So, since there hasn't been much cooking on this board recently I was trying to come up with a thread that would be somewhat original and of interest. And here's what I came up with:
There is so much intricacy to Symphony X songs, and I know a lot of us are the type of people who spend a lot of time and thought on paying attention to even the finest details of these works. So what are your favorite subtle details in Symphony X songs? I'm talking the real small details, beyond 'I like the bridge in __' or even 'I like the vocal melody over ___'. I think it will be interesting to see what other people have picked up on that you already appreciate, and also maybe to be made aware of some details you may not have ever caught. Here's an example:
I love how in Evolution the double chorus towards the end of the song is transposed just a half step up from the previous choruses, but then the second iteration is transposed back to the original key. It provides a less obvious sense of resolve for the direction of the song than a larger key change which might sound cliche and obvious. Also, it's a bit more obvious, but the little rhythmic variation in the second chorus of the double chorus's guitar line (with the gallop instead of the pedal) also provides some nice variety and gives it almost a march feel).
That's just the first one I thought of.
Have at it gents!
There is so much intricacy to Symphony X songs, and I know a lot of us are the type of people who spend a lot of time and thought on paying attention to even the finest details of these works. So what are your favorite subtle details in Symphony X songs? I'm talking the real small details, beyond 'I like the bridge in __' or even 'I like the vocal melody over ___'. I think it will be interesting to see what other people have picked up on that you already appreciate, and also maybe to be made aware of some details you may not have ever caught. Here's an example:
I love how in Evolution the double chorus towards the end of the song is transposed just a half step up from the previous choruses, but then the second iteration is transposed back to the original key. It provides a less obvious sense of resolve for the direction of the song than a larger key change which might sound cliche and obvious. Also, it's a bit more obvious, but the little rhythmic variation in the second chorus of the double chorus's guitar line (with the gallop instead of the pedal) also provides some nice variety and gives it almost a march feel).
That's just the first one I thought of.
Have at it gents!
