OK, I have a couple more questions that hopefully somebody can answer for me, as I have already searched threads and haven't found any particularily useful yet. Hopefully you all aren't annoyed and sick of me asking questions.

1. What are some things I should work on to compose melodies in style to the instrumentals of Mozart? Ex. Storm, which is Ex. 2 on Passage to the Reaper and Amadeus, the song from which bodom stole the intro for Red Light In My Eyes Part II.

2. Beethoven - Anything theory related to composing some of the melodies like in Requiem (The 5th), and some of his other works.

3. What are some ways to resolve tension (dissonance) with a melody?

*On a side note, has anybody else noticed that a lot of Something Wild is completely ripped, note for note, from various composers and other bands? I love Bodom, but its kinda sad to find out what I thought was innovation in Red Light In My Eyes Part II was just pieces from Amadeus by Mozart and from Requiem (The 5th) by Beethoven. They also took some riffs directly from songs by Kalmah.

Thanks

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they give all the classical guys credit in interviews and such. alexi is a big classical fan, i dont think thats a big offense at all. listen to red light , they clearly tried to tip you off that it was classical music with the harpsichord and all that

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I never meant that it was a bad thing, just took me awhile to figure out it wasn't their own works, but hell, that album is the shit and I love it probably more than any of their other albums. I just want to be able to write some stuff like that, and I this theory stuff I keep asking is helping me tremendously.

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i only took one class on theory and it was on 4 part choral writing, so i cant be of much use anyways. good luck

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Ya, I've got the general idea, but I figured if I asked, i could get better information, plus people have said that they have learned from the answers to my questions, so hopefully if I get some answers they can help the rest of the community as well.

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I don't know much about the overall way to achieve that classical sound, like the 4-part chorale. Pedal tones and fingerpicking are some classical techniques, but your looking for the theory of notes and melodies and such. All I can think of would be to expand on some extended chords, partial chords, or just wait for powersofterror to reply

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Muhammed from Necropagist gives his credit to composers in his "thanks" part of cd linear notes.

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One way to resolve dissonance is to decide which scale or mode you are using and whenever you step outside of it by using a #7 in a minor mode or a b7 in a major mode (using seventh degrees just as an example) is to run around chromatically or modally and then return back to the same scale or mode. . . that is one technique used to resolve dissonance. . . my band director gets off whenever I do shit like that in my solos. . . specially since I love chromatics for a lot of the shit. . . how would you like to hear a bluesy chromatic solo over the james bond theme? Gives a hint of originality.

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I guess you're not going to like Hatebreeder too much either...The chorus to Black Widow is straight from one of Mozart's works as well.

Also, the intro to Red Light in my Eyes Part II is Mozart's 25th. About :28 sec in, that's Mozart's Requiem Mass in D Minor, namely movement Confutatis. But it's not exact. If you listen, it's the bass carrying the melody while Janne has written his own chord progression. Originally in Confutatis, it's just A minor, the horns doing tonic to dominant (root to 5th).

Red Light in My Eyes Part I is Johann Sebastion Bach's Invention Number 13, FYI.

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Interesting. I am going to have to check out the original pieces now. Love some Bodom. I'd like to incorporate more classical ideas into my music.

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Wow what a coincidence; speaking of Mozart! I finished my final song before submission and I'm doing a cover of a Mozart song in guitar of Ronda Alla Turca! I love Mozart; Mozart forever!

I dare you to learn the third movement of Moonlight Sonata note for note. I have a tab transcribed for guitar as right hand and five string bass as left hand, but I don' think I'm even going to bother.

The best way to get to play like Mozart is to sit with some of his scores and play the parts on the guitar. Soon you'll start picking up on how he writes his pieces and you may even start cracking out random ideas in the same style. And if you really want to get close, then try to minimise 'metal-ising' it. You need to observe how the melodies move and where he goes with them. Of course, you'll need to learn a bit of theory, because the Classical guys knew massive amounts of theory.

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Heh heh...The third movement to (Moonlight) Sonata in C# Minor...Also been considered as the "Eruption" of that era. Any pianist that can play the third movement can play anything...My keyboard player is currently working on it.

I find it rather sad that Beethoven isn't heard too often in metal...

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Why is it sad? Let the man rest without countless soilings of his name!

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4 part choral writing is a damn good way to learn classical theory. The part writing that you learn in theory classes IS used for writing non-choral pieces.

I find it sad because the man isn't getting too much credit for what he has done. Pretty much everyone knows Fur Elise, but not too many people know Ode to Joy or his 5th symphony. People will go "Oh! I know that!" But won't identify who wrote it, unless it's Fur Elise.

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Come on, everybody and his dog knows Beethoven's 5th!

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It may be because I'm in an orchestral surrounding 24/7 for the past few years, but even my sensei can sing me one of the melodies from Beethoven's 9th, 4th movement.

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I guess I'm around music idiots then...I'll hum Beethoven's 5th, and everyone will be like "I KNOW THAT!" "Who wrote it?" "MOZART!" "...Don't ever talk to me."

Actually, I've noticed that a lot of Classical is always tagged by Mozart. I'll hum Bach's Invention 13, or one of the movements from Vivaldi's Winter, hell, I'll even hum some Holst and people will go "Yeah. Mozart. He's cool."

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