A – 0:00
The Fatalist begins with a solitary keyboard melody over electronic ambiance. When the guitars enter (0:18), the keys continue, unaffected by the introduction of the rhythm. It almost feels as though the two parts are purposefully ignoring each other. Here is a chart of the guitar rhythm:
|xxxx-x-x-xx-xxx-|xxxx-xxx-xx-x---|xxxx-x-x-x-xxxx-|-xxx-xxx*-------|
|1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |
In the above example, every ‘x’ is a “chug”, every ‘-‘ is a rest (gap), and the asterisk at the end represents two unique endings to the part. While this riff is incredibly simple from a melodic standpoint (it’s monophonic), the rhythm would be difficult to play on any instrument. The listener, with encouragement from the drums, naturally expects to hear notes played on the beats (numerals, above). Here, however, the notes are arranged in interesting patterns that seem to ignore the beat and focus on odd notes. This creates “rhythmic tension.”* In a block of off-time notes, the ear awaits the reunion of the beat in the drums and the syncopation of the guitar. This tension is partially satisfied at the end of the second measure, in which the guitar and drums come together powerfully on the fourth beat.
(*I am not certain if this concept is recognized in academic music theory, but I find it descriptive. )
It should also be pointed out that the first two measures contain an interesting expansion and contraction of the number of notes played in each block (not to be confused with a measure; here I am simply referring to a consecutive series of notes). The end of the first measure plays first one note, then two and three. The second measure begins at four, then each block shrinks leading up to the resolution on the 4th beat. The practical effect of this is audible, but somewhat complex in theory: 16th notes played on a beat create rhythm, while those played off of it "ornament" the rhythm. A note played right before the beat "leans" into it, while a note played immediately after it "bounces" off. Here, the constantly smaller blocks of notes mean fewer played off of the beat, until the final note of the second measure lands, alone, directly on top of it. As you will note from various sections of "evenness" and "punctuation" in the rhythms of the album, playing fewer notes actually strengthens the ones that remain. Here, the rhythm of the guitar gets noticeably more rhythmic (due to the shrinking blocks) in the space of a measure.
Underneath the complexity of the guitars, the drums play the simplest rock beat imaginable. This provides contrast and helps to find the normal beat of the measure. Every ‘1’ and ‘3’ is played by the bass drum, and every ‘2’ and ‘4’ by the snare. This is also something of an inversion: we would normally expect a complex rhythm in the drums, and a simpler rhythm in the melody instrument.
In the first run of this section, the guitar ends by playing two triplets on the third and fourth beats of the fourth measure (0:26). This is, unfortunately, impossible to notate in this format. Essentially, the guitar plays three notes, each stretched slightly so that the three occupy the space of four. This is different than playing ‘xxx-‘, which would three chugs and a small rest; the three notes are perfectly even, with no rest. The altered length of the notes sounds somewhat awkward after so many normal 16th notes, adding depth and interest to the rhythm.
In the repeat of the riff, the third beat of the fourth measure is a single dissonant guitar note, accompanied by rapid drumming (0:34). This gives the impression of the song spinning out of control, like the uncoiling of a broken spring or rapidly winding gears. The song immediately regains its rhythm (and harmony) in the next section.
B (Verse 1) – 0:35
The drums switch to a blast beat here. This means accenting every 8th note, rather than just the quarter notes, giving the effect of doubling the tempo. The blast beat begins on the hi-hat, then switches to the ride cymbal (0:40), which continues through the next section.
The verse begins with a rapid, rhythmically sophisticated riff. This type of riff should be very familiar to long-time DT fans. It is comprised blocks of palm-muted 32nd note grinds mixed with cleanly-picked melody notes. The very end of the melody contains pinch harmonics, which will become an integral part of the solo.
C (Verse 2) – 0:44
The blast beat continues, and the rapid riffing is replaced by simple chords for harmony. The synths play an airy, almost completely descending melody. This somber melody implies the “mournful surrender,” which fits with the lyrical themes. The strong, slow notes of the synths serve as a reminder that the tempo has not actually changed, as it evenly accents the quarter notes.
D – 0:53
Here, the blast beat disappears, replaced by more purposeful drumming in the original tempo. The guitars play a strong, syncopated melody, while the drums play only the notes necessary to add “punch” to it. The final note of this melody is played as a pinch harmonic.
B – 1:02
This time, the riff ends with an extend fill, over which the opening tones of the chorus play.
E (Chorus) – 1:11
The keys from the intro return for the chorus, this time with simpler accompaniment. Rather than the sparse beat in the intro, the drums opt for a smoother double-bass roll. The guitars replace the complex, rhythmic riffing with simple chords to serve as a harmony. This shift from complex to simple arrangement causes the listener to focus more directly on the melody of the piano and the flat chanting of the vocals.
A’ – 1:24
This modified version of the A section contains the third and fourth measures of the original. The drums continue the double bass roll from the chorus through the first (third in the original A) measure, but switch to deliberately accenting each guitar note during the second (originally fourth) measure. This sharply punctuates the awkward triplets that lead into the next section.
B – 1:29
F (Bridge) – 1:37
A short, very musical guitar solo is introduced to link us to the next section. Like the intro, this solo contains a mix of duplets (normal 2 or 4 note groups) and triplets. Here, the speed at which these notes occur does not create the powerful rhythmic effect seen earlier, but does add complexity and elegance to the melody.
This section is accompanied by the blast beat started in the B section.
C – 1:47
This time, the C section is played over a double-bass roll like the one in the chorus. This brings out the quarter note rhythm while maintaining the evenness of the blast beat. The blast beat eventually returns (1:55).
B – 2:04
E – 2:13
A’’ – 2:26
The syncopated guitar plays the third and fourth measures of the intro as in the A’ section, but this time plays them twice, including the second ending from the intro. The drums continue the double-bass roll from the chorus, and do not punctuate the triplets (as they did in A’
. The repeat of the section ends (2:34) with the dissonant guitar note, but does not include the frantic drumming.
G (Solo) – 2:35
This solo is a reference to the melody of the B section. The notes played with pinch harmonics are arranged in a similar melody to that riff.
For this solo, the drums rely on the ride cymbal, combined with a steady beat on the bass drum to provide a simple, toned-down accompaniment for the solo. The rhythm guitar punctuates this rhythm. There is an interesting mix of technique in the cymbals here. The different sounds played on the ride cymbal are accomplished by rapidly switching sticking technique, contacting different parts of the stick against the bell of the cymbal.
At the same time, the lead guitar uses a roughly equivalent technique, using a pinch harmonic. Pinch harmonics involve striking the string with the pick and thumb at nearly the same time. This mutes the primary tone of the string (the note that would normally be played) and leaves behind the overtones. While overtones are always present, they are normally complementary to the primary tone and unnoticed by the listener. In a distorted guitar, these overtones are magnified to the level of the rest of the riff. The difference is that the sound heard is an octave of the picked note. An octave, in simple terms, is a higher pitched version of the same tone and carries the same harmonic implication. That is, an octave of a C is still a C, but of a higher pitch.
While this is a standard metal technique, this solo is unique in that it mixes normally picked notes with the harmonics at a rapid tempo. This has the effect of allowing the melody of the guitar to play instantly across several octaves.
The guitars begin playing the melody together without the pinch harmonics (2:53), playing the notes at their normal pitches. The drums switch to a double-bass roll. The harmonics return at the ends of the section (3:00 and 3:09).
D – 3:11
C – 3:20
This section begins with the double-bass roll, then switches to blast beat (3:29).
B - 3:38
This riff plays normally, but has a new ending (3:42). The guitars are much simpler, and the drums begin playing a fill unexpectedly early in the section. The instruments stop well before the end of the measure (3:45), allowing the opening piano tones of the chorus to play dramatically over empty air before the final chorus.
E – 3:47
A’’’ – 4:14
This version of the A section is most like the A’’ variant. The only difference is that it ends without playing the dissonant note on the third beat of the final measure. The final note of the song is an odd sixteenth note; it ends without quite touching the next beat.
Didactic notes:
The opening grind of this song demonstrates the importance of good musicianship. Playing an incredibly melodic lead in a simple rhythm can actually be much easier than this kind of complex timing. Also, note the various manipulations of the A section that appear throughout the song, using different numbers of measures and different endings depending on context.
The first mini-solo after the first chorus, while elegant, is nowhere near the complexity of some other solos heard in metal. This stands as a shining example of DT's constant pursuit of “music” ahead of “awesomeness.” The extended solo section at the end has the impressive distinction of being incredibly technical, while also melodic. This allows the song to serve as an exhibition without fully breaking from the mood and seriousness of the song.
The extended guitar solo at the end of the song should also serve as a reminder that DT's guitarists are better at what they do than you will likely be at anything. Ever.
(
Thanks to Tad for assistance in editing, and for consultation with the guitar technique.)
