Musical dissonances in Metal ...

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How do you find musical dissonances in Metal?

I absolutely adore them.
5
38%
I find them OK.
1
8%
Sometimes they are welcome and pleasing, sometimes very annoying.
5
38%
I don't like them. They are disturbing to my ears.
1
8%
No way!!! Metal should be melodic (and harmonic).
0
No votes
I haven't the slightest clue what any of that means?!?
1
8%
 
Total votes: 13

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Noisenik
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Musical dissonances in Metal ...

Post by Noisenik »

... tritoni, diminished fifths, weird chords, disharmonies allsorts.

Presented most in your face on VoiVod albums but used by Watch Tower branch of Metal also, and some others. Today they are more widely utilized. But in the 80's they were quite shocking, weren't they?

What is your opinion about 'em?

Personally I think, there should be more examples of them in the 80's and early 90's, but what the heck. If you find some unknown exmaples, please, post them in the "Cool tech, experimental bands ..."

I added a poll. I hope it will be visible.
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DaN
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Post by DaN »

I fucking love that stuff. I'm a n00b when it comes to the musical terminology you're referring to, but akward, strange riffs & chords are a rare but very fascinating addition to the classic Metal sound. VOIVOD were of course the Masters of this craft and when I hear similar things in other bands I tend to refer to it as "that VOIVOD riff".

Another neat detail I enjoy are out-of-place, "mellow" major scales riffs. Check out the first song on this album to hear what I'm talking about.

I haven't had my afternoon coffee yet so at the moment my mind is blank for more examples.
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The Sentinel
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Post by The Sentinel »

I agree with Dan on this matter. Strange riffs and overall weirdness in songstructures give the songs something special and unique like the already mentioned Voivod.

I also love the unique and strange riff patterns of the early Fates Warning albums. Brocas Helm had their unique blend of mysterious structures in their songs and Nasty Savage used their trademark weirdness on their classic first albums. There are of course dozens of examples to mention:
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Keir
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Re: Musical dissonances in Metal ...

Post by Keir »

Noisenik wrote:... tritoni, diminished fifths, weird chords, disharmonies allsorts.
Hmmm... where's the option for "I haven't the slightest clue what any of that means?!?!"
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Noisenik
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Post by Noisenik »

Noisenik wrote:
... tritoni, diminished fifths, weird chords, disharmonies allsorts.

Hmmm... where's the option for "I haven't the slightest clue what any of that means?!?!"


Whoa, Keir, now you've got me. :idea:

No fear, I will definitely serve you an explanation of these things. Probably tomorrow, certainly in next days.

Hmm, DaN, is it possible to modify the poll? In sheer enthusiasm I completely forgot to give additionally answer like "I don't know what is this" or "I don't know what is going on about here". If I'm informed correctly the poll cannot be updated.[/quote]
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Junkyard Barbarian
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Post by Junkyard Barbarian »

I personnally love this stuff
most of the time it sounds fresh and surprising, two things I like when I listen to heavy metal
even as a musician I try to use this stuff as much as I can in my own decompositions
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Ryacus

Post by Ryacus »

I think if its over used its hard to listen to such as proof in many technical bands,but if used the right way it can add a unique element as The Sentinel said.
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mordred
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Post by mordred »

disso-what?
Chroming Rose “Pressure” LP found! :D
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Noisenik
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Post by Noisenik »

ok. here we go.

Tritone (Latin: tritonus (pl. tritoni)) is a musical interval that spans three whole tones or six semitones. In essence is the same thing as augmented fourth or diminished fifth, although i usually use the term for a playing of three whole tones in succession, to stress the difference from playing of it as interval, that is playing two tones, that are an augmented fourth apart.

It is also very known as "Diabolus in Musica", and was forbidden by certain religious authorities, in certain places, as late as early 20th century. Bach himself used it at least once, but had appologized to Creator in advance :roll: . Many classical composer didn't want to use it and many still don't want to.

With "weird chords" I have had in mind other difficult combinations like chords based on diminished seventh or playing diminished second chordally, that is, struck two most close keys on a keyboard. Grinding harshness, believe me. I also have in mind combinations of tritone and other more common, (harmonic) chords.

And with disharmonies allsorts I meant multiple combinations of various harsh intervals, chords, etc.. Believe me, there are many of them floating in the vastness of our sick minds :twisted: .

To learn more about tritone and related topics, please visit

http://en.wikipedia.org/wiki/Tritone

For a quick listen to the "device" go to

http://upload.wikipedia.org/wikipedia/e ... ritone.mid

if you cannot find it quickly at the above mentioned page.
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khiijol
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Post by khiijol »

like with anything else, it depends on context.
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Noisenik
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Post by Noisenik »

Another neat detail I enjoy are out-of-place, "mellow" major scales riffs. Check out the first song on this album to hear what I'm talking about.

I haven't had my afternoon coffee yet so at the moment my mind is blank for more examples.
Can you believe I have overseen the link? :? An exceptional track, indeed. this happens when you play minor and major chords or different minor or different major chords together. on each own they sound perfectly ordinary, but stuck together they sound really strange. and marvellous, of corpse. that's a counterpoint.

little shame that whole album isn't more explorative. of corpse it isn't bad.
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Noisenik
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Post by Noisenik »

if you don't mind I would continue that thread from a more VoiVodian perspective. I wonder how much time have you spend to embrace them, at least partially. So that you thought you got clue or sth close to it.

for example, I first heard them (Dimension) in 1990. Experience left me slack jawed and even little scared. Because I didn't understand them at all. They were too much for me at the time - too much for a 13-year old who have only started to appreciate straighter thrashers. I should have heard Roar first (but i didn't - this cross my path when I wasn't interested in thrash anymore) for even War And Pain doesn't sound so straight easy to get used to.

I start to acquire them two or three years later when friend brought Nothingface from nowhere. Nothingface seems to be the best starting point.
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