The Function of the Orchestra in Symphonic Metal Music (Honours Thesis)

(1)

The Function of the Orchestra

in Symphonic Metal Music

Honours Dissertation

Submitted 25 October 2013

Andrew Wrangell

s2743307

Queensland Conservatorium Griffith University

Under the supervision of Donna Weston

Submitted in fulfilment of the requirements of the degree of:

Bachelor of Music Studies with Honours

(2)

Abstract

This dissertation aims to explain the workings of orchestral elements within the genre of symphonic metal music. This genre mixes the metal band and the orchestra to form a grandiose style with the powerful, driving characteristics of the former and dramatic and emotional qualities of the latter, an impression shared by the symphonic metal

community. To explain the way in which these qualities arise, a research methodology focusing on the use of music analysis is used to determine the function of the orchestra in symphonic metal. Core idioms shared by each instrumental family across three representative symphonic metal songs are revealed, as are their interactions with the metal band to achieve a result capable of great drive and emotional and dramatic potential.

Currently, academic research into the metal genre is limited and focuses mainly on cultural aspects with relatively little explanation of the inner workings of the music. Furthermore, existing research focuses little attention on symphonic metal and this dissertation contributes to the field both by investigating a subgenre on which little research has been conducted and by using music analysis as its primary research method.

(3)

Statement of Originality

This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself.

(4)

Acknowledgements

Thank you to my supervisor, Donna Weston, who has provided extremely valuable guidance with this project, and to Dan Bendrups who encouraged me to apply honours. I would not have chosen this topic without being introduced to Nightwish by Natalie Kitney and Jesse Higginson. I'd also like to thank my friends Samuel Dickenson, Jo Lagerlow, Anthony Sparks, Samuel Hogan and Joseph Hitzke who encouraged me during the writing of the dissertation. Finally thank you to my mum and dad, Sophy and Wayne Wrangell, who have supported me throughout my studies.

(5)

Table of Figures

Figure 1 - Graph of metal forums listed by number of posts ... 7

Figure 2 - Key words from fan responses to the question of orchestral function... 9

Figure 3 - The three most popular symphonic metal bands decided by fans ... 9

Figure 4 - Structure of Ghost Love Score section 1 structural diagram ... 13

Figure 5 - Ghost Love Score "M1a" excerpt transcription ... 13

Figure 6 - Ghost Love Score "M1b" excerpt transcription ... 15

Figure 7 - Ghost Love Score section 2 structural diagram ... 16

Figure 11 - Ghost Love Score "M5" melody transcription ... 19

Figure 12 - Ghost Love Score "M5b" excerpt transcription ... 20

Figure 13 - Ghost Love Score "M5c" excerpt transcription ... 21

Figure 15 - Ghost Love Score "M7" excerpt transcription ... 23

Figure 16 - Ghost Love Score "M5d" excerpt transcription ... 24

(9)

Figure 20 - The Truth Beneath the Rose "M1a" excerpt transcription ... 30

Figure 21 - The Truth Beneath the Rose "M1b" excerpt transcription ... 30

Figure 24 - The Truth Beneath the Rose "M4" excerpt transcription ... 33

Figure 25 - The Truth Beneath the Rose section 2 structural diagram ... 34

Figure 26 - The Truth Beneath the Rose "M1c" excerpt transcription ... 34

Figure 27 - The Truth Beneath the Rose "M2b" excerpt transcription ... 35

Figure 30 - The Truth Beneath the Rose section 3 structural diagram ... 37

Figure 32 - Death of a Dream section 1 structural diagram ... 42

Figure 33 - Death of a Dream "M1" excerpt transcription ... 42

Figure 34 - Death of a Dream "M2a" excerpt transcription ... 43

Figure 35 - Death of a Dream "M2c" excerpt transcription ... 44

Figure 38 - Death of a Dream "M3b" excerpt transcription ... 45

(10)

Figure 42 - Death of a Dream "M7" excerpt transcription ... 48

Figure 45 - Death of a Dream "M5b" excerpt transcription ... 50

(11)

Chapter 1: Introduction

The Genre of Symphonic Metal

Symphonic metal is a subgenre of heavy metal (commonly described simply as “metal”) in which the orchestra and metal band are combined. The role the orchestra plays in this instance can range from being featured minimally as accompaniment to being featured prominently and in complete sections of songs alone. Some of the most well known artists of this genre include Nightwish, Epica, Therion, Within Temptation, Dimmu Borgir and Kamelot.

Some of the main elements that clearly identify symphonic metal are understandably the presence of both metal band and orchestra. However not all symphonic metal features a live orchestra – instead, it may feature keyboards using orchestral sounds or the

orchestra may be comprised only of sampled instruments sequenced by a computer. Many standard metal conventions exist within the style of symphonic metal and it can be said that the metal band functions in a way that is similar to other metal subgenres. However the use of the orchestra is varied in this genre. One of the most recognisable features of many symphonic metal artists is the presence of operatic female vocals, such as in bands such as Nightwish, Within Temptation and Epica. The style of the music can vary greatly, including elements of death metal, power metal and any other possible combination. The songs of bands such as Nightwish tend to be in mostly minor keys although symphonic metal bands with a more upbeat power metal style, such as Dark Moor and Dragonland, release comparatively more songs in major keys.

The orchestral elements of symphonic metal music are often adapted by an arranger or orchestrator, such as Pip Williams in the case of Nightwish, Gaute Storaas in the case of Dimmu Borgir and Michael Kamen in the case of Metallica. In some cases, metal elements have been crafted around symphonic elements such as with Nobuo Uematsu's

One-Winged Angel from the soundtrack to the film Final Fantasy VII: Advent Children.

There is little to no existing research on orchestral accompaniment for symphonic metal music and this paper intends to identify, extract and propose a summary of the way the

(12)

orchestra functions in this genre. This will be achieved by attempting to answer the following question: what is the function of the orchestra in symphonic metal music? To answer this question, a number of factors need to be considered concerning the various aspects of orchestral function to be examined. Firstly, the form of songs

featuring the orchestra as an element along with the band needs to be considered. This is because depending on the format of the song, the orchestra may take on different roles. In songs such as Epica’s Deep Water Horizon from their album Requiem for the

Indifferent, the orchestra featured plays the main melodic material while being

accompanied rhythmically by guitar and drums. Nightwish’s The Poet and the

Pendulum from Dark Passion Play features a number of sections where the orchestra is

featured on its own without the band, while End of an Empire by Turisas alternately features band and orchestra for effect.

For some songs the orchestra may function as an interlude to other material, and in others it may be strengthen the melodic and harmonic elements to contribute to an “epic” sound. The orchestra's format is also something to be considered and this may vary considerably. It would be assumed that the standard orchestra featuring strings, brass, woodwinds and percussion would be used but often in symphonic metal, a choir is also used and forms a significant part of the “symphonic” aspect. Structure is yet another important consideration and the usage of the orchestra can be very dependent this. As mentioned previously, the orchestra can be used alone to great effect in some sections and song structure plays an important role in this aspect.

To analyse the function of the orchestra with respect to these considerations, a methodology must be constructed to outline the approach to be taken. To analyse the function of the orchestra in symphonic metal, a selection of suitable material must be made and then this material must be analysed. To select this material, three of the most popular bands of the genre will be chosen as examples and one song from each band will be analysed. This number of bands will be chosen so that the analysis can include a variety of sources but also analyse the material deeply.

(13)

musical gestures is a key aspect of this research and will form the basis of the idioms that will be explained. To this aim, three songs by three bands will be analysed in detail in this manner as case studies.

The key sources to be used in identifying existing research on this topic are the core books written about heavy metal. This constitutes the writings of Deena Weinstein, Robert Walser and Keith Kahn-Harris, however these contain little information on the topic of symphonic metal apart from a few passing mentions.

Additionally, the research in existence on heavy metal appears to focus on the cultural aspects in much greater detail than the musical aspects. Weinstein, Walser and Harris provide comparatively little examination of the music itself however this dissertation aims to contribute to existing metal research through a methodology that focuses on music analysis within the symphonic metal genre.

Research has often covered metal's cultural aspects, however this dissertation will focus instead on the musical aspects of symphonic metal. The analysis chapter on its own represents a valuable contribution to the study of metal in that it is the only, as far as the author can tell, comprehensive musical analysis of the orchestral sections of symphonic metal music. The outcome of this research should be of benefit to composers and

arrangers who want to understand the usual ways the orchestra and metal band can be. It will also be of benefit to academic research about symphonic metal as the literature currently has little to say on this topic.

(14)

Chapter 2: History and Development of

Symphonic Metal

Metal History

Metal has a rich history beginning in the 1960s and remains popular in 2013. It emerged from rock music, which in turn stemmed from the blues. One important aspect of metal to note is that it has often taken influence from Western classical music and one

example of this is metal bands’ emphasis on virtuosity (Walser, 2013). Cook and

Dibben (2001) note that “analyses of popular music also sometimes reveal the influence of 'art traditions'” and this is this especially the case with heavy metal music. It has also been noted that fans of classical music and metal tend to share the personality traits of introversion and creativity as well as being at ease with themselves (Derbyshire, 2008). Additionally, according to Derbyshire (2008), fans’ devotion to their music can be obsessive.

The rebellious spirit of 1950s rock, according to Mock Him Productions (2004), lead to bands such as The Doors, who “brought a Nietzsche-inspired morbid subconscious psychedelia to rock music”. The hard rock growing from these, according to the same source, was influential to the style of such heavy metal pioneers as Led Zeppelin, Deep Purple and Black Sabbath. Through the 1970s, heavy metal was influenced by

progressive rock and these influences gave rise to bands such as Judas Priest,

Motorhead and Iron Maiden. In the 1980s emerged two main metal subgenres known as “speed” and “thrash”, the former taking influence from neoclassical progressive metal and the latter involving aggression and fast tempo. In this reactionary era, some of the most well-known bands included Slayer, Megadeth and Metallica. The fall of the “hardcore” style gave way to the rise of styles such as emo and punk, and metal was also combined with jazz, industrial, country and R&B. Later subgenres included death metal, beginning in the mid 1980s (Dunn, 2005), and black metal, both featuring their own sub-subgenres. As noted by Walser (1993) in Running with the Devil, heavy metal

(15)

become central to particular parts of the extreme metal scene while others are less central. In particular, he notes that a large number of successful bands originate from Scandinavian countries however the largest markets for their music lie in foreign countries (p. 97).

Symphonic Metal Formation

Key to the foundation and solidification of metal styles is the process through which they undergo metamorphosis and rebirth. Deena Weinstein (2000) refers to this process as “formative and crystallization phases”. This involves a metal subgenre being created through divergence from existing genres of metal in some aspects, and a pattern

emerging from the manner of these divergences. According to Weinstein, these

subcultures are labelled under the same overarching “heavy metal” genre because they stem from the heavy metal core without being so different as to be called a separate genre (2000). One of the metal subgenres that has emerged in this pattern is "symphonic metal" which is named so due to its fusion of both metal and symphonic elements. This creates a mix of heavy metal and "classical" elements such as the inclusion of the orchestra and choir with the electric guitar, bass guitar and drum kit. Walser (1993) devotes a chapter in his book Running with the Devil to the influence of classical music on heavy metal, discussing that classical elements included in songs such as Stairway to

Heaven by Led Zeppelin invoke the cultural meanings of classical music and elevate its

status, making it more serious (p. 62). As classical music has had such an influence on metal, it would seem understandable that a metal subgenre would come to integrate the orchestra and choir and so form “symphonic metal”. In this subgenre, the orchestra is included as a prominent musical element, although the metal band tends to be at the forefront of the music.

Symphonic Metal Artists

Some bands may not always produce “symphonic metal”, however some of their work might be described as such and one example of this is Metallica’s S&M album, in which they collaborated with composer Michael Kamen for a live show with the band and symphony orchestra (Music Week, 1999). One of the first bands to demonstrate a

(16)

metal group whose song “Dies Irae” was “a creative watershed in metal” which combined classical music and metal “seamlessly”. It can be noted that the title of this song is a reference itself to the mass setting used by composers such as Mozart, Verdi and Stravinsky. Wagner asserts that the song “foreshadowed the operatic approach used by the bands Therion and Nightwish” (2010).

In Therion’s biography (Corro & With, 2013), Therion’s use of a live string orchestra for the 1998 album Vovin is noted, as is the way the band drew inspiration from

classical composers such as Richard Wagner and Richard Strauss. One of the ways this classical influence is evident in the album is the inclusion of choral elements and operatic vocals akin to classical music. The band Nightwish is one of the most well known examples of the symphonic metal genre. Nightwish composer, Tuomas

Holopainen, describes his passion for film music (Holopainen, 2013); this is evident in Nightwish songs such as Beauty of the Beast, Ghost Love Score and The Poet and the

Pendulum, all being notable songs on their respective albums for their orchestral

involvement. Additionally, the band’s 2011 album Imaginaerum features the orchestra. This represents only a small selection of symphonic metal artists, and other well known examples include Epica, Within Temptation, Dimmu Borgir and Kamelot. It can be asserted that the symphonic metal genre involves a combination of metal band and orchestra with other classical elements also included such as choir and large song structures. These elements all contribute to a style that is capable of both power and sensitivity and this is discussed by fans of the genre within online forums.

Online Discussion

It has been discussed that there are limited sources in academic literature catering to symphonic metal, however a large amount of discussion about the genre takes place online due to fans’ devotion to the music. Weinstein (2000) describes the fans of well-known metal band Metallica to be "a knowledgeable and devoted bunch" (p. 93), this being an example of the wider metal audience. As such it stands to reason that metal fans in general are enthusiastic about the music they enjoy. One of the places this

(17)

to-date information on the genre. Various websites are devoted to discussion such as this and some of these are listed in appendix 1A. Additionally, various bands have their own official forums on their respective websites, such as Nightwish

(http://www.nightwishforum.com/) and Epica (http://forum.epica.nl/). As would be expected, these forums feature a significant amount of fan discussion pertaining to their respective bands.

Appendix 1B contains a graph of the combined number of posts, topics and users forums in the forums contained in appendix 1A, ranked descending by number of posts, and appendix 1C contains the table from which this data is derived. It can be seen that Encyclopaedia Metallum is the most popular of these sixteen sites and it also has the largest number of users. All Metal Forums, Metal Storm, Heart of Metal, Metal Throne and MRU Metal Forums, as seen from the graph below, are the most-used forums with the others listed being less utilised according to numbers of posts. However it can be seen that thousands of fans have registered on these forums and there is a significant amount discussion about metal taking place online. This graph can also be viewed in appendix 1B.

Figure 1 - Graph of metal forums listed by number of posts

None of the forums listed in appendix 1C pertain solely to symphonic metal as a subgenre and although some of these forums feature subcategories for certain metal subgenres, symphonic metal is not usually one of these and this suggests that

0 200000 400000 600000 800000 1000000 1200000 1400000 1600000 1800000 Users Topics Posts

(18)

symphonic metal is not a ‘main’ metal subgenre. However some forums not listed here discuss symphonic metal specifically and some of these include the symphonic metal subreddit (http://www.reddit.com/r/symphonicmetal) and the ‘music’ section of the Nightwish Official English Board where numerous symphonic metal bands mentioned by other fans in appendix 2B have topics devoted to discussion about them

(http://www.nightwishforum.com/index.php?/forum/14-music/).

As a fan-driven genre, the opinions of fans are important in establishing a community agreement regarding genre. When asked about the function of the orchestra in

symphonic metal, fans across various online forums responded similarly and generally agreed that the orchestra provided a heightened sense of mood and drama. The table below contains a tabulation of key words obtained from some respondents’ answers when asked their opinions on the function of the orchestra in symphonic metal. A moderator of the tuomas-holopainen.com forums likened the inclusion of the orchestra in the music of Nightwish to the shading in a picture and other users agreed with this sentiment (Beastall, 2013). On another forum, users argued that the symphonic aspect of the genre could be achieved using keyboards (adg211288., & Wyvern_13, 2013). On another Nightwish forum, a user commented that “it’s all about being able to keep the right balance and the cadence between the voice, the orchestra and the contemporary instruments”, confirming symphonic metal’s classical leanings (Gaia88, 2013).

(19)

Forum User Key words All Metal

Forums

GordOfThunder Epic, over the top

Ultimate Metal SomeGuyDude Sense of grandiose, supporting role, extra layer, majesty

Heavy Metal Haven

Wyvern_13 Classical influence, orchestra highlights other parts, varying focus between metal and orchestra

Nightwish Forum

Gaia88 Blend modern and classical sounds, symphony-like effect

Tuomas-holopainen.com forums

*Dandelion* Broadens song's sound, more theatrical, wider emotional range

Lupine Adds atmosphere

AmaranthMockingbird Adds elements not achievable by just metal band, orchestra lays 'blanket' of sound

Figure 2 - Key words from fan responses to the question of orchestral function

Appendix 2C contains links to the forum topics on which these questions were asked. The table above shows only a selection of the fifteen responses to this question collected from various metal forums, all of which were coded according to key words contained in their responses. The complete table can be seen in appendix 2A. Topics posing the question of the function of the orchestra were posted on a variety of metal forums however as can be seen above, fans' responses across various websites shared common traits. It can be inferred from this example that symphonic metal fans generally agree that the orchestral elements added to a metal band add an extra element to the sound, expanding the scope of the sound beyond what would be achievable with the metal band alone.

Appendix 2B contains a tabulation of fans’ responses to the question of which bands were most representative of the symphonic metal genre, however the three most popular responses are shown below.

Band Mentions

Within Temptation 9

Nightwish 8

Epica 7

(20)

This question of the most representative symphonic metal bands was asked in numerous places online including Reddit, tuomas-holopainen.com forums, nightwishforum.com, ultimatemetal.com and Heavy Metal Haven and each time a band was included in a fan's response, it was counted in "mentions". From appendix 2B it can be seen that Within Temptation, Nightwish and Epica gained the most mentions as being

representative of the genre in the eyes of respondents. Thus it can be assumed that an analysis of the interaction between metal band and orchestra concerning these three most popular bands should be fairly revealing for the broader symphonic metal genre.

Conclusion

Symphonic metal exists as a subgenre within the broader context of heavy metal, a genre emerging from rock music, which encompasses a large number of subgenres. A number of core academic writings on heavy metal exist however little research exists on the topic of symphonic metal. However, there is a large body of informative fan

discussion on the topic via online forums. This provides an opportunity for research into the fan-driven symphonic metal culture and is key to understanding the background of the genre. Fans' opinions regarding the function of the orchestra in symphonic metal indicate that they regard the inclusion of the orchestra as something that enables the metal band to achieve new emotional and dramatic heights. To demonstrate the way this is achieved, a methodology must be created to investigate the topic.

(21)

Chapter 3: Methodology

Overview

To determine the function of the orchestra in symphonic metal, material to be analysed must be chosen as well as a method to analyse this material. Using musical analysis methods, three symphonic metal songs will be deconstructed and similar symphonic metal approaches will be considered to show methods of combining the orchestra with the metal band and so determine the function of the orchestra. Nightwish, Within Temptation Epica have been chosen due to the survey results detailing fans' responses when asked their opinions of what the most representative symphonic metal bands were. The songs Hand of Sorrow by Within Temptation, Ghost Love Score by Nightwish and Death of a Dream by Epica will be analysed to determine the way the orchestra interacts with the metal band. These songs have been chosen because they present a variety of song structures and approaches to orchestral material. They are also good examples of symphonic metal music according to their utilisation of the genre and their song length provides an abundance of material to deconstruct in the attempt to ascertain symphonic metal idioms.

Analysis method

To determine the function of the orchestra in symphonic metal, the chosen songs will be analysed and compared to each other and comparisons will be made between them to show similar ways in which the combination of orchestra and metal band has been approached. Each song will be broken down into major sections and representations of these sections as well as their subsections will be presented. Major sections will be referred to with numbers such as "section 1" whereas subsections will be referred to with an "M", a number and a letter where the "M" refers to musical material, the number refers to which piece of musical material the subsection utilises, numbered in chronological order, and the letter denotes variations of each of these musical materials. An absence of a letter marking a subsection indicates that the subsection is identical in each of its appearances. Each song will be analysed from beginning to end in order of sections and subsections and each will be deconstructed to explain instrumental usage

(22)

and function with particular focus on the interaction between the metal band and the orchestra as well as choir where necessary. Elements such as instrumentation, texture, dynamics, harmony, melody and rhythm will be considered during the analysis. Original transcriptions of song excerpts will be provided where relevant to visually represent this interaction. By comparing the results of these analyses between songs, patterns can be drawn to show the general function of the orchestra in symphonic metal.

Case Study 1: Nightwish: Ghost Love Score

One of the foremost bands of the symphonic metal genre is Nightwish. This is evidenced by the results of the forum question results as given in appendix 2B which show that Nightwish was regarded as one of the most-mentioned bands by metal fans. The song Ghost Love Score is one of the last tracks on the 2004 album Once,

Nightwish's last album to feature their iconic singer Tarja Turunen and orchestrations for this album were created by Pip Williams.

Lasting ten minutes, Ghost Love Score is the longest song on Once. The music serves to emphasise the effect of the sorrowful lyrics (contained in Appendix 4A), remaining mainly within minor keys, powerful emotion being communicated through the metal band and orchestra. The word “score” in the song title alludes to “film score” and its composer Tuomas Holopainen, inspired by composers such as Hans Zimmer, describes himself as having aspirations of writing film music (Kersantti, 2012). A “film music sound” is evident in this song which features the orchestra and choir, and a great deal of material is given to the strings as is often the case with orchestral and film music. The metal instruments provide power and drive behind the orchestra and choir, creating a dramatic synthesis of symphonic and metal elements.

Ghost Love Score consists of five major sections as shown in appendix 3A. Each has a

different character, distinguishing each section, and the function of the orchestra in each, as it interacts with the metal band, will be analysed.

(23)

Section 1

Figure 4 - Structure of Ghost Love Score section 1 structural diagram

The first section in Ghost Love Score

the main focus of the music while the orchestra plays a supporting role. During the first half of the section, “M1a”, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern supported by countermelodies from the orchestra.

The song opens with a characteristic motif characte sung by the choir in the “M1a” subsection.

Figure 5 - Ghost Love Score "M1a" excerpt transcription

tructure of Ghost Love Score section 1 structural diagram

Ghost Love Score is characterised by the choir and drums presenting

the main focus of the music while the orchestra plays a supporting role. During the first , “M1a”, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern supported by countermelodies from the orchestra.

The song opens with a characteristic motif characterised by a pattern of short "ah" notes sung by the choir in the “M1a” subsection.

Ghost Love Score "M1a" excerpt transcription

is characterised by the choir and drums presenting the main focus of the music while the orchestra plays a supporting role. During the first

, “M1a”, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern

(24)

The choir, doubled by the xylophone, sings on the first three beats of the choir while the drums rhythmically support the choir by playing in the subdivisions of the beat for first two beats of each bar. The strings sustain chords underneath the choir until they play a countermelody instead after sixteen bars. The timpani are used for emphasis at the end of each four-bar phrase. The trumpets are introduced after eight bars, doubling the choir's short notes and occasionally playing countermelodies at the end of bars, continuing this function when the strings begin to play a countermelody. In this subsection, the focus of the music is provided by the choir, and the orchestra functions to support this by doubling the choir and offering countermelodies to it as well as sustaining chords. The drums are the sole metal instrument, driving the beat which would be otherwise weak.

Further rhythmic support is introduced by the electric and bass guitars in "M1b", the second half of section 1. At this point, the choir begins to sing long, sustained notes in the same harmonic pattern as "M1a". The choir at this point sings in a lower octave and at a quieter dynamic level, allowing the metal band to be the focus of the music, the electric guitar being the most prominent instrument, playing the bass notes with the bass guitar whist being rhythmically supported by the drums playing the same rhythm. Below is a transcription of the first four bars of this subsection.

(25)

Figure 6 - Ghost Love Score "M1b" excerpt transcription

The strings once again take on a supporting harmonic role as in the first sixteen bars of "M1a", however the double bass doubles the guitars. The trumpets are also included in this subsection, beginning with the long notes of the guitar, playing the same chords as the choir in the second bar. The trumpets also play chords both against and with the guitars, alternately sustaining notes while the guitars play shorter rhythms and following the rhythm of the metal band. This functions as a countermelody to the metal band and adds to the texture.

After the first eight bars of "M1b", the intensity of the music is heightened with a sudden modulation and the addition of a melody played by the high strings and piccolo and a countermelody played by the horns. The texture and instrumental functions from the previous eight bars are continued in the new key.

This shows one way the orchestra can fill out the texture of the metal band. The double basses can function to fill the texture of the guitars by doubling their notes while the trumpets can provide countermelody to the metal band and orchestra. As demonstrated, the metal band is effective in its interaction with the orchestra by providing a powerful rhythmic and bass backing with which the strings and choir can provide harmony. Over

(26)

this, a melody in the high-pitched instruments of the o instance provided by the high strings and piccolo.

Section 2

Figure 7 - Ghost Love Score section 2 structural diagram

The second section of the song introduces the soprano and alternates between li heavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal band and choir.

The "M2a" subsection opens with a

a turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while harmony is provided by the keyboard using a synth pad.

the bass guitar playing quavers with a repeating long example of a place in a symphonic metal song

The "M3a" subsection presents a contrast to "M2a" and the foll subsections, the electric guitar re

accompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustained chords and the vocalist sings a drawn

pitched instruments of the orchestra can be played, in this instance provided by the high strings and piccolo.

Ghost Love Score section 2 structural diagram

The second section of the song introduces the soprano and alternates between li heavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal

The "M2a" subsection opens with an open fifth power chord from the electric guitar and a turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while harmony is provided by the keyboard using a synth pad. The soprano is accompanied by

quavers with a repeating long-short articulation. This is an example of a place in a symphonic metal song where the band alone is featured. The "M3a" subsection presents a contrast to "M2a" and the following "M2b" subsections, the electric guitar re-entering and playing a complementary rhythm to accompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustained chords and the vocalist sings a drawn-out countermelody. This is transcribed below.

rchestra can be played, in this

The second section of the song introduces the soprano and alternates between light and heavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal

rom the electric guitar and a turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while

is accompanied by short articulation. This is an where the band alone is featured.

owing "M2b" entering and playing a complementary rhythm to accompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustained

(27)

In "M3a", the choir, at the forefront of the music, is supported harmonically by the guitars playing the bass notes of the keyboard synth chords and rhythmically by the guitars and drums playing semiquavers during their rests. The guitar emphasises the choir's notes by palm-muting its semiquavers and playing more powerful sustained open fifths with the choir's rhythm and the kick drums support the guitars' rhythm. This characteristic subsection demonstrates the way the metal band rhythmically supports a choir motif, aiding and emphasising its effect.

The following subsection, "M2b", is very similar to "M2a", however the oboe plays a countermelody to the soprano. This slight variation on "M2a" shows the way an orchestral instrument can be used for alternate accompaniment to a more sensitive context of the metal band. Following this subsection is "M3b" which echoes "M3a" however its texture is again altered from its previous counterpart. This time, the

beginning of the subsection is preceded by a roll on the timpani that introduces tension before the change of texture. Additionally, the high strings play a countermelody to the choir and to the soprano when she sings the coda for the subsection that leads into section 3.

Section 3 demonstrates the way a symphonic metal singer can be alternately

accompanied both sensitively and powerfully by the metal band. She sings a sustained line while the choir sings short rhythmic patterns supported by the metal band and the orchestral instruments accompany the soprano with sustained countermelodies.

(28)

Section 3

This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in intensity with each subsection, the final one featuring the gui

"M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choir

synth pad from the keyboard playing chords, the double basses of these chords and a pianissimo

this subsection, the only band instrument to play is the keyboard and it is supported minimally by the orchestra.

This texture continues into

countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous subsection cease. The keyboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody to the soprano. This demon

functioning to provide embellishment to the metal band in a sensitive context.

re section 3 structural diagram

This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in intensity with each subsection, the final one featuring the guitar solo for this song. "M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choir

synth pad from the keyboard playing chords, the double basses playing the lowest notes

pianissimo tremolo in the high range of the violins to emerge. In

this subsection, the only band instrument to play is the keyboard and it is supported minimally by the orchestra.

This texture continues into the next subsection, "M4b", with the violins playing a soft countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous

yboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody to the soprano. This demonstrates the use of small number of orchestral instruments functioning to provide embellishment to the metal band in a sensitive context. This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in

tar solo for this song. "M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choir-like

playing the lowest notes tremolo in the high range of the violins to emerge. In this subsection, the only band instrument to play is the keyboard and it is supported

the next subsection, "M4b", with the violins playing a soft countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous

yboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody

strates the use of small number of orchestral instruments functioning to provide embellishment to the metal band in a sensitive context.

(29)

subsection and this allows it to be more effective in the orchestral section 4, which continues from the end of the guitar solo of "M4d".

The orchestra functions in section 3 to outline the bass in the soft

provide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the following section.

Section 4

This climactic section is the longest in

than any other part of the song. It begins very softly with an orchestra

and builds to a powerful climactic section that continues into section 5. The metal band provides power and drive to an orchestra

Tension is gradually built from a very low level in "M5a" until "M5b". Being a completely orchestral section, "M5a" features a gradual

low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo are used to play short fragments of the motif below

subsections marked above.

Figure 11 - Ghost Love Score "M5" melody transcription

subsection and this allows it to be more effective in the orchestral section 4, which continues from the end of the guitar solo of "M4d".

The orchestra functions in section 3 to outline the bass in the soft accompaniment and provide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the

Ghost Love Score section 4 structural diagram

This climactic section is the longest in Ghost Love Score and utilises the orchestra more than any other part of the song. It begins very softly with an orchestra-only interlude

imactic section that continues into section 5. The metal band provides power and drive to an orchestra-focused section.

Tension is gradually built from a very low level in "M5a" until "M5b". Being a

completely orchestral section, "M5a" features a gradual ascent in the strings from their low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo are used to play short fragments of the motif below that forms the basis of the "M5"

Ghost Love Score "M5" melody transcription

subsection and this allows it to be more effective in the orchestral section 4, which

accompaniment and provide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the

and utilises the orchestra more only interlude imactic section that continues into section 5. The metal band

Tension is gradually built from a very low level in "M5a" until "M5b". Being a

ascent in the strings from their low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo

(30)

The harp plays occasional arpeggios near the beginning of the subsection while chords from the strings are accompa

some places towards the end of the subsection for an emotional effect. "M5a" is a sensitive, tension

band. This demonstrates the way the orch where the powerful metal instruments are silent.

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly effective after the building up of tension in the previous subsection.

orchestra at the forefront of the music, backed up by the metal band.

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpani

guitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the metal band, low strings and timpani. Below is a transcription of the first

"M5b".

The harp plays occasional arpeggios near the beginning of the subsection while chords from the strings are accompanied by sustained notes without lyrics from the choir in some places towards the end of the subsection for an emotional effect.

"M5a" is a sensitive, tension-building subsection unmarked by transients from the metal band. This demonstrates the way the orchestra can be used very effectively in a section where the powerful metal instruments are silent.

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly effective after the building up of tension in the previous subsection. "M5b" features the orchestra at the forefront of the music, backed up by the metal band.

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpani

guitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the metal band, low strings and timpani. Below is a transcription of the first

The harp plays occasional arpeggios near the beginning of the subsection while chords nied by sustained notes without lyrics from the choir in

building subsection unmarked by transients from the metal estra can be used very effectively in a section

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly "M5b" features the

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpani and guitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the

(31)

In this passage, the orchestra functions as the main element of the music, providing melody while the metal band interjects powerfully with the bass notes in contrasting rhythm and articulation to the melody.

"M5c" utilises a similar VI-VII-i chord progression to "M5b", outlined by the electric and bass guitars, and the soprano sings a melody that echoes that of the previous subsection. Sustained chords are provided by the keyboard synth with the low strings strengthening the bass at a low dynamic. The metal band, however, is at the forefront of the music, the electric guitar playing powerful sustained bass notes supporting the soprano. The metal band plays in unison apart from the guitar's semiquavers,

emphasising the beat. The transcription of the first four bars of this subsection shows the way the limited number of orchestral instruments are used in this subsection to add embellishment in a subsection otherwise dominated by the metal band.

Figure 13 - Ghost Love Score "M5c" excerpt transcription

"M6a" features the violins playing an ostinato alone with short notes on the beat from the other strings before an interjection from the metal band, brass and timpani at the end of the first and second bars. At this point the choir sings lyrics in a repeating rhythmic pattern that is supported by the trumpets, timpani, drums, electric and bass guitars and strings while the string ostinato continues and a countermelody is played by the horns.

(32)

The rhythmic forces of the instruments playing the pattern supporting the choir combine powerfully and an excerpt of "M6a" is transcribed below.

This climactic section demonstrates the way orchestral and metal forces combined with a unified rhythm can create a very powerful unison effect.

"M6b" returns to the band and the soprano being the main focus of the music. The guitars dominate the accompaniment in the low range, playing palm-muted notes on every quaver subdivision of the beat apart from the last two quavers of the bar and the first of the next, reusing the rhythm of the band interjections from the previous

subsection. These interjections are doubled by the trombones and tuba, the low brass embellishing the metal band's sound to enhance the ominous tone. In this section, the orchestra functions to support and aid the metal band by playing in unison with it during emphasised subdivisions of the beat.

(33)

phrases of the same musical material while accompanied by the electric and bass guitars and drums. In this subsection, a somewhat similar texture to "M5c" is presented in the metal band with the electric guitar sustaining bass notes while the bass guitar quavers or crotchets followed by quavers and the drums mostly play a simple pattern. During the subsection, the orchestral instruments play melodic material at a mezzo-forte dynamic in pairs, starting with the bassoon and oboe and octave apart, then the piccolo and harp in unison, clarinet and harp an octave apart, the bassoon and oboe again and finally the piccolo and harp. Harmonic support is provided by the strings playing triads.

Figure 15 - Ghost Love Score "M7" excerpt transcription

In this subsection, the orchestra functions to provide the main melodic interest while the metal band supports the orchestra with rhythmic drive and provides the bass line. The orchestral focus also acts as a reprieve from the heaviness of the music before moving into the next heavy section.

"M5d" returns to the melody of "M5b" with slight variation, this subsection being much heavier in comparison. For the first half of the subsection, the melody is played

prominently by the combination of trumpets with xylophone and horns with xylophone, alternating each bar for the first phrase while accompanied by a countermelody in the high strings. The low strings and guitars provide the bass and the timpani plays an

(34)

anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally anticipates the beat with semiquavers as shown in the

Figure 16 - Ghost Love Score "M5d" excerpt transcription

After the first four-bar phrase, the strings play the melody and the trumpets provide a countermelody with triads while the metal instruments retain a similar texture. In this subsection, the metal band instruments play differing rhythms, the guitars playing the bass notes and the drums playing a repeating one

melody played by the orchestra, the metal band providing power and drive.

Section 5

anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally cipates the beat with semiquavers as shown in the transcription below.

Ghost Love Score "M5d" excerpt transcription

bar phrase, the strings play the melody and the trumpets provide a with triads while the metal instruments retain a similar texture. In this subsection, the metal band instruments play differing rhythms, the guitars playing the bass notes and the drums playing a repeating one-bar pattern. This underlines the

d by the orchestra, the metal band providing power and drive.

anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally below.

bar phrase, the strings play the melody and the trumpets provide a with triads while the metal instruments retain a similar texture. In this subsection, the metal band instruments play differing rhythms, the guitars playing the

bar pattern. This underlines the d by the orchestra, the metal band providing power and drive.

(35)

Section 5 consists of a reimagining of the song's opening gesture and ends the song with a repeating phrase similar to "M3a" and "M3b". The metal band powerfully drives the rhythm and bass while the orchestra functions as embellishment to the choir.

"M1c" features the choir singing short “ah” notes similarly to “M1a” of section 1. However it is supported rhythmically by the guitars and drums and its orchestral accompaniment differs from its original appearance. The high strings play staccato notes with the choir’s melody but also play during the choir’s rests. The choir is again doubled by the xylophone and the timpani plays at the beginning of both phrases in this subsection. The bass is played by the low strings and the more powerful guitars. A short countermelody is played by the trumpets and horns halfway through this subsection before the trumpets double the strings' countermelody. The function of the orchestra in this subsection is to support and provide countermelody to the choir and thicken the texture provided by the metal band.

"M1d" returns to using the band to convey all of the music and the soprano sings the melody previously presented by the choir, her voice layered over itself in triads. The keyboard synth supplies harmony and bass is played by the guitars.

Figure 18 - Ghost Love Score "M1d" excerpt transcription

The absence of the orchestra in this subsection makes it more effective in the following "M3c" subsection which ends the song.

The texture of "M3c" closely resembles the "M3a" and "M3b" subsections from section 2, however it is presented in F minor instead of the original B flat minor and the choir sings on different scale degrees. The texture of the metal band remains the same as the subsection's counterparts from section 2. After the first eight bars, the orchestra enters,

(36)

the cellos playing a countermelody to the choir and the high strings playing a gradually ascending countermelody for the next eight bars. Following this, the orchestra plays a repeating eight-bar countermelody to the choir that slowly fades to silence.

In this section, the orchestra functions to provide extra breadth to the music by providing countermelody to the choir, which is the focus of the music. The metal instruments play the bass notes and provide rhythmic support to the choir while the soprano sings a sustained countermelody.

Summary of Orchestral Function in Ghost Love Score

This analysis of Ghost Love Score has identified a number of recurring ways in which the orchestra and choir can be combined with the metal band. The choir was featured very prominently in the song, taking the focus of the music on a number of occasions such as "M1a", "M3a", "M3b" and "M3c". The choir's usage was marked by rhythmic sequences of short notes and the choir did not sing sustained notes or phrases as the soprano did.

The strings were used in a number of versatile ways. One of these was to provide harmony through sustaining chords, such as in "M1a", or the bass notes, such as in "M4b". The "M5a" subsection featured the strings playing chords over a G pedal in the basses, the chords played by the rest of the strings gradually rising and increasing tension as a sustained countermelody to the numerous short motifs provided by the other orchestral instruments in the "M5a" subsection. This subsection was not the only place where the strings provided countermelody - the strings performed this function in numerous places in the song. Among these were "M1a" "M1b", "M3b", "M4b", "M5d", "M1c" and "M3c". Additionally, a string ostinato in "M6a" performed a similar function to a countermelody as the choir and metal band joined to perform the main focus of the music. Most countermelodies in the strings section were performed by the violins in the high register however an alternate example is the cello countermelody present near the end of the "M4c" subsection. This information suggests that providing countermelody can be a major function of the strings section in symphonic metal. The strings were also

(37)

The brass section often functioned to provide support for other elements of the music, such as the trumpet briefly playing countermelody and chords with the choir's rhythm at "M1a". The trumpets at "M1b" joined the guitar's notes, giving a fanfare-like impression. At "M5b" the trumpets supported the strings at the high points of phrases while the horns doubled the strings. The horns played distinctive fifth leaps at "M6a" prior to the choir's ascending and descending motif, providing ornamentation. The trumpets and horns played melodic phrases in the first half "M5d" in a call and response fashion before the trumpets served to support the strings in the second half of that subsection. This shows that the brass functioned to support intense and climactic moments of the music.

The woodwind section was used more sparingly, generally only being used in quieter moments. One of these was "M2b" where the oboe provided a soft countermelody against the soprano. During the "M5a" orchestral subsection, short phrases were offered by the flute, clarinet, oboe and piccolo. The woodwinds were used to play most of the melodies in "M7", featuring the oboe, bassoon, piccolo and clarinet. This indicates that the woodwinds section functions mainly melodically, featuring solo instruments. The harp also quietly doubled some of the woodwind solos of "M7", however it was also used near the beginning of "M5a", playing arpeggios for the remainder of that subsection. Lastly, the harp played a downward glissando at the end of the soprano's last phrase of "M3c" however this was buried under the metal texture. From this it appears that the harp can be effective when playing arpeggios during quiet orchestral sections. The orchestral percussion section was also present in this song, the hand bells being used for a single, soft chime near the beginning of "M5a", the castanets playing a tremolo twice during "M5c" at the end of the soprano's phrases. The timpani were used for the emphasis of some transients in the song and were also used to aid crescendos with rolls.

Throughout the song, the metal band functioned mostly as rhythmic support, although much harmonic support was provided through chords played by the keyboard synth. The electric guitar played powerful bass notes mostly in combination with the bass guitar such as at "M5c", "M6b" and "M7". The guitar supported the choir by playing sustained open fifths with the choir's rhythms in "M3a" and "M3b" and at "M6a" it also

(38)

supported the choir's fast figures. The electric guitar was used as a solo instrument during "M4d" but for most of the song it served as a powerful driver of rhythm.

The bass guitar was occasionally used without the electric guitar at quieter moments of the song such as "M2a", "M2b" and "M4c". When combined with the electric guitar, the bass guitar was far less audible.

The drums functioned to provide rhythmic support throughout apart from during orchestral sections. Often the drums and guitars played rhythms in unison such as at "M1b", "M3a" and "M3b" and "M3c". The drums supported the orchestra, choir and drums at "M1c" where these instruments played in rhythmic unison.

Ghost Love Score employed the orchestra very effectively, utilising many of its

possibilities and instrumental families. The strings were featured the most prominently of all instrumental sections, mostly to provide countermelodies, although the choir was highlighted in several places and sang as the focus of the music at those points. Brass were used for emphasis of loud and climactic points, as were the percussion, while woodwinds were used sparingly as solo instruments. Against the power and drive of the metal band, the orchestra and choir increased the dramatic possibilities of the music and demonstrated the potential of their usage in the context of symphonic metal.

Case Study 2: Within Temptation: The Truth Beneath The Rose

Within Temptation is one of the most popular bands of the symphonic metal genre and was mentioned the most by fans when asked which bands they thought were most representative of the genre. The song to be analysed, The Truth Beneath the Rose, is one of the tracks from the 2007 album The Heart of Everything, which topped a number of charts worldwide (Hung, 2013). The song, according to Within Temptation guitarist and male vocalist Robert Westerholt, is "based on 'The Da Vinci Code' and is about the idea that belief is sometimes used to justify sins" (Deming, 2013). Orchestral and choral

(39)

some places with light grey arches where subsections can be grouped together similarly in terms of style. The sections and their subsections will now be analysed in detail.

Section 1

Figure 19 - The Truth Beneath the Rose section 1 structural diagram

The first section of The Truth Beneath the Rose introduces much of the song's musical material, opening with the orchestra and choir alone. Symphonic elements are used in important points of the song and the metal instruments tend to provide support in these parts, being more prominent during verses.

The Truth Beneath the Rose opens with an orchestral section marked above as "M1a".

This introduces musical material that is used throughout the song and appears in numerous forms.

Lasting sixteen bars, the material in this subsection is played mainly by the strings sustaining long notes at a mezzo-forte dynamic. At the beginning of each four-bar phrase, the tubular bells play an E flat, the tonic note of the song, presenting a sombre feeling. The third four-bar phrase begins with a note from the tam-tam and the choir sustains soft chords with the strings for the phrase's first three bars, giving an aura of solemnity. The soprano joins the strings as shown below in the fourth four-bar phrase leading into the second subsection. The orchestra here introduces material for the rest of the song, played mainly by the strings but also partially accompanied by the percussion, choir and soprano.

(40)

Figure 20 - The Truth Beneath the Rose "M1a" excerpt transcription

The second subsection of section 1, marked as "M1b", expands on the m opening at a much more intense dynamic. Here, the choir sings a characteristic ascending three-note motif at the start of the first three bars of both of the four phrases in this subsection. The strings accompany the choir however they

similar pattern throughout the rest of each bar, playing an alternate motif in the fourth bar of each phrase.

Figure 21 - The Truth Beneath the Rose "M1b" excerpt transcription

In the second four-bar phrase, a shor

The Truth Beneath the Rose "M1a" excerpt transcription

The second subsection of section 1, marked as "M1b", expands on the m opening at a much more intense dynamic. Here, the choir sings a characteristic

note motif at the start of the first three bars of both of the four phrases in this subsection. The strings accompany the choir however they

similar pattern throughout the rest of each bar, playing an alternate motif in the fourth

The Truth Beneath the Rose "M1b" excerpt transcription

bar phrase, a short countermelody is played by the French Horn in The second subsection of section 1, marked as "M1b", expands on the material from the opening at a much more intense dynamic. Here, the choir sings a characteristic

note motif at the start of the first three bars of both of the four-bar phrases in this subsection. The strings accompany the choir however they continue in a similar pattern throughout the rest of each bar, playing an alternate motif in the fourth

(41)

subsection are accompanied by the trumpets and trombones for emphasis. In this

subsection the metal instruments are used for rhythmic support and for the bass element of the harmony. The guitars play mostly short, palm-muted notes along with the short articulations in all other instruments apart from the sustained horn countermelody. This shows that the orchestra and choir function in this section to provide the main musical focus while the metal instruments function as rhythmic support, providing drive. The rhythmic unison of the high strings and metal band demonstrates the way the

instruments can complement each other and produce a powerful effect.

The section marked "M2a" begins with a sustained E flat power chord from the guitars and three chords from the piano on each beat beginning on the second beat of the bar. At this point the first verse of the song is sung by the soprano. The dynamic level is brought down significantly from the previous subsection. The electric guitar rests while the bass guitar softly plays the bass line and the drums play minimally. The strings softly play chordal notes in the background as shown below.

Following this, the soprano sings the lyrics in a higher register, now accompanied by the electric guitar alternately playing palm-muted and sustained notes, however chordal notes are sustained by the choir. In this subsection, the choir and orchestra provide a subtle, sustained background while allowing the metal instruments to take on the bass and rhythmic roles.

In the next subsection, marked "M3a", the guitar and bass guitar play quavers

accompanied by the drums while the soprano sings with a trumpet countermelody that begins in the subsection's third bar.

(42)

The trumpets also crescendo on sustained notes during the last two bars of the

subsection. Three staccato string notes played by the strings as in "M1b", accompanied by a drum fill, lead into the next subsection. In this subsection, the trumpets function to provide support to the soprano via a countermelody and a swell at the end of the phrase. The "M4" subsection is the chorus of the song, "M3a" being the bridge. This subsection utilises the choir for harmonic support and the strings for countermelody against the soprano. The drums play a rhythm that outlines the compound time signature and the electric guitar plays a pattern of three repeated palm-muted notes in its low register followed by three sustained descending notes in the register an octave higher. The transcription below shows the most audible elements of each instrument and voice in the song.

The Function of the Orchestra in Symphonic Metal Music (Honours Thesis)