Sammath shared a transcription of “Fear Upon Them” from Godless Arrogance, the best album of 2014, on their Funbook page today. Readers who can read music should check it out.
Tags: Black Metal, death metal, Godless Arrogance, hammerheart records, sammath, transcription
Good initiative. Only sheet is real.
Neat
This is a very kind deed which I much appreciate.
In black and death metal, it is often difficult to hear exactly which notes are played.
They also released them for free, rather than for sale, which is generous.
Also, does any one have good notes for Burzum? Message me with a link if so.
I like how it’s a;ll [pretty much one note over and over again ahahahahaha “neoclassical influence in metal” ahahahkkjjsakahhaha
THE CLASSICAL INFLUENCE IS IN THE ARRANGEMENT NOT THE NOTE CHOICE YOU AUTIST
You’re mostly right, but there are examples of one note over and over in classical music, too.
https://www.youtube.com/watch?v=Obo4ewznBLM
one tone* not one note
I think that the similarities between metal and classical music are over stated. They exist, but are often blown out of proportion.
They’re at the structural level: European orchestra music (‘classic’ being a style period within that. Bach and Vivaldi are baroque, not classic) is based on the concepts of themes composed of motifs. Themes usually represent some aspect of what a piece of music is about and all of a composition consists of different themes introduced at different times and already introduced themes being repeated with and without variations. A metal track is composed of a number of riffs introduced at different times and being repeated with and without variations (the riff chaining on Blessed are the Sick is a good example of that). This is strikingly similar to the use of themes in orchestra music, especially as riffs are also the central building blocks of metal whereas pop/ punk/ rock etc stem from the folksong tradition where a few instrumentalists mainly accompany someone singing.
This is obviously completely unrelated to the “mostly just one note repeated” ‘discovery’ and some pretty famous orchestra works could be described with the exact same terms, just with additional repetition in different voices, especially when looking at the first few bars only,
https://www.smashwords.com/extreader/read/132685/1/5th-symphony-theme-pure-sheet-music-for-piano-and-trombone-b
I know about the classical, baroque, and romantic periods.
But when I say classical music, I can also mean the classics of music. In metal, this would be Bathory, Darkthrone, Iron Maiden, etc.
I agree with what you said. But I find it somewhat silly to claim that a music genre is similar to an other because it has melodic substance. Most good music would end up having that through convergent evolution, even without direct influence.
“A metal track is composed of a number of riffs introduced at different times and being repeated with and without variations (the riff chaining on Blessed are the Sick is a good example of that). This is strikingly similar to the use of themes in orchestra music, especially as riffs are also the central building blocks of metal whereas pop/ punk/ rock etc stem from the folksong tradition where a few instrumentalists mainly accompany someone singing.”
This is most contentless statement since ‘it might rain, or it might not’.
“being repeated with or without variations”. Formiddable.
“riffs are also the central building blocks of metal whereas pop/ punk/ rock etc stem from the folksong tradition where a few instrumentalists mainly accompany someone singing.”. What the fuck is metal if not a few instrumentalists accompanied by a vicalist?
I understand what he means. You don’t, thus you have…
https://m.popkey.co/0bde4d/J6zbA.gif
When he says that pop music is based on a vocalist with instrumental accompaniment, he is saying that the vocals are the lead melody, and that the instruments just harmonize or support.
In metal, the melodic guitars (sometimes keyboards) are the lead, and the vocals support with rhythmic accentuation. This allows for crazy melodies that aren’t possible for vocals to perform.
Stick to your hip-hop manners of insulting other people’s parents.
I wasn’t being serious, I was just trying to DMU 2016 proper. Did I nail it?
Also, how do you like KoF XIV, voddy?
I haven’t played it. I didn’t buy a PS4 or Xbox one, and I’m not going to.
I occassionally play strategy games on the PC, but I mostly work on other things now.
That’s 24 16th notes per bar, grouped in triplets and moving fis – f – g – f, fis – f – e – f – g – f – e -f (ignoring the indivdual amounts). This requires fast and precise finger movements.
not to mention this is only two bars of an extended phrase at a very fast tempo so of course there is not very much musical information
If anyone knows of Jan Kruitwagen’s sense of humor, this is probably him taking the piss.
hello folks
comparing sammath to classic is somehwat fucked up…. i am not even in the same ballpark when it comes down to ability to play, musical knowhow, composition and many many more aspects. Sammath depends on ego. arrogance and blunt aggression to write music. technical performance has never been a goal. ive been doing this since 94, creating a whirlwind of torment for myself and pure love of this music which is a big part of my life and how i live it. never listening to others and proudly walking my own path. trying to find the ultimate black. war metal sound. thats about it. i wish my work would be able to burn down safe places and religious sheep everywhere. cheers jan/sammath
Sammath is pure id. Hail Sammath!
Can we make that I? And this coarse-grained categorization of old is not that sensible.
Rekt
You are the one who brought it up. No one else was comparing Sammath to Beethoven.
I think “Fear Upon Them” could be compared to Some of Beethoven’s works maybe.
I mentioned the 5th symphony but solely because the first two bars are also “mostly the same note repeated”. Actually, its first two bars (of the first voice) contain only two notes and arranged in a much simpler pattern: ‘number of different tones’ is not a sensible measurement of the musical quality of a theme.