leader, encourage Earth's debauchery.

Interzone / Re: Sexual selectivity
« on: April 15, 2008, 08:08:53 PM »

You sound terribly weak...

Perhaps so, but it is quite established that females pay attention to musicians creating valid (or shallow for that matter) music, and while this cannot be a basis for any real relationship, it can get the ball rolling, and some actual contact with females. My point was simply the social aspect of musicianship (which is a group action historically and still presently) could be a vehicle for someone to find someone of worth if they are social outcasts in other settings. Someone being attracted by music is relatively more benign than by anything else short of true reasons such as ideals and character (i.e. go to same school, shop at same mall, etc.)

Only one lacking in himself what he desires lashes out at a contributor of ideas rather than the ideas themselves. I'm sorry that you can't enjoy success in music Hlidskjalf.

Interzone / Re: Sexual selectivity
« on: April 14, 2008, 08:14:21 PM »
It's too true and sad that doing drugs and having sex are mostly equivalent as practiced in our (Western) society. It's a physically pleasurable feeling attained once, and only once, usually at high cost ($10 per gram, dinner+movie, beer and daterape drugs)

I don't gloat in this at all, but only offer encouragement to those feeling cynical about love. I too was alone for a long time, and one day I finally felt great with one woman... over time, her depressive irrationality was impossible to deal with and speak through. I left her and felt like even what was felt as "true love" was limited and broken by the flaws of its participants.

I then met someone who I've been with since, just by hanging out as friends for some time, who I can listen to Enslaved and Morbid Angel with, hoomcook delicious meals with, discuss books with, get stoned with and of course get intimately acquainted with. We both know we're the single one for each other and are getting married.

The trick is to not act desperately, only kindly and respectfully, that way those attracted to you will be worthwhile... being a musical prodigy or at least competent will help in this regard too.

Interzone / Re: Beethoven
« on: March 26, 2008, 07:48:20 PM »
My best bro (who I live with) just picked up a mic the other day so as soon as I have time I'm going to record the 17th to start.

Interzone / Re: Beethoven
« on: March 13, 2008, 07:47:46 PM »
I thought I was weird for finding parallels between Beethoven's symphonies and a lot of metal.  I spent a couple weeks listening to Beethoven a lot, and I started thinking that if the material was performed on more modern instruments, it would likely fit into a metal album.  Its a cool thought.

I'm actually working on this. It's a lot of fun to arrange Beethoven for metal instruments. I just do the piano sonotas, not the symphonies, because it's perfect for metal instrumentation; guitar (RH) guitar+bass (LH) and drums, three string instruments can generally handle the piano parts.

I still like playing the sonatas on piano the best though.

Once the album is finished I'll upload here just for another version of Beethoven to absorb. I play it in a somewhat dramatic way with plenty of dynamic changes and rubato. It's always bothered me to listen to Korean and Chinese pianists playing beethoven because they sound like midi.. exactly on perfect rhythm and notes but not understanding the emotion or the melodic progressions in a theoretica sense.

Good for someone to start Beethoven a topic of his own! Glad to see he's appreciated by many, certainly so by me, I plan to be  a concert Beethoven pianist for my career.

We need more uploads in audiofile. I'll see if I can upload the Brendel sonata cycle.

Metal / Re: The Tritone Paradox
« on: March 06, 2008, 07:30:22 PM »
It's a topic for life study, the use of tritones. This paradox you describe is interesting but the paradox of tritones in general is astounding as well. On one hand it's the most dissonant interval but sounds very consonant at times (see Beethoven's 17 piano sonata in the third movement during the opening cadence after it moves from A major into the cadence); it's a case of the surrounding defining the surrounded. Another example discovered in my own meanderings is when you play a tritone triad with a hand (C, F#, C (oct)) in a repeating pattern, it sounds dissonant of course. If  you add a power cord one whole step above a note in the tritone, (such as G#, D#, G#) it creates a dominant chord, sounding more consonant. Interestingly, moving from a chord to its tritone chord sounds consonant if you do what I've detailed, and then move the power chord (with original tritone) by a tritone it flows seamlessly. This case would be a G#7 or Ab7 (to be correct), followed by a D7 when moved. A tritone progression of chords, with a tritone inside the tritonal shift! Interesting how much possibility is left unexplored with tritones!

Great thread, I hope I haven't bored anyone with my totally non-BRUTL theory.

Interzone / Re: Classical guitar
« on: January 24, 2008, 07:55:40 PM »

I'am sure the above video has been viewed by most of the members here before but there's no harm in watching it again.

Actually, I put that link just to bring a point across. It seems that an average person with Asian or Oriental descent seem to have more mastery over thier respective instruments ( I know..I know how generalized this sounds ). It may very well be  genetic makeup that leads to this because I've noticed that most Asians seem to be perfectly equipped with slender fingers which gives them a more commanding grip over their instruments.

So, does genetics determine our 'virtuosity' level or does practice indeed make one pefect?

This attitude is a misconception on something slightly similar.. Asians are very academically-based culturally, their families stress "learning" from books more so than even living life. In this way Asians are often very technically skilled at music, having practiced repetitiously for hours but gaining no true understanding of the music. I've seen this true stereotype in action many times, working at a music store, where an Asain will come in, play a Grade 10 piece like a Chopin etude, will constant unchanging rhythm (something that Chopin doesn't necessarily involve) but minimal expression of dynamics and phrasing.

Metal / Re: Cyclic
« on: January 17, 2008, 07:43:23 PM »
Like it has been established.. a cyclic structure can mean repeating ideas, or creating an organic continuum. An interesting and quite-developed cyclic song structure is the sonata form used in classical, mostly honed and perfected by Beethoven in his piano sonatas. I don't know exactly what the structure is defined as, but to me it is perceived as something along the lines of..
additional segment
final restatement

each restatement will vary in particulars but retains the same idea. The sameness is the core idea, the differentness is key, rhythm, embellishment, counterpoint (different lines being introduced at different times for different harmony).

I'm not educated in this (yet), I can play these sonatas but am only just beginning to delve into the inner workings.

Does anyone else has any, perhaps clearer, thoughts on the sonata form or how it relates to the cyclic form?

Interzone / Re: Tips for a classical newbie
« on: December 03, 2007, 07:44:00 PM »

I wish I had Beethoven's piano sonatas. Is there a possibility that you could upload them?

Instead of uploading something as large as this (10+ hours at lossless), people should use Bittorrent, it'll download faster and easier than megaupload fragments. If the torrent isn't seeding give me a PM and I'll reseed it. If you have no clue what I'm talking about look up bittorrent on any internet souce.

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