- Jan 30, 2011
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[ame]http://www.youtube.com/watch?v=EehsMDV7nZk&feature=related[/ame]
Whatever it is, it's pretty fucking awesome.
Whatever it is, it's pretty fucking awesome.
Acoustic Technical Metal Classical WTF
- Thread starter Cheesebone
- Start date
Lowberg
Member
Thats a very cool piece, not really a unique style though. Alot of 20th century "classical" guitar pieces are very dissonant and odd like that. Definitely would make for some cool metal riffs though!
Very cool stuff though, thanks for posting!!!
Very cool stuff though, thanks for posting!!!
Episteme
Member
- Jan 30, 2011
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Leo Brouwer
Dusan Bogdanovic
Nikita Koshkin
Heitor Villa-Lobos
Ben Verdery
Gerald Garcia
Andrew York
Not sure if you were referring specifically to the style from the video in the OP or just general recommendations, though.
GarethSE
New Metal Member
- Jul 5, 2008
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I have no recommendations of 20th century "classical."
But this brings to mind "Behold... The Arctopus." People say they have no melodies, but really they just lack melodies that most people can comprehend. Atonality isn't necessarily "amelodic" (if such a term actually exists? If not, I just coined it.)
But yeah, this piece is really lovely. Thanks for sharing!
(Other recommendations: Orthrelm (atonal minimalistic technical metal,) Dysrhythmia, The Flying Luttenbachers.)
But this brings to mind "Behold... The Arctopus." People say they have no melodies, but really they just lack melodies that most people can comprehend. Atonality isn't necessarily "amelodic" (if such a term actually exists? If not, I just coined it.)
But yeah, this piece is really lovely. Thanks for sharing!
(Other recommendations: Orthrelm (atonal minimalistic technical metal,) Dysrhythmia, The Flying Luttenbachers.)
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TheDriller
Member
Cool stuff, though i think you've got it the wrong way round,
Technical Death Metal *cough* borrowed *cough* heavily from 20th century classical.
its not that they're playing tech-death on classical guitars, this is the stuff that tech-death inherits from.
Technical Death Metal *cough* borrowed *cough* heavily from 20th century classical.
its not that they're playing tech-death on classical guitars, this is the stuff that tech-death inherits from.
i think it's pretty fucking lame, sounds like, hey dude we're baked,
let's play some random notes and ake a break after every few
i think it's pretty fucking lame, sounds like, hey dude we're baked,
let's play some random notes and ake a break after every few
Everyone in LydonB's list is legit (Brouwer and Villa-Lobos are my favs) but he left out one of the most important of the 20th century, Toru Takemitsu.
Folios I, II, and III
All in Twilight - It's difficult to find a good recording of a performance for "All in Twilight" on youtube.
This CD has the best recording for Takemitsu's solo guitar pieces. The natural reverb in the Lanna Church in Sweden where this was recorded is eargasmic. Might be a bit much for some, but I absolutely love it.
Rare collection of avant-garde pieces by not so well known composers.
My favorite volume of the "La obra guitarristica" by Brouwer. This has quite a few pieces from his avant-garde phase.
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Not so sure about those last two vids, cool structures but the tonal quality kinda rubs me weird for some reason. The "intentionally out-of-tune" sound is cool if it's tasteful, but half of these compositions sound like someone who knows how to play the guitar really well, but the frets keep changing places while he's playing it, lol.
GarethSE
New Metal Member
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Maybe that's why these composers use atonality so much? To make you uncomfortable?
But eh, the last couple of vids do not do much for me either. The first one is great.
It is important to not rely too much on one tonal quality. To contrast deeply atonal passages with more conventionally melodic sections and intervals that inspire a sense of deep beauty and have it flow in a natural way is important. Reliance on either or just makes things dull. Interesting as experiments but not for listening.
And that is why Behold... The Arctopus are the shizzle.
But eh, the last couple of vids do not do much for me either. The first one is great.
It is important to not rely too much on one tonal quality. To contrast deeply atonal passages with more conventionally melodic sections and intervals that inspire a sense of deep beauty and have it flow in a natural way is important. Reliance on either or just makes things dull. Interesting as experiments but not for listening.
And that is why Behold... The Arctopus are the shizzle.
ze kink
THE BLACK WIZARDS
Yeah, that's just ordinary contemporary classical. I used to play a lot of this stuff back when I was still studying classical guitar actively. I'll have to admit, some of it was pretty silly, such as one composition by Lotta Wennäkoski that I played with a flutist in a competition. There were stuff like square shaped notes and parts with explanations like "make rain sounds by rubbing your palm against the guitar". Those kind of things just strike me as intentionally making up strange stuff to be special and stand out.
Ah dude - I thought you'd post on this! Reminds me A LOT of Behold... The Arctopus (and Dysrhythmia a bit too).
Cool piece - good find!
GarethSE
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I make all kinds of weird noises with my guitar when I play, ze kink, but I do so because that is what happens when I switch my brain off and just start flowing. When it is forced it is no longer real... Not real experimentation if it is not fluid and adventurous.
Well, atonality doesn't really even exist. It's a very in depth discussion, but the videos I posted are still largely tonal (particularly All in Twilight). Takemitsu's music is like a journey through a musical garden with neither a beginning nor an end. He understood the sensitivity of the guitar and was aware of all the different colors he could bring out of it. To say he relies too much on one tonal quality is baffling to me. I must've not understood you correctly. We're talking about a period where composers were breaking away from the early conventions of making music (they had been doing this in the century prior as well). Post-tonal music is a different language, so it can often require a different set of ears when listening. You wouldn't listen to a Xenakis piece for its rich melodic phrases because they don't exist. He's more fascinating and intriguing from a textural perspective.
I understand the reluctance of listening and enjoying this kind of music, countless of professors I've talked to didn't like it either when they first started their studies. I was quite the opposite. But like all music, a taste can eventually be acquired. You guys would probably enjoy Brouwer, Bogdonavich and Villa-Lobos more since they aren't as "out there" as Takemitsu was.
[YOUTUBE]Inw7MpP3ITs&feature=related[/YOUTUBE]
That depends largely on the composer. The first minute or so of this piece is supposed to sound like rain and bells.
Another cool timbre is to bend the 5th string (A string) over the 4rth (D string) and pluck it. You can also bend the the two strings once you've pulled the A string over the D string to get some even more interesting effects. If you do this at the 5th fret and pluck the A, D, and G strings (the G string should be left open), you get something that sounds like a church bell. Try this technique out on the treble strings too. They sound like chimes.
Here's a more in depth explanation with a few examples.
[YOUTUBE]6mne7wo3s48&playnext=1&list=PLD23ABD2F528B23F7[/YOUTUBE]
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RemoWilliams
¯\(°_o)/¯ How meet Devil?
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Just have to add that Toru Takemitus is one of my favorite Japanese composers along side Hisato Ohzawa, Akira Ifukube, Otomo Yoshihide and Isotaro Sugata. He has such a wide ranging catalog of work it would be an injustice to think he is very 'tonal'. As stated above he weaves through various forms, ideas and expressions throughout many of his works. Sometimes he will write a piece that is abrasive and jarring and sometime he will be subtle and in some ways 'tonal'.
Also, kudos on the pieces selected.
Also, kudos on the pieces selected.
abt
BT
Phillip Houghton is one of my favs. And Roland Dyens, I can't believe no ones mentioned him. I haven't been to a concert or competition in probably 10 years where someone doesn't play one of his pieces.
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ze kink
THE BLACK WIZARDS
Now don't get me wrong, I really do like preparation and experimental playing techniques like that, and I've heard great pieces that utilize such things in ways that make you appreciate the composer for being able to really hear and use things so out of the ordinary without being pretentious at all. In this case though, we had to phone the composer for explanations on how she'd meant these parts to sound like, and her answer was pretty much "Well, I'm not a guitarist so I don't know... just make up something that sounds something like the description".
Sort of reminds me of a story (which could just be a joke though) about the composition class at Sibelius Academy here in Finland, which supposedly happened years back when heavily experimental atonal pieces were "the shit" over there. There was a concert going on and pieces composed by the composition students performed for the first times ever. After some piece, the audience applauded to the orchestra and then to the composer, funnily of which more than one had stood up to acclaim their credits. One then had realized his mistake aloud, which had carried the "Oh shit, I guess my piece is the next one then" into everyone's ears in the well designed concert hall with good acoustics.
