Crucial Music Theory Concepts for Metal
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- čas přidán 22. 05. 2024
- In this video we cover the essentials of music theory and metal guitar playing. These are the crucial concepts, the essentials, the foundational insights that will elevate your metal songwriting to new levels.
Ok, maybe this last sentence was excessive. But then again, maybe not? You be the judge!
When I was a beginner and wanted to write songs, I found that a lot of theory concepts weren't catered to metal. Some of the teachings didn't apply.
This is the video I wish I had back then. Hopefully you'll find it useful if you're in a similar place in your songwriting journey.
#Metalmusictheory #SongwritingForMetal
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0:00-0:22 The Black(ish) Lodge
0:23-4:08 1. Intervals
4:09-5:26 2. Chords
5:27-6:13 3. Tonic Hammering
6:14-7:37 4. Soloing
7:38-9:00 Some thoughts on music theory
9:01-10:01 Demonstrating all concepts in one piece - Hudba
The difference between major and Phyrigian made the riff so much better. I love these demonstrations! I Really like the end of the piece!
I agree! It's probably no surprise to hear that I wrote the Phrygian version first, and then changed it so I would be able to explain things a bit better and keep a consistent thread through the video, in terms of the theory and how to apply it.
Thank you! I thought it turned out nice enough that I'm considering using it on a real song haha.
Started playing metal back in the late 70s when it was still being called hard/ heavy rock ( yeah, I´m that old) so I´ve been through most of the genres throughout the decades.
One thing I often miss in metal is actual SONGS, so here are a few additions that always helped me in my own songwriting,- just to elaborate on the points made in the video.
Use the relative keys: If you´re riffin´in Em you could sing a melody in Gmajor - they would go together flawlessly as they contain all of the same notes just starting at a different spot in the scale.
If you´re in major you find the relative minor by going three semitones ( or three frets :) ) DOWN from the root or if you´re in minor say Am you go three semitones ( or three frets ) UP to find the corresponding major.
So:
Am / C major - A major/ F#M - D major/ Bm - D minor/ F major etc.,- this technique makes the combined chords sound very wide and open especially when you add upper extentions like the 6, 7 and 9 on top of the minor chords to go with the major.
Old Black Sabbath trick: Riffin in minor - melody in major - often starting on the fifth instead of the root.
Hope this helps unlocking creativity..
Stay Metal.
I agree with you Ulf that the songwriting can be lacking in a lot of modern metal. I feel like it's sometimes more about the riff or how difficult something is to play than it is about the song! So thank you for sharing your thoughts, tips and techniques. Have a great day!
Your approach to theory and what it represents is excellent. Love hearing how you dissect things. As someone still learning theory principles (we are always learning I think and hope) it’s really cool to hear someone breaking stuff down less traditionally. Outside of the box of the rules per se.
Thank you! I really appreciate that. When I started getting deeper into theory, I thought so many people taught it in such complicated and unuseful ways. I try to apply theory in a ways that are musical, and not too academic. At least that's my aim! So comments like these mean a lot!
Hope you're having a wonderful day and good luck with your further ventures into theory!
Riff in major sounded like something Billy Corgan would write for Smashing Pumpkins, but then the riff in phrgyian sounded like early Ghost. Crazy how vastly different a sound you can get from just changing a few notes.
Ah, I can hear that! Even though I don't know Ghost well, the final version with the organ added made me think Ghost too! Or my idea of Ghost, haha.
It is. That's why I stress intervals so much!
This is a fantastic breakdown (no pun intended) of how you use theory to help you. Also big thumbs up to the atmosphere, just you sitting and hanging out in the snow/forest was lovely. 🤟🏼
Thank you so much! I appreciate it a lot. Have a wonderful day and thank you for watching!
@@heitstrengningmusic no problem, thanks for the content!
Helpful video, and very cool winter environs. Thank you.
Thank you! I really appreciate the nice words. Have a wonderful day!
And P.S. there are a lot more winter landscape in other videos if you want to check out more stuff haha.
Great video
Thank you! And have a great day!
just past 420
On my way to 666!
That's literally the whole point and purpose of theory: the terms exist only to communicate ideas, and the logic exists to describe the reality and what is possible. Weird how at times you get this where people think theory defines limits in a conformist sort of way: scale exists, therefore I should use only scale. No, scale exists because you make something, and then scale is able to describe what you make perfectly. Theory in itself is not a restriction on creativity because to say so would mean that reality itself somehow restricts creativity. That makes no sense.
On the other hand, you get people who emphasize the sensable and empirical too much, denying theory and ultimately claiming experience is the only true teacher-as if the last 6000 years or so of human tradition were worthless and there's nothing to be gained except by reinventing the wheel for oneself endlessly over and over again rather than building upon the sum of all human knowledge and beliefs which constitutes human tradition.
I agree. I tend to always have a pragmatic approach to anything like this, and just gather tools on the way. I'm very wary of ideology of any kind.
My goal is to make music at the end of the day, and the more I learn, the more I'm able to do that. Theory is a great way to accumulate sounds and expand my vocabulary quicker than I would have been able to if I only relied on my ears.