Uploaded on Oct 5, 2016
I start off with a heavy metal theme in A minor that I know is the chorus of a D minor song, I come up with another heavy metal theme in D minor...I then figure I may as well write a sonata-allegro in verse-chorus form.
This being heavy metal, you know what this means. The development consists of a bridge (made of riffs from the verse and chorus) and a solo (on the dominant)!
This has half a foot in classical music and one and a half feet in heavy metal...but what kind of metal? Progressive metal? (Likely the most obvious given the form.) Neoclassical metal? (Possibly tied for most obvious, except I find Yngwie Malmsteen's neoclassical metal songs to be cleaner than this piece.) Thrash metal? (It's certainly fast enough.) Death metal? (It's dirty enough, it's got loads of abrupt implied key changes, the drummer will exhaust him/herself playing the blast beat for this song...)
...And because this is a sonata-allegro--normally found only in classical music--this is called Regressive Form. Rhymes with Transgressive Form, though, which sounds savage enough for heavy metal...
Some play tips:
In general, notes that are beamed together should be played with the first note(s) in each group as the loudest. For example, Bar 30 has its 8th notes split in 3-3-2 groups, and Bars 37-38 are in 3-3-3-3-2-2 groups. (Notating this was hellacious, to the point that I had to put in explicit line breaks because the bars kept shifting around and making the note beaming look bad in the process.)
In contrast, the running 8th notes in Bars 143-154 (near the end of the solo) are grouped ambiguously rhythm-wise. Except for Bar 150, which has accents that split the 8th notes into 2 groups of 4, you can group those running notes in a variety of ways. (Bar 154 definitely sounds like it should be grouped 3-3-2 whenever I listen to it, though...)
As this is in verse-chorus form (in addition to sonata-allegro form), the repeat is mandatory.
(Structure: Verse-Chorus-Verse-Chorus-Bridge-Solo-Verse-Chorus (Modified)-Coda)
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