Just a short excerpt from a classical piano piece I’m working on.
It was originally just a test run of some transitions between arpeggios over some different chord progressions, but then I decided it might be worth putting together a full piece using it. Also quite heavily inspired by the second movement of Moonlight Sonata.
Some of the transitions are a bit awkward, but hey, work in progress.
So here’s a brief demo of some of the stuff I’m writing right now. This is literally a few of the harmonies and some of the solos. I cut out the rest of the song, as I am in the process of rewriting it.
The harmonies are heavily inspired by Mozart, and feature some interesting interplay between the two rhythm guitar tracks. The solos are a mixture of things. They begin at first as your standard technical death metal solos, extremely fast, plenty of sweeping and shred. Then, originally by mistake, I broke down an arpeggio into sustained notes to allow the rhythm section to shine through and almost trade off with the leads. Then, of course, it’s back to insane sweeping.
Anyways, this is merely a brief thing going on right now. It’s not even good.
Just a short excerpt from a classical piece I’m working on.
It’s not very good and it’s only like 10 seconds so far since I wrote it in about 2 minutes before I went to bed this morning.
I finally finished this last night. If anyone manages to listen to the whole thing, I will be incredibly surprised. I would also be very happy because I put a lot of time and effort into this. Okay, this might need a bit of explaining.
This song actually didn’t really start out as a song. It started out as merely a small piece I was putting together which was purely constructed of my favourite classical pieces arranged together so that I could write some fun drums to go with it. Over time, I started writing original material and eventually this came together.
This one takes on a much more conceptual idea, and is constructed of four main sections, each devoted to a style of music that has influenced me a lot. The first is an acoustic piece accompanied by a string section. It’s a mixture of some Spanish style stuff and older classical music. Not very complicated, but good for an intro. The second piece is heavily inspired by Machine Head, as a mixture of death, thrash, and a little hint of grooviness in there too. Forgive me if the verse riff goes on for too long, that section was designed to have a lot of vocal work. The third section sees the return of the acoustics, but this time with a much more classical approach. The guitar solo towards the end of the section is taken from Adagio for Strings by Samuel Barber, which is of course from the soundtrack of Platoon.
The final section is perhaps musically my most complex piece to date. This section is dedicated entirely to virtuoso and masturbatory playing. The soloing is far less direct from what I would usually write, as they are mostly brief lead interludes between sections, with the exception of the main solos towards the end. The riffing is highly influenced by Beyond Creation and Necrophagist in style and complexity. The bass solo is also very complicated. The final guitar solos are largely based on Beethoven’s Moonlight Sonata 3rd Movement in D Minor, with one main section containing a large portion of it, though modified for shredding on a 7 string. The rest of the solo is based on the chord progression and scale of Moonlight. The other solos were an attempt at a balance between atonality and melodic shredding, which I believe came out very well.
Well, yes, I’m very proud of this.
I’ve just finished the final touches to this, and I’m pretty happy with it. Some of the riffs need a little work, but overall, I think it’s turned out pretty well. This is a far more riff focussed piece, most of which are melodic and pretty fast. The middle section was far more experimental and progressive than a lot of what I would normally write, with some complex riffing, a piano section and sweep picking section. The final solo is probably my most dynamic so far, changing between more melodic sections and very technical shredding.
Excuse some parts for being excessively loud or quiet.
I’ve finally finished this, and it’s by far my most mature work in terms of writing. I chose to use a lead guitar line for the chorus, and included an acoustic solo after the second verse. The middle section is made up of a very neoclassical harmony, heavily inspired by Vital Remains, which I’m particularly proud of, followed by some very complicated riff changes almost reminiscent of Necrophagist. The main solo is also very much a neoclassical piece, which I am rather proud of. There’s a lot of groovy riffing in this one too. The outro solo is standard sweeps over a polyrhythm, which came out very well. This is probably my best and most focussed work yet.
I’ve just finished mixing this. It’s actually a newer and much better version of an older song I did. Personally, I think the outro has the best guitar solo I’ve ever written. Words can’t express how proud I am of this.
Some cool sweep picking stuff I made up. Nothing really special, just some standard minor melodic arpeggios. It would probably make a cool outro solo.
Check it out, it’s one of my best solos to date. I’m pretty proud of the classical vibe on this one.
I’ve just put the final touches on this. Personally, I think this is my best work yet. In terms of theory, this one is pretty technical, with a lot of time signature changes. This is also the first song I have written using 7 string guitars. The solos are more in the vein of Ralph Santolla, a combination of blues and neoclassical playing styles, which I think turned out pretty well. Also, excuse the basically inaudible chords during the chorus, my new sound engine doesn’t handle them too well.
This is part of a solo I’ve written for a new song. It uses seven string guitars. It also has a big blues influence, reminiscent of Ralph Santolla. I quite like it.
I’ve just finished the drum tracks on this. All the lead parts and some of the rhythm parts were recorded by a friend. It was recorded on his guitar but played through the computer to make sure it sounded clear and less sloppy. I’m pretty happy with how this turned out. In terms of musical theory, this song delves into technical death metal. I’ve used a lot f polyrhythms and odd time signatures.
Also, yes, I’m using my own artwork because fuck you, I like my work.
I’ve just finished putting the final touches on the piano sections of this. It clocks out at about nine minutes long. This is by far the most progressive song I’ve ever done. While still routed in death metal, I’ve used a far more prominent classical scale and incorporated three piano solos as well. I’m pretty proud of it, particularly the aggressive trade-off solos in the bridge sections. This is one of the best pieces I have ever written. Once again, this is all done in Guitar Pro, which explains the shitty sound.
I just finished writing the bass lines for the outro solo on this. This is easily one of my best pieces so far. It’s also the strangest. I chose to go for an orchestral introduction with a piano accompaniment. On the whole, it’s also a lot slower than what I would normally write, sounding a lot more like Seasons-era Slayer. I wrote a rather complex bass solo in towards the end, which I’m rather proud of. The outro solo is a lot more melodic than my usual neoclassical wankery too.
Yes, I am using my own album art because fuck you, I like my work.
