User:CatTits10/sandbox
Suffocation
[edit]https://www.decibelmagazine.com/2021/10/08/suffocation-death-metal/ https://www.decibelmagazine.com/2009/05/01/suffocation-effigy-of-the-forgotten/ https://www.allmusic.com/album/effigy-of-the-forgotten-mw0000083653
Cannibal Corpse
[edit]https://www.loudersound.com/features/george-corpsegrinder-fisher-my-life-story https://www.moshville.co.uk/interview/2013/04/interview-archive-alex-webster-cannibal-corpse/
Florida death metal
[edit]- https://www.scribd.com/document/629222537/Death-Metal-Music-Natalie-J-Purcell
- https://www.liveabout.com/what-is-melodic-death-metal-1756186
more links
[edit]- https://www.scribd.com/document/449427945/The-Evolution-of-Emo-and-Its-Theoretical-Implications
- https://www.scribd.com/document/100492940/Punk-Culture
- https://www.scribd.com/document/392996411/Choosing-Death
- https://www.scribd.com/document/399399331/American-Hardcore
Obituary frequently plays moving power chords in tritones using inversions. These riffs are often based on E Phrygian, except the 3 and a ♭5 are added before the riff repeats. A syncopated rhythm with chord changes consisting of two punctuated quarter-notes and one regular quarter-note is typical of many Obituary songs. Sometimes the riff is played with open chords, sometimes combined with tremolo picking "where the notes change on the 'and' of beat 2 and beat 4." On slower songs, the E Phrygian is played except with a natural 2 in the last measure. The power chords are inverted to allow the chord to be played on the fifth string and retain a thick sound on the sixth. Use of a fourth interval instead of a fifth adds a level of dissonance. A simple rhythm that alternates between sixteenth-notes and eighth-notes is also common for the band.[1]
One of the frequently applied techniques of Morbid Angel is using only a few power chords and octave dyads for rhythmic accents. A typical riff for the band is palm-muted tremolo-picked sixteenth-notes at high speed (for example, 210 beats per minute). The riff stays on each tremolo-picked section for a couple beats, creating a rather static feeling, particularly so when combined with fast double-bass drum and snare that accents the power chords and dyads. Slower examples of signature Morbid Angel riffs comprise octaves, power chords, and palm-muted single-notes. The harmonic scale is E minor with some additional chromatic notes. Typically the 3 is generally minor and the ♭2 at the end of the last measure adds a Phrygian component to the sound. The phrasing is key to these riffs – the dyads are drawn out longer and the first dyad is slid into from a half-step below. Morbid Angel was among the first extreme metal bands to play these octaves in slow riffs and thus add an eerie quality to the music. Another trademark feature of Trey Azagthoth's playing style is using slides on the chromatic power chords to create a slurry effect.[1]
Early albums by Death commonly featured rhythmic accents, held quarter-note power chords, and tremolo picking. Faster riffs on earlier recordings typically played two major thirds a half-step apart. Very typical riffs from that era are melodic major thirds based on A–C♯ and G♯–B♯ intervals which are split by a short sixteenth-note burst on the sixth string. Moving toward an F♯5, the figure begins the major third movement on the 5 of the power chord and then goes a half-step down as it is played against an insistent recurring F♯. Another signature pattern is a tremolo with rhythmic eighth-note accents on the 5 of the power chord of the moment: F♯ accents B5, A accents D5, G♯ accents C♯5, and E♯ accents A♯5.[1]
Early output by Deicide frequently utilized riffs with a figure that was always "a descending minor second followed by a descending major third." The guitar duo in the band at the time, Eric and Brian Hoffman, would move different chromatic patterns to different string sets using the same frets. They favored rhythmic displacement, especially in tremolo picked riffs.[1]