The Function of the Orchestra in Symphonic Metal Music (Honours Thesis)

The Function of the Orchestra in Symphonic Metal Music

Honours Dissertation

Submitted 25 October 2013

Andrew Wrangell s2743307

Queensland Conservatorium Griffith University

Under the supervision of Donna Weston

Submitted in fulfilment of the requirements of the degree of:

Bachelor of Music Studies with Honours

ii

Abstract

This dissertation aims to explain the workings of orchestral elements within the genre of symphonic metal music. This genre mixes the metal band and the orchestra to form a grandiose style with the powerful, driving characteristics of the former and dramatic and emotional qualities of the latter, an impression shared by the symphonic metal community. To explain the way in which these qualities arise, a research methodology focusing on the use of music analysis is used to determine the function of the orchestra in symphonic metal. Core idioms shared by each instrumental family across three representative symphonic metal songs are revealed, as are their interactions with the metal band to achieve a result capable of great drive and emotional and dramatic potential.

Currently, academic research into the metal genre is limited and focuses mainly on cultural aspects with relatively little explanation of the inner workings of the music.

Furthermore, existing research focuses little attention on symphonic metal and this dissertation contributes to the field both by investigating a subgenre on which little research has been conducted and by using music analysis as its primary research method.

iii

Statement of Originality

This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself.

(Signed)_____________________________

iv

Acknowledgements

Thank you to my supervisor, Donna Weston, who has provided extremely valuable guidance with this project, and to Dan Bendrups who encouraged me to apply honours. I would not have chosen this topic without being introduced to Nightwish by Natalie Kitney and Jesse Higginson. I'd also like to thank my friends Samuel Dickenson, Jo Lagerlow, Anthony Sparks, Samuel Hogan and Joseph Hitzke who encouraged me during the writing of the dissertation. Finally thank you to my mum and dad, Sophy and Wayne Wrangell, who have supported me throughout my studies.

v

Table of Contents

Abstract ............................................................................................................................. ii

Statement of Originality .................................................................................................. iii

Acknowledgements ......................................................................................................... iv

Table of Contents ............................................................................................................. v

Table of Figures ............................................................................................................. viii

Chapter 1: Introduction ..................................................................................................... 1

The Genre of Symphonic Metal ................................................................................... 1

Chapter 2: History and Development of Symphonic Metal ............................................. 4

Metal History ................................................................................................................ 4

Symphonic Metal Formation ........................................................................................ 5

Symphonic Metal Artists .............................................................................................. 5

Online Discussion ......................................................................................................... 6

Conclusion .................................................................................................................. 10

Chapter 3: Methodology ................................................................................................. 11

Overview .................................................................................................................... 11

Analysis method ......................................................................................................... 11

Case Study 1: Nightwish: Ghost Love Score ............................................................. 12

Section 1 ................................................................................................................. 13

Section 2 ................................................................................................................. 16

Section 3 ................................................................................................................. 18

vi

Section 4 ................................................................................................................. 19

Section 5 ................................................................................................................. 24

Summary of Orchestral Function in Ghost Love Score ......................................... 26

Case Study 2: Within Temptation: The Truth Beneath The Rose .............................. 28

Section 1 ................................................................................................................. 29

Section 2 ................................................................................................................. 34

Section 3 ................................................................................................................. 37

Summary of Orchestral Function in The Truth Beneath the Rose ......................... 40

Case Study 3: Epica: Death of a Dream (The Embrace That Smothers, part VII) ..... 41

Section 1 ................................................................................................................. 42

Section 2 ................................................................................................................. 44

Section 3 ................................................................................................................. 47

Section 4 ................................................................................................................. 49

Section 5 ................................................................................................................. 49

Summary of Orchestral Function in Death of a Dream .......................................... 51

Conclusion .................................................................................................................. 52

Chapter 4: Findings and Conclusion .............................................................................. 53

Findings ...................................................................................................................... 54

Orchestra alone ....................................................................................................... 54

Orchestral/Metal Combination ............................................................................... 56

Relationship to Fan Perception ............................................................................... 57

vii

Summary ................................................................................................................. 57

Appendix 1 ..................................................................................................................... 59

1A List of metal forums ............................................................................................. 59

1B Most popular metal forums ................................................................................... 60

1C Forum statistics ..................................................................................................... 61

Appendix 2 ..................................................................................................................... 62

2A Forum question 1 .................................................................................................. 62

2B Forum question 2 .................................................................................................. 63

2C Links to forum questions ...................................................................................... 64

Appendix 3 ..................................................................................................................... 65

3A Visual outline of sections in Ghost Love Score .................................................... 65

3B Visual outline of sections in The Truth Beneath the Rose .................................... 65

3C Visual outline of sections in Death of a Dream (The Embrace That Smothers, part VII) ............................................................................................................................. 66

Appendix 4 ..................................................................................................................... 67

4A Lyrics to Ghost Love Score by Nightwish ............................................................ 67

4B Lyrics to The Truth Beneath the Rose by.............................................................. 68

Within Temptation ...................................................................................................... 68

4C Lyrics to Death of a Dream (The Embrace That Smothers, part VII) by Epica ... 69

Bibliography ................................................................................................................... 72

viii

Table of Figures

Figure 1 - Graph of metal forums listed by number of posts ........................................... 7

Figure 2 - Key words from fan responses to the question of orchestral function............. 9

Figure 3 - The three most popular symphonic metal bands decided by fans ................... 9

Figure 4 - Structure of Ghost Love Score section 1 structural diagram ......................... 13

Figure 5 - Ghost Love Score "M1a" excerpt transcription ............................................. 13

Figure 6 - Ghost Love Score "M1b" excerpt transcription ............................................. 15

Figure 7 - Ghost Love Score section 2 structural diagram ............................................. 16

Figure 8 - Ghost Love Score "M3a" excerpt transcription ............................................. 17

Figure 9 - Ghost Love Score section 3 structural diagram ............................................. 18

Figure 10 - Ghost Love Score section 4 structural diagram ........................................... 19

Figure 11 - Ghost Love Score "M5" melody transcription ............................................ 19

Figure 12 - Ghost Love Score "M5b" excerpt transcription ........................................... 20

Figure 13 - Ghost Love Score "M5c" excerpt transcription ........................................... 21

Figure 14 - Ghost Love Score "M6a" excerpt transcription ........................................... 22

Figure 15 - Ghost Love Score "M7" excerpt transcription ............................................. 23

Figure 16 - Ghost Love Score "M5d" excerpt transcription ........................................... 24

Figure 17 - Ghost Love Score section 5 structural diagram ........................................... 24

Figure 18 - Ghost Love Score "M1d" excerpt transcription ........................................... 25

Figure 19 - The Truth Beneath the Rose section 1 structural diagram ........................... 29

ix

Figure 20 - The Truth Beneath the Rose "M1a" excerpt transcription ........................... 30

Figure 21 - The Truth Beneath the Rose "M1b" excerpt transcription .......................... 30



Figure 24 - The Truth Beneath the Rose "M4" excerpt transcription ............................ 33


Figure 26 - The Truth Beneath the Rose "M1c" excerpt transcription ........................... 34

Figure 27 - The Truth Beneath the Rose "M2b" excerpt transcription .......................... 35





Figure 32 - Death of a Dream section 1 structural diagram ........................................... 42

Figure 33 - Death of a Dream "M1" excerpt transcription ............................................. 42

Figure 34 - Death of a Dream "M2a" excerpt transcription ........................................... 43

Figure 35 - Death of a Dream "M2c" excerpt transcription ........................................... 44



Figure 38 - Death of a Dream "M3b" excerpt transcription ........................................... 45


Figure 40 - Death of a Dream "M5a" mode ................................................................... 47

x





Figure 45 - Death of a Dream "M5b" excerpt transcription ........................................... 50


1

Chapter 1: Introduction

The Genre of Symphonic Metal

Symphonic metal is a subgenre of heavy metal (commonly described simply as metal) in which the orchestra and metal band are combined. The role the orchestra plays in this instance can range from being featured minimally as accompaniment to being featured prominently and in complete sections of songs alone. Some of the most well known artists of this genre include Nightwish, Epica, Therion, Within Temptation, Dimmu Borgir and Kamelot.

Some of the main elements that clearly identify symphonic metal are understandably the presence of both metal band and orchestra. However not all symphonic metal features a live orchestra instead, it may feature keyboards using orchestral sounds or the orchestra may be comprised only of sampled instruments sequenced by a computer.

Many standard metal conventions exist within the style of symphonic metal and it can be said that the metal band functions in a way that is similar to other metal subgenres. However the use of the orchestra is varied in this genre. One of the most recognisable features of many symphonic metal artists is the presence of operatic female vocals, such

as in bands such as Nightwish, Within Temptation and Epica. The style of the music can vary greatly, including elements of death metal, power metal and any other possible combination. The songs of bands such as Nightwish tend to be in mostly minor keys although symphonic metal bands with a more upbeat power metal style, such as Dark Moor and Dragonland, release comparatively more songs in major keys.

The orchestral elements of symphonic metal music are often adapted by an arranger or orchestrator, such as Pip Williams in the case of Nightwish, Gaute Storaas in the case of Dimmu Borgir and Michael Kamen in the case of Metallica. In some cases, metal elements have been crafted around symphonic elements such as with Nobuo Uematsu's One-Winged Angel from the soundtrack to the film Final Fantasy VII: Advent Children. There is little to no existing research on orchestral accompaniment for symphonic metal

music and this paper intends to identify, extract and propose a summary of the way the

2

orchestra functions in this genre. This will be achieved by attempting to answer the following question: what is the function of the orchestra in symphonic metal music?

To answer this question, a number of factors need to be considered concerning the various aspects of orchestral function to be examined. Firstly, the form of songs featuring the orchestra as an element along with the band needs to be considered. This is because depending on the format of the song, the orchestra may take on different roles. In songs such as Epicas Deep Water Horizon from their album Requiem for the Indifferent, the orchestra featured plays the main melodic material while being accompanied rhythmically by guitar and drums. Nightwishs The Poet and the Pendulum from Dark Passion Play features a number of sections where the orchestra is featured on its own without the band, while End of an Empire by Turisas alternately features band and orchestra for effect.

For some songs the orchestra may function as an interlude to other material, and in others it may be strengthen the melodic and harmonic elements to contribute to an epic sound. The orchestra's format is also something to be considered and this may vary considerably. It would be assumed that the standard orchestra featuring strings, brass, woodwinds and percussion would be used but often in symphonic metal, a choir is also used and forms a significant part of the symphonic aspect. Structure is yet another important consideration and the usage of the orchestra can be very dependent this. As mentioned previously, the orchestra can be used alone to great effect in some sections and song structure plays an important role in this aspect.

To analyse the function of the orchestra with respect to these considerations, a methodology must be constructed to outline the approach to be taken. To analyse the function of the orchestra in symphonic metal, a selection of suitable material must be made and then this material must be analysed. To select this material, three of the most popular bands of the genre will be chosen as examples and one song from each band will be analysed. This number of bands will be chosen so that the analysis can include a variety of sources but also analyse the material deeply.

The main method in which the function of the orchestra will be examined is through musical analysis. This will involve transcriptions and structural analysis of songs and their instrumentations. The way in which the orchestra is combined with specific metal

3

musical gestures is a key aspect of this research and will form the basis of the idioms that will be explained. To this aim, three songs by three bands will be analysed in detail in this manner as case studies.

The key sources to be used in identifying existing research on this topic are the core books written about heavy metal. This constitutes the writings of Deena Weinstein, Robert Walser and Keith Kahn-Harris, however these contain little information on the topic of symphonic metal apart from a few passing mentions.

Additionally, the research in existence on heavy metal appears to focus on the cultural aspects in much greater detail than the musical aspects. Weinstein, Walser and Harris provide comparatively little examination of the music itself however this dissertation aims to contribute to existing metal research through a methodology that focuses on music analysis within the symphonic metal genre.

Research has often covered metal's cultural aspects, however this dissertation will focus instead on the musical aspects of symphonic metal. The analysis chapter on its own represents a valuable contribution to the study of metal in that it is the only, as far as the author can tell, comprehensive musical analysis of the orchestral sections of symphonic

metal music. The outcome of this research should be of benefit to composers and arrangers who want to understand the usual ways the orchestra and metal band can be. It will also be of benefit to academic research about symphonic metal as the literature currently has little to say on this topic.

4

Chapter 2: History and Development of Symphonic Metal

Metal History

Metal has a rich history beginning in the 1960s and remains popular in 2013. It emerged from rock music, which in turn stemmed from the blues. One important aspect of metal to note is that it has often taken influence from Western classical music and one example of this is metal bands emphasis on virtuosity (Walser, 2013). Cook and Dibben (2001) note that analyses of popular music also sometimes reveal the influence of 'art traditions' and this is this especially the case with heavy metal music. It has also been noted that fans of classical music and metal tend to share the personality traits of introversion and creativity as well as being at ease with themselves (Derbyshire, 2008). Additionally, according to Derbyshire (2008), fans devotion to their music can be obsessive.

The rebellious spirit of 1950s rock, according to Mock Him Productions (2004), lead to bands such as The Doors, who brought a Nietzsche-inspired morbid subconscious psychedelia to rock music. The hard rock growing from these, according to the same source, was influential to the style of such heavy metal pioneers as Led Zeppelin, Deep Purple and Black Sabbath. Through the 1970s, heavy metal was influenced by progressive rock and these influences gave rise to bands such as Judas Priest, Motorhead and Iron Maiden. In the 1980s emerged two main metal subgenres known as speed and thrash, the former taking influence from neoclassical progressive metal and the latter involving aggression and fast tempo. In this reactionary era, some of the most well-known bands included Slayer, Megadeth and Metallica. The fall of the hardcore style gave way to the rise of styles such as emo and punk, and metal was also combined with jazz, industrial, country and R&B. Later subgenres included death metal, beginning in the mid 1980s (Dunn, 2005), and black metal, both featuring their own sub-subgenres. As noted by Walser (1993) in Running with the Devil, heavy metal is a very eclectic genre spanning countless subgenres and no one song displays every possible metal element. Harris (2007) notes that a number of extreme metal cultures exist within their respective global regions and discusses that some of these areas have

5

become central to particular parts of the extreme metal scene while others are less central. In particular, he notes that a large number of successful bands originate from Scandinavian countries however the largest markets for their music lie in foreign countries (p. 97).

Symphonic Metal Formation

Key to the foundation and solidification of metal styles is the process through which they undergo metamorphosis and rebirth. Deena Weinstein (2000) refers to this process as formative and crystallization phases. This involves a metal subgenre being created through divergence from existing genres of metal in some aspects, and a pattern emerging from the manner of these divergences. According to Weinstein, these subcultures are labelled under the same overarching heavy metal genre because they stem from the heavy metal core without being so different as to be called a separate genre (2000). One of the metal subgenres that has emerged in this pattern is "symphonic metal" which is named so due to its fusion of both metal and symphonic elements. This creates a mix of heavy metal and "classical" elements such as the inclusion of the orchestra and choir with the electric guitar, bass guitar and drum kit. Walser (1993) devotes a chapter in his book Running with the Devil to the influence of classical music on heavy metal, discussing that classical elements included in songs such as Stairway to Heaven by Led Zeppelin invoke the cultural meanings of classical music and elevate its status, making it more serious (p. 62). As classical music has had such an influence on metal, it would seem understandable that a metal subgenre would come to integrate the orchestra and choir and so form symphonic metal. In this subgenre, the orchestra is included as a prominent musical element, although the metal band tends to be at the forefront of the music.

Symphonic Metal Artists

Some bands may not always produce symphonic metal, however some of their work might be described as such and one example of this is Metallicas S&M album, in which they collaborated with composer Michael Kamen for a live show with the band and symphony orchestra (Music Week, 1999). One of the first bands to demonstrate a symphonic metal style, according to Wagner (2010, pp. 154-157), was Believer, a thrash

6

metal group whose song Dies Irae was a creative watershed in metal which combined classical music and metal seamlessly. It can be noted that the title of this song is a reference itself to the mass setting used by composers such as Mozart, Verdi and Stravinsky. Wagner asserts that the song foreshadowed the operatic approach used by the bands Therion and Nightwish (2010).

In Therions biography (Corro & With, 2013), Therions use of a live string orchestra for the 1998 album Vovin is noted, as is the way the band drew inspiration from classical composers such as Richard Wagner and Richard Strauss. One of the ways this classical influence is evident in the album is the inclusion of choral elements and operatic vocals akin to classical music. The band Nightwish is one of the most well known examples of the symphonic metal genre. Nightwish composer, Tuomas

Holopainen, describes his passion for film music (Holopainen, 2013); this is evident in Nightwish songs such as Beauty of the Beast, Ghost Love Score and The Poet and the Pendulum, all being notable songs on their respective albums for their orchestral involvement. Additionally, the bands 2011 album Imaginaerum features the orchestra.

This represents only a small selection of symphonic metal artists, and other well known examples include Epica, Within Temptation, Dimmu Borgir and Kamelot. It can be asserted that the symphonic metal genre involves a combination of metal band and orchestra with other classical elements also included such as choir and large song structures. These elements all contribute to a style that is capable of both power and sensitivity and this is discussed by fans of the genre within online forums.

Online Discussion

It has been discussed that there are limited sources in academic literature catering to symphonic metal, however a large amount of discussion about the genre takes place online due to fans devotion to the music. Weinstein (2000) describes the fans of well-known metal band Metallica to be "a knowledgeable and devoted bunch" (p. 93), this being an example of the wider metal audience. As such it stands to reason that metal fans in general are enthusiastic about the music they enjoy. One of the places this enthusiasm and knowledge is evident is online forums and given the lack of academic research pertaining to symphonic metal, these online sources must be relied on for up-

7

to-date information on the genre. Various websites are devoted to discussion such as this and some of these are listed in appendix 1A. Additionally, various bands have their own official forums on their respective websites, such as Nightwish (http://www.nightwishforum.com/) and Epica (http://forum.epica.nl/). As would be expected, these forums feature a significant amount of fan discussion pertaining to their respective bands.

Appendix 1B contains a graph of the combined number of posts, topics and users forums in the forums contained in appendix 1A, ranked descending by number of posts, and appendix 1C contains the table from which this data is derived. It can be seen that Encyclopaedia Metallum is the most popular of these sixteen sites and it also has the largest number of users. All Metal Forums, Metal Storm, Heart of Metal, Metal Throne and MRU Metal Forums, as seen from the graph below, are the most-used forums with the others listed being less utilised according to numbers of posts. However it can be seen that thousands of fans have registered on these forums and there is a significant amount discussion about metal taking place online. This graph can also be viewed in appendix 1B.

Figure 1 - Graph of metal forums listed by number of posts

None of the forums listed in appendix 1C pertain solely to symphonic metal as a subgenre and although some of these forums feature subcategories for certain metal subgenres, symphonic metal is not usually one of these and this suggests that

0

200000

400000

600000

800000

1000000

1200000

1400000

1600000

1800000

Users

Topics

Posts

8

symphonic metal is not a main metal subgenre. However some forums not listed here discuss symphonic metal specifically and some of these include the symphonic metal subreddit (http://www.reddit.com/r/symphonicmetal) and the music section of the Nightwish Official English Board where numerous symphonic metal bands mentioned by other fans in appendix 2B have topics devoted to discussion about them (http://www.nightwishforum.com/index.php?/forum/14-music/).

As a fan-driven genre, the opinions of fans are important in establishing a community agreement regarding genre. When asked about the function of the orchestra in symphonic metal, fans across various online forums responded similarly and generally agreed that the orchestra provided a heightened sense of mood and drama. The table below contains a tabulation of key words obtained from some respondents answers when asked their opinions on the function of the orchestra in symphonic metal. A moderator of the tuomas-holopainen.com forums likened the inclusion of the orchestra in the music of Nightwish to the shading in a picture and other users agreed with this sentiment (Beastall, 2013). On another forum, users argued that the symphonic aspect of the genre could be achieved using keyboards (adg211288., & Wyvern_13, 2013). On another Nightwish forum, a user commented that its all about being able to keep the right balance and the cadence between the voice, the orchestra and the contemporary instruments, confirming symphonic metals classical leanings (Gaia88, 2013).

9

Forum User Key words All Metal Forums

GordOfThunder Epic, over the top

Ultimate Metal SomeGuyDude Sense of grandiose, supporting role, extra layer, majesty

Heavy Metal Haven

Wyvern_13 Classical influence, orchestra highlights other parts, varying focus between metal and orchestra

Nightwish Forum

Gaia88 Blend modern and classical sounds, symphony-like effect

Tuomas-holopainen.com forums

*Dandelion* Broadens song's sound, more theatrical, wider emotional range

Lupine Adds atmosphere AmaranthMockingbird Adds elements not achievable by just

metal band, orchestra lays 'blanket' of sound

Figure 2 - Key words from fan responses to the question of orchestral function

Appendix 2C contains links to the forum topics on which these questions were asked.

The table above shows only a selection of the fifteen responses to this question collected from various metal forums, all of which were coded according to key words contained in their responses. The complete table can be seen in appendix 2A. Topics posing the question of the function of the orchestra were posted on a variety of metal forums however as can be seen above, fans' responses across various websites shared common traits. It can be inferred from this example that symphonic metal fans generally agree that the orchestral elements added to a metal band add an extra element to the sound, expanding the scope of the sound beyond what would be achievable with the metal band alone.

Appendix 2B contains a tabulation of fans responses to the question of which bands were most representative of the symphonic metal genre, however the three most popular

responses are shown below.

Band Mentions Within Temptation 9 Nightwish 8 Epica 7

Figure 3 - The three most popular symphonic metal bands decided by fans

10

This question of the most representative symphonic metal bands was asked in numerous places online including Reddit, tuomas-holopainen.com forums, nightwishforum.com, ultimatemetal.com and Heavy Metal Haven and each time a band was included in a fan's response, it was counted in "mentions". From appendix 2B it can be seen that Within Temptation, Nightwish and Epica gained the most mentions as being representative of the genre in the eyes of respondents. Thus it can be assumed that an analysis of the interaction between metal band and orchestra concerning these three most popular bands should be fairly revealing for the broader symphonic metal genre.

Conclusion

Symphonic metal exists as a subgenre within the broader context of heavy metal, a genre emerging from rock music, which encompasses a large number of subgenres. A number of core academic writings on heavy metal exist however little research exists on the topic of symphonic metal. However, there is a large body of informative fan discussion on the topic via online forums. This provides an opportunity for research into the fan-driven symphonic metal culture and is key to understanding the background of the genre. Fans' opinions regarding the function of the orchestra in symphonic metal indicate that they regard the inclusion of the orchestra as something that enables the metal band to achieve new emotional and dramatic heights. To demonstrate the way this is achieved, a methodology must be created to investigate the topic.

11

Chapter 3: Methodology

Overview

To determine the function of the orchestra in symphonic metal, material to be analysed must be chosen as well as a method to analyse this material. Using musical analysis methods, three symphonic metal songs will be deconstructed and similar symphonic metal approaches will be considered to show methods of combining the orchestra with the metal band and so determine the function of the orchestra. Nightwish, Within Temptation Epica have been chosen due to the survey results detailing fans' responses when asked their opinions of what the most representative symphonic metal bands were.

The songs Hand of Sorrow by Within Temptation, Ghost Love Score by Nightwish and Death of a Dream by Epica will be analysed to determine the way the orchestra interacts with the metal band. These songs have been chosen because they present a variety of song structures and approaches to orchestral material. They are also good examples of symphonic metal music according to their utilisation of the genre and their song length provides an abundance of material to deconstruct in the attempt to ascertain symphonic metal idioms.

Analysis method

To determine the function of the orchestra in symphonic metal, the chosen songs will be analysed and compared to each other and comparisons will be made between them to show similar ways in which the combination of orchestra and metal band has been approached. Each song will be broken down into major sections and representations of these sections as well as their subsections will be presented. Major sections will be referred to with numbers such as "section 1" whereas subsections will be referred to with an "M", a number and a letter where the "M" refers to musical material, the number refers to which piece of musical material the subsection utilises, numbered in chronological order, and the letter denotes variations of each of these musical materials. An absence of a letter marking a subsection indicates that the subsection is identical in each of its appearances. Each song will be analysed from beginning to end in order of sections and subsections and each will be deconstructed to explain instrumental usage

12

and function with particular focus on the interaction between the metal band and the orchestra as well as choir where necessary. Elements such as instrumentation, texture,

dynamics, harmony, melody and rhythm will be considered during the analysis. Original transcriptions of song excerpts will be provided where relevant to visually represent this interaction. By comparing the results of these analyses between songs, patterns can be drawn to show the general function of the orchestra in symphonic metal.

Case Study 1: Nightwish: Ghost Love Score

One of the foremost bands of the symphonic metal genre is Nightwish. This is evidenced by the results of the forum question results as given in appendix 2B which show that Nightwish was regarded as one of the most-mentioned bands by metal fans. The song Ghost Love Score is one of the last tracks on the 2004 album Once, Nightwish's last album to feature their iconic singer Tarja Turunen and orchestrations for this album were created by Pip Williams.

Lasting ten minutes, Ghost Love Score is the longest song on Once. The music serves to

emphasise the effect of the sorrowful lyrics (contained in Appendix 4A), remaining mainly within minor keys, powerful emotion being communicated through the metal band and orchestra. The word score in the song title alludes to film score and its composer Tuomas Holopainen, inspired by composers such as Hans Zimmer, describes himself as having aspirations of writing film music (Kersantti, 2012). A film music sound is evident in this song which features the orchestra and choir, and a great deal of material is given to the strings as is often the case with orchestral and film music. The metal instruments provide power and drive behind the orchestra and choir, creating a dramatic synthesis of symphonic and metal elements.

Ghost Love Score consists of five major sections as shown in appendix 3A. Each has a different character, distinguishing each section, and the function of the orchestra in each, as it interacts with the metal band, will be analysed.

Section 1

Figure 4 - Structure of Ghost Love Score section 1 structural diagram

The first section in Ghost Love Scorethe main focus of the music while the orchestra plays a supporting role. During the first

half of the section, M1a, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern supported by countermelodies from the orchestra.

The song opens with a characteristic motif characte

sung by the choir in the M1a subsection.

Figure 5 - Ghost Love Score "M1a" excerpt transcription

tructure of Ghost Love Score section 1 structural diagram

Ghost Love Score is characterised by the choir and drums presenting the main focus of the music while the orchestra plays a supporting role. During the first

, M1a, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern supported by countermelodies from the orchestra.

The song opens with a characteristic motif characterised by a pattern of short "ah" notes sung by the choir in the M1a subsection.

Ghost Love Score "M1a" excerpt transcription

13

is characterised by the choir and drums presenting the main focus of the music while the orchestra plays a supporting role. During the first

, M1a, only the drums are used for rhythmic support however in the second half, "M1b", the guitars enter and powerfully play a repeating rhythmic pattern

rised by a pattern of short "ah" notes

14

The choir, doubled by the xylophone, sings on the first three beats of the choir while the drums rhythmically support the choir by playing in the subdivisions of the beat for first two beats of each bar. The strings sustain chords underneath the choir until they play a countermelody instead after sixteen bars. The timpani are used for emphasis at the end of each four-bar phrase. The trumpets are introduced after eight bars, doubling the choir's short notes and occasionally playing countermelodies at the end of bars, continuing this function when the strings begin to play a countermelody. In this subsection, the focus of the music is provided by the choir, and the orchestra functions to support this by doubling the choir and offering countermelodies to it as well as sustaining chords. The drums are the sole metal instrument, driving the beat which would be otherwise weak.

Further rhythmic support is introduced by the electric and bass guitars in "M1b", the second half of section 1. At this point, the choir begins to sing long, sustained notes in the same harmonic pattern as "M1a". The choir at this point sings in a lower octave and at a quieter dynamic level, allowing the metal band to be the focus of the music, the electric guitar being the most prominent instrument, playing the bass notes with the bass guitar whist being rhythmically supported by the drums playing the same rhythm. Below is a transcription of the first four bars of this subsection.

15

Figure 6 - Ghost Love Score "M1b" excerpt transcription

The strings once again take on a supporting harmonic role as in the first sixteen bars of "M1a", however the double bass doubles the guitars. The trumpets are also included in this subsection, beginning with the long notes of the guitar, playing the same chords as the choir in the second bar. The trumpets also play chords both against and with the guitars, alternately sustaining notes while the guitars play shorter rhythms and following the rhythm of the metal band. This functions as a countermelody to the metal band and adds to the texture.

After the first eight bars of "M1b", the intensity of the music is heightened with a sudden modulation and the addition of a melody played by the high strings and piccolo and a countermelody played by the horns. The texture and instrumental functions from the previous eight bars are continued in the new key.

This shows one way the orchestra can fill out the texture of the metal band. The double basses can function to fill the texture of the guitars by doubling their notes while the trumpets can provide countermelody to the metal band and orchestra. As demonstrated, the metal band is effective in its interaction with the orchestra by providing a powerful rhythmic and bass backing with which the strings and choir can provide harmony. Over

this, a melody in the high-pitched instruments of the oinstance provided by the high strings and piccolo.

Section 2

Figure 7 - Ghost Love Score section 2 structural diagram

The second section of the song introduces the soprano and alternates between liheavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal band and choir.

The "M2a" subsection opens with aa turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while harmony is provided by the keyboard using a synth pad. the bass guitar playing quavers with a repeating longexample of a place in a symphonic metal song

The "M3a" subsection presents a contrast to "M2a" and the follsubsections, the electric guitar reaccompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustainedchords and the vocalist sings a drawn

pitched instruments of the orchestra can be played, in this instance provided by the high strings and piccolo.

Ghost Love Score section 2 structural diagram

The second section of the song introduces the soprano and alternates between liheavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal

The "M2a" subsection opens with an open fifth power chord from the electric guitar and a turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while harmony is provided by the keyboard using a synth pad. The soprano is accompanied by

quavers with a repeating long-short articulation. This is an

example of a place in a symphonic metal song where the band alone is featured.

The "M3a" subsection presents a contrast to "M2a" and the following "M2b" subsections, the electric guitar re-entering and playing a complementary rhythm to accompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustainedchords and the vocalist sings a drawn-out countermelody. This is transcribed below.

16

rchestra can be played, in this

The second section of the song introduces the soprano and alternates between light and heavy subsections, the latter featuring the choir. Orchestral instruments are only used sparingly and for embellishment in this section which otherwise belongs to the metal

rom the electric guitar and a turn followed by a diminishing note from the oboe. The drums play a simple rock beat through this relatively quiet subsection, the soprano entering in the fifth bar while

is accompanied by short articulation. This is an

where the band alone is featured.

owing "M2b" entering and playing a complementary rhythm to

accompany the choir who sing a repeating rhythmic pattern. The electric and bass guitars and drums play a unified rhythm while the keyboard synth plays sustained

out countermelody. This is transcribed below.

17


In "M3a", the choir, at the forefront of the music, is supported harmonically by the guitars playing the bass notes of the keyboard synth chords and rhythmically by the guitars and drums playing semiquavers during their rests. The guitar emphasises the choir's notes by palm-muting its semiquavers and playing more powerful sustained open fifths with the choir's rhythm and the kick drums support the guitars' rhythm. This characteristic subsection demonstrates the way the metal band rhythmically supports a choir motif, aiding and emphasising its effect.

The following subsection, "M2b", is very similar to "M2a", however the oboe plays a countermelody to the soprano. This slight variation on "M2a" shows the way an orchestral instrument can be used for alternate accompaniment to a more sensitive context of the metal band. Following this subsection is "M3b" which echoes "M3a" however its texture is again altered from its previous counterpart. This time, the beginning of the subsection is preceded by a roll on the timpani that introduces tension before the change of texture. Additionally, the high strings play a countermelody to the choir and to the soprano when she sings the coda for the subsection that leads into section 3.

Section 3 demonstrates the way a symphonic metal singer can be alternately accompanied both sensitively and powerfully by the metal band. She sings a sustained line while the choir sings short rhythmic patterns supported by the metal band and the orchestral instruments accompany the soprano with sustained countermelodies.

Section 3


This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in intensity with each subsection, the final one featuring the gui

"M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choirsynth pad from the keyboard playing chords, the double bassesof these chords and a pianissimo this subsection, the only band instrument to play is the keyboard and it is supported minimally by the orchestra.

This texture continues into

countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous subsection cease. The keyboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody to the soprano. This demonfunctioning to provide embellishment to the metal band in a sensitive context.

The guitar solo of "M4d" is accompanied a little more energetically by the bass guitar, drums and keyboard synth. Howev

re section 3 structural diagram

This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in intensity with each subsection, the final one featuring the guitar solo for this song.

"M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choirsynth pad from the keyboard playing chords, the double basses playing the lowest notes

pianissimo tremolo in the high range of the violins to emerge. In

this subsection, the only band instrument to play is the keyboard and it is supported minimally by the orchestra.

This texture continues into the next subsection, "M4b", with the violins playing a soft countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous

yboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody to the soprano. This demonstrates the use of small number of orchestral instruments functioning to provide embellishment to the metal band in a sensitive context.

The guitar solo of "M4d" is accompanied a little more energetically by the bass guitar, drums and keyboard synth. However the orchestra does not feature at all in this

18

This section features the soprano with light accompaniment from the band, the orchestral contributions limited to subtle, supporting roles. The section grows in

tar solo for this song.

"M4a" acts as a bridge from the powerful end of the previous "M3b" subsection to the sensitive "M4b", a guitar power chord fading out to leave room for a soft, choir-like

playing the lowest notes

tremolo in the high range of the violins to emerge. In

this subsection, the only band instrument to play is the keyboard and it is supported

the next subsection, "M4b", with the violins playing a soft countermelody to the soprano in their high range. "M4c" reintroduces the drums and bass guitar, the keyboardist now playing broken chords, as the strings from the previous

yboard synth continues as the soprano sings over the drums playing a simple pattern and the bass guitar holds one note for most of the duration of each chord. Midway through "M4c", the cellos begin a soft, ascending countermelody

strates the use of small number of orchestral instruments functioning to provide embellishment to the metal band in a sensitive context.

The guitar solo of "M4d" is accompanied a little more energetically by the bass guitar, er the orchestra does not feature at all in this

subsection and this allows it to be more effective in the orchestral section 4, which continues from the end of the guitar solo of "M4d".

The orchestra functions in section 3 to outline the bass in the softprovide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the following section.

Section 4


This climactic section is the longest in

than any other part of the song. It begins very softly with an orchestraand builds to a powerful climactic section that continues into section 5. The metal band provides power and drive to an orchestra

Tension is gradually built from a very low level in "M5a" until "M5b". Being a completely orchestral section, "M5a" features a gradual low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo are used to play short fragments of the motif belowsubsections marked above.

Figure 11 - Ghost Love Score "M5" melody transcription

subsection and this allows it to be more effective in the orchestral section 4, which continues from the end of the guitar solo of "M4d".

The orchestra functions in section 3 to outline the bass in the soft accompaniment and provide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the


This climactic section is the longest in Ghost Love Score and utilises the orchestra more than any other part of the song. It begins very softly with an orchestra-only interlude

imactic section that continues into section 5. The metal band provides power and drive to an orchestra-focused section.

Tension is gradually built from a very low level in "M5a" until "M5b". Being a completely orchestral section, "M5a" features a gradual ascent in the strings from their low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo are used to play short fragments of the motif below that forms the basis of the "M5"

Ghost Love Score "M5" melody transcription

19

subsection and this allows it to be more effective in the orchestral section 4, which

accompaniment and provide a countermelody to the soprano in the top register. An additional countermelody is provided by the cellos before the guitar solo which provides a contrast before the

and utilises the orchestra more only interlude

imactic section that continues into section 5. The metal band

Tension is gradually built from a very low level in "M5a" until "M5b". Being a ascent in the strings from their

low to high ranges during the subsection, always playing sustained notes. Various orchestral instruments such as the double bass, clarinet, oboe, bassoon, horn and piccolo

that forms the basis of the "M5"

The harp plays occasional arpeggios near the beginning of the subsection while chords from the strings are accompa

some places towards the end of the subsection for an emotional effect.

"M5a" is a sensitive, tensionband. This demonstrates the way the orchwhere the powerful metal instruments are silent.

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly effective after the building up of tension in the previous subsection.orchestra at the forefront of the music, backed up by the metal band.

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpaniguitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the metal band, low strings and timpani. Below is a transcription of the first"M5b".

Figure 12 - Ghost Love Score "M5b" excerpt transcription

The harp plays occasional arpeggios near the beginning of the subsection while chords from the strings are accompanied by sustained notes without lyrics from the choir in some places towards the end of the subsection for an emotional effect.

"M5a" is a sensitive, tension-building subsection unmarked by transients from the metal band. This demonstrates the way the orchestra can be used very effectively in a section where the powerful metal instruments are silent.

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly effective after the building up of tension in the previous subsection. "M5b" features the orchestra at the forefront of the music, backed up by the metal band.

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpaniguitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the metal band, low strings and timpani. Below is a transcription of the first

Ghost Love Score "M5b" excerpt transcription

20

The harp plays occasional arpeggios near the beginning of the subsection while chords nied by sustained notes without lyrics from the choir in

building subsection unmarked by transients from the metal estra can be used very effectively in a section

"M5b" contains the realisation of the motif from "M5a" at a high intensity, particularly "M5b" features the

The melody is played by the horns, doubled by the violins, flute, piccolo and xylophone in higher octaves. Rhythmically doubled by the drums, the low strings, timpani and guitars provide bass notes intermittently, emphasising the beat. The trumpets emphasise the chords with triads near the ends of bars, often echoing the supporting rhythm of the

four bars of

21

In this passage, the orchestra functions as the main element of the music, providing melody while the metal band interjects powerfully with the bass notes in contrasting rhythm and articulation to the melody.

"M5c" utilises a similar VI-VII-i chord progression to "M5b", outlined by the electric and bass guitars, and the soprano sings a melody that echoes that of the previous subsection. Sustained chords are provided by the keyboard synth with the low strings strengthening the bass at a low dynamic. The metal band, however, is at the forefront of the music, the electric guitar playing powerful sustained bass notes supporting the soprano. The metal band plays in unison apart from the guitar's semiquavers, emphasising the beat. The transcription of the first four bars of this subsection shows the way the limited number of orchestral instruments are used in this subsection to add embellishment in a subsection otherwise dominated by the metal band.

Figure 13 - Ghost Love Score "M5c" excerpt transcription

"M6a" features the violins playing an ostinato alone with short notes on the beat from the other strings before an interjection from the metal band, brass and timpani at the end of the first and second bars. At this point the choir sings lyrics in a repeating rhythmic pattern that is supported by the trumpets, timpani, drums, electric and bass guitars and strings while the string ostinato continues and a countermelody is played by the horns.

22

The rhythmic forces of the instruments playing the pattern supporting the choir combine powerfully and an excerpt of "M6a" is transcribed below.


This climactic section demonstrates the way orchestral and metal forces combined with a unified rhythm can create a very powerful unison effect.

"M6b" returns to the band and the soprano being the main focus of the music. The guitars dominate the accompaniment in the low range, playing palm-muted notes on every quaver subdivision of the beat apart from the last two quavers of the bar and the first of the next, reusing the rhythm of the band interjections from the previous subsection. These interjections are doubled by the trombones and tuba, the low brass embellishing the metal band's sound to enhance the ominous tone. In this section, the orchestra functions to support and aid the metal band by playing in unison with it during emphasised subdivisions of the beat.

"M7" acts as relief from the intensity of the previous four subsections while continuing their momentum. Various orchestral instruments take a motif through a number of

23

phrases of the same musical material while accompanied by the electric and bass guitars and drums. In this subsection, a somewhat similar texture to "M5c" is presented in the metal band with the electric guitar sustaining bass notes while the bass guitar quavers or crotchets followed by quavers and the drums mostly play a simple pattern. During the subsection, the orchestral instruments play melodic material at a mezzo-forte dynamic in pairs, starting with the bassoon and oboe and octave apart, then the piccolo and harp in unison, clarinet and harp an octave apart, the bassoon and oboe again and finally the piccolo and harp. Harmonic support is provided by the strings playing triads.

Figure 15 - Ghost Love Score "M7" excerpt transcription

In this subsection, the orchestra functions to provide the main melodic interest while the metal band supports the orchestra with rhythmic drive and provides the bass line. The orchestral focus also acts as a reprieve from the heaviness of the music before moving into the next heavy section.

"M5d" returns to the melody of "M5b" with slight variation, this subsection being much heavier in comparison. For the first half of the subsection, the melody is played prominently by the combination of trumpets with xylophone and horns with xylophone, alternating each bar for the first phrase while accompanied by a countermelody in the high strings. The low strings and guitars provide the bass and the timpani plays an

anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally anticipates the beat with semiquavers as shown in the

Figure 16 - Ghost Love Score "M5d" excerpt transcription

After the first four-bar phrase, the strings play the melody and the trumpets provide a countermelody with triads while the metal instruments retain a similar texture. In this subsection, the metal band instruments play differing rhythms, the guitars playing the bass notes and the drums playing a repeating onemelody played by the orchestra, the metal band providing power and drive.

Section 5


anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally cipates the beat with semiquavers as shown in the transcription below.

Ghost Love Score "M5d" excerpt transcription

bar phrase, the strings play the melody and the trumpets provide a with triads while the metal instruments retain a similar texture. In this

subsection, the metal band instruments play differing rhythms, the guitars playing the bass notes and the drums playing a repeating one-bar pattern. This underlines the

d by the orchestra, the metal band providing power and drive.


24

anacrusis to each bar. The electric guitar plays mostly sustained notes but occasionally below.

bar phrase, the strings play the melody and the trumpets provide a with triads while the metal instruments retain a similar texture. In this

subsection, the metal band instruments play differing rhythms, the guitars playing the bar pattern. This underlines the

d by the orchestra, the metal band providing power and drive.

25

Section 5 consists of a reimagining of the song's opening gesture and ends the song with a repeating phrase similar to "M3a" and "M3b". The metal band powerfully drives the rhythm and bass while the orchestra functions as embellishment to the choir.

"M1c" features the choir singing short ah notes similarly to M1a of section 1.

However it is supported rhythmically by the guitars and drums and its orchestral accompaniment differs from its original appearance. The high strings play staccato notes with the choirs melody but also play during the choirs rests. The choir is again doubled by the xylophone and the timpani plays at the beginning of both phrases in this subsection. The bass is played by the low strings and the more powerful guitars. A short countermelody is played by the trumpets and horns halfway through this subsection before the trumpets double the strings' countermelody. The function of the orchestra in this subsection is to support and provide countermelody to the choir and thicken the texture provided by the metal band.

"M1d" returns to using the band to convey all of the music and the soprano sings the melody previously presented by the choir, her voice layered over itself in triads. The keyboard synth supplies harmony and bass is played by the guitars.

Figure 18 - Ghost Love Score "M1d" excerpt transcription

The absence of the orchestra in this subsection makes it more effective in the following "M3c" subsection which ends the song.

The texture of "M3c" closely resembles the "M3a" and "M3b" subsections from section 2, however it is presented in F minor instead of the original B flat minor and the choir sings on different scale degrees. The texture of the metal band remains the same as the subsection's counterparts from section 2. After the first eight bars, the orchestra enters,

26

the cellos playing a countermelody to the choir and the high strings playing a gradually ascending countermelody for the next eight bars. Following this, the orchestra plays a repeating eight-bar countermelody to the choir that slowly fades to silence.

In this section, the orchestra functions to provide extra breadth to the music by providing countermelody to the choir, which is the focus of the music. The metal instruments play the bass notes and provide rhythmic support to the choir while the soprano sings a sustained countermelody.

Summary of Orchestral Function in Ghost Love Score

This analysis of Ghost Love Score has identified a number of recurring ways in which the orchestra and choir can be combined with the metal band. The choir was featured very prominently in the song, taking the focus of the music on a number of occasions such as "M1a", "M3a", "M3b" and "M3c". The choir's usage was marked by rhythmic sequences of short notes and the choir did not sing sustained notes or phrases as the soprano did.

The strings were used in a number of versatile ways. One of these was to provide harmony through sustaining chords, such as in "M1a", or the bass notes, such as in "M4b". The "M5a" subsection featured the strings playing chords over a G pedal in the basses, the chords played by the rest of the strings gradually rising and increasing tension as a sustained countermelody to the numerous short motifs provided by the other orchestral instruments in the "M5a" subsection. This subsection was not the only place where the strings provided countermelody - the strings performed this function in numerous places in the song. Among these were "M1a" "M1b", "M3b", "M4b", "M5d", "M1c" and "M3c". Additionally, a string ostinato in "M6a" performed a similar function to a countermelody as the choir and metal band joined to perform the main focus of the music. Most countermelodies in the strings section were performed by the violins in the high register however an alternate example is the cello countermelody present near the end of the "M4c" subsection. This information suggests that providing countermelody can be a major function of the strings section in symphonic metal. The strings were also used to provide melodies as the main focus of the music such as at "M5b" and they also supported the choirs at "M1c".

27

The brass section often functioned to provide support for other elements of the music, such as the trumpet briefly playing countermelody and chords with the choir's rhythm at "M1a". The trumpets at "M1b" joined the guitar's notes, giving a fanfare-like impression. At "M5b" the trumpets supported the strings at the high points of phrases while the horns doubled the strings. The horns played distinctive fifth leaps at "M6a" prior to the choir's ascending and descending motif, providing ornamentation. The trumpets and horns played melodic phrases in the first half "M5d" in a call and response fashion before the trumpets served to support the strings in the second half of that subsection. This shows that the brass functioned to support intense and climactic moments of the music.

The woodwind section was used more sparingly, generally only being used in quieter moments. One of these was "M2b" where the oboe provided a soft countermelody against the soprano. During the "M5a" orchestral subsection, short phrases were offered by the flute, clarinet, oboe and piccolo. The woodwinds were used to play most of the melodies in "M7", featuring the oboe, bassoon, piccolo and clarinet. This indicates that the woodwinds section functions mainly melodically, featuring solo instruments.

The harp also quietly doubled some of the woodwind solos of "M7", however it was also used near the beginning of "M5a", playing arpeggios for the remainder of that subsection. Lastly, the harp played a downward glissando at the end of the soprano's last phrase of "M3c" however this was buried under the metal texture. From this it appears that the harp can be effective when playing arpeggios during quiet orchestral sections.

The orchestral percussion section was also present in this song, the hand bells being used for a single, soft chime near the beginning of "M5a", the castanets playing a tremolo twice during "M5c" at the end of the soprano's phrases. The timpani were used for the emphasis of some transients in the song and were also used to aid crescendos with rolls.

Throughout the song, the metal band functioned mostly as rhythmic support, although much harmonic support was provided through chords played by the keyboard synth. The electric guitar played powerful bass notes mostly in combination with the bass guitar such as at "M5c", "M6b" and "M7". The guitar supported the choir by playing sustained open fifths with the choir's rhythms in "M3a" and "M3b" and at "M6a" it also

28

supported the choir's fast figures. The electric guitar was used as a solo instrument during "M4d" but for most of the song it served as a powerful driver of rhythm.

The bass guitar was occasionally used without the electric guitar at quieter moments of the song such as "M2a", "M2b" and "M4c". When combined with the electric guitar, the bass guitar was far less audible.

The drums functioned to provide rhythmic support throughout apart from during orchestral sections. Often the drums and guitars played rhythms in unison such as at "M1b", "M3a" and "M3b" and "M3c". The drums supported the orchestra, choir and drums at "M1c" where these instruments played in rhythmic unison.

Ghost Love Score employed the orchestra very effectively, utilising many of its possibilities and instrumental families. The strings were featured the most prominently of all instrumental sections, mostly to provide countermelodies, although the choir was highlighted in several places and sang as the focus of the music at those points. Brass were used for emphasis of loud and climactic points, as were the percussion, while woodwinds were used sparingly as solo instruments. Against the power and drive of the metal band, the orchestra and choir increased the dramatic possibilities of the music and demonstrated the potential of their usage in the context of symphonic metal.

Case Study 2: Within Temptation: The Truth Beneath The Rose

Within Temptation is one of the most popular bands of the symphonic metal genre and was mentioned the most by fans when asked which bands they thought were most representative of the genre. The song to be analysed, The Truth Beneath the Rose, is one of the tracks from the 2007 album The Heart of Everything, which topped a number of charts worldwide (Hung, 2013). The song, according to Within Temptation guitarist and male vocalist Robert Westerholt, is "based on 'The Da Vinci Code' and is about the idea that belief is sometimes used to justify sins" (Deming, 2013). Orchestral and choral elements play an important role in the song, giving it an air of solemnity and importance.

The Truth Beneath the Rose can be divided into three major sections as shown in appendix 3B. The outline of the song's sections as shown in appendix 3B also marks

29

some places with light grey arches where subsections can be grouped together similarly in terms of style. The sections and their subsections will now be analysed in detail.

Section 1

Figure 19 - The Truth Beneath the Rose section 1 structural diagram

The first section of The Truth Beneath the Rose introduces much of the song's musical material, opening with the orchestra and choir alone. Symphonic elements are used in important points of the song and the metal instruments tend to provide support in these parts, being more prominent during verses.

The Truth Beneath the Rose opens with an orchestral section marked above as "M1a". This introduces musical material that is used throughout the song and appears in numerous forms.

Lasting sixteen bars, the material in this subsection is played mainly by the strings sustaining long notes at a mezzo-forte dynamic. At the beginning of each four-bar phrase, the tubular bells play an E flat, the tonic note of the song, presenting a sombre feeling. The third four-bar phrase begins with a note from the tam-tam and the choir sustains soft chords with the strings for the phrase's first three bars, giving an aura of solemnity. The soprano joins the strings as shown below in the fourth four-bar phrase leading into the second subsection. The orchestra here introduces material for the rest of the song, played mainly by the strings but also partially accompanied by the percussion, choir and soprano.

Figure 20 - The Truth Beneath the Rose "M1a" excerpt transcription

The second subsection of section 1, marked as "M1b", expands on the mopening at a much more intense dynamic. Here, the choir sings a characteristic ascending three-note motif at the start of the first three bars of both of the fourphrases in this subsection. The strings accompany the choir however theysimilar pattern throughout the rest of each bar, playing an alternate motif in the fourth bar of each phrase.

Figure 21 - The Truth Beneath the Rose "M1b" excerpt transcription

In the second four-bar phrase, a shorthe second half of the second bar to the beginning of the fourth bar in phrase. The four short notes played by the strings in the last bar of that phrase leading into the next

The Truth Beneath the Rose "M1a" excerpt transcription

The second subsection of section 1, marked as "M1b", expands on the mopening at a much more intense dynamic. Here, the choir sings a characteristic

note motif at the start of the first three bars of both of the fourphrases in this subsection. The strings accompany the choir however theysimilar pattern throughout the rest of each bar, playing an alternate motif in the fourth

The Truth Beneath the Rose "M1b" excerpt transcription

bar phrase, a short countermelody is played by the French Horn in the second half of the second bar to the beginning of the fourth bar in phrase. The four short notes played by the strings in the last bar of that phrase leading into the next

30

The second subsection of section 1, marked as "M1b", expands on the material from the opening at a much more intense dynamic. Here, the choir sings a characteristic

note motif at the start of the first three bars of both of the four-bar phrases in this subsection. The strings accompany the choir however they continue in a similar pattern throughout the rest of each bar, playing an alternate motif in the fourth

t countermelody is played by the French Horn in the second half of the second bar to the beginning of the fourth bar in phrase. The four short notes played by the strings in the last bar of that phrase leading into the next

31

subsection are accompanied by the trumpets and trombones for emphasis. In this subsection the metal instruments are used for rhythmic support and for the bass element of the harmony. The guitars play mostly short, palm-muted notes along with the short articulations in all other instruments apart from the sustained horn countermelody. This shows that the orchestra and choir function in this section to provide the main musical focus while the metal instruments function as rhythmic support, providing drive. The rhythmic unison of the high strings and metal band demonstrates the way the instruments can complement each other and produce a powerful effect.

The section marked "M2a" begins with a sustained E flat power chord from the guitars and three chords from the piano on each beat beginning on the second beat of the bar. At this point the first verse of the song is sung by the soprano. The dynamic level is brought down significantly from the previous subsection. The electric guitar rests while the bass guitar softly plays the bass line and the drums play minimally. The strings softly play chordal notes in the background as shown below.


Following this, the soprano sings the lyrics in a higher register, now accompanied by the electric guitar alternately playing palm-muted and sustained notes, however chordal notes are sustained by the choir. In this subsection, the choir and orchestra provide a subtle, sustained background while allowing the metal instruments to take on the bass and rhythmic roles.

In the next subsection, marked "M3a", the guitar and bass guitar play quavers accompanied by the drums while the soprano sings with a trumpet countermelody that begins in the subsection's third bar.

32


The trumpets also crescendo on sustained notes during the last two bars of the subsection. Three staccato string notes played by the strings as in "M1b", accompanied by a drum fill, lead into the next subsection. In this subsection, the trumpets function to provide support to the soprano via a countermelody and a swell at the end of the phrase.

The "M4" subsection is the chorus of the song, "M3a" being the bridge. This subsection utilises the choir for harmonic support and the strings for countermelody against the soprano. The drums play a rhythm that outlines the compound time signature and the electric guitar plays a pattern of three repeated palm-muted notes in its low register followed by three sustained descending notes in the register an octave higher. The transcription below shows the most audible elements of each instrument and voice in the song.

Figure 24 - The Truth Beneath the Rose "M4" exce

It can be noted that the strings are placed in octaves with the highest notes being above the soprano. The choir is more subtle than the strings and although it has a lessinfluence, it has the effect of adding depth to the song'sthe chorus, the song moves into section 2 for the second verse.

The Truth Beneath the Rose "M4" excerpt transcription

It can be noted that the strings are placed in octaves with the highest notes being above the soprano. The choir is more subtle than the strings and although it has a lessinfluence, it has the effect of adding depth to the song's overall timbre. With the end of the chorus, the song moves into section 2 for the second verse.

33

It can be noted that the strings are placed in octaves with the highest notes being above the soprano. The choir is more subtle than the strings and although it has a less audible

overall timbre. With the end of

34

Section 2


The second major section of The Truth Beneath the Rose begins with the song's second verse, presented very similarly but not identically to the first, and finishes with the final two verses presented with accompanying material that does not appear elsewhere in the song.

The powerful "M1c" subsection opening section 2 is very similar to "M1b" from section 1. It only difference is the addition of the choir basses singing audible vowels as shown below.

Figure 26 - The Truth Beneath the Rose "M1c" excerpt transcription

This adds interest to the subsection and the timbre of the basses gives this subsection a sombre mood.

35

The "M2b" subsection contains the second verse of the song. The beginning of the subsection provides immediate contrast as the soprano is accompanied by only by chords from the strings. However this is followed by the reintroduction of the metal band. Here, the electric guitar rhythm is characterised by three short quavers preceding the beginning of a bar followed by a sustained note on the downbeat. The drums play a compound-time pattern and the strings hold sustained chords.

Figure 27 - The Truth Beneath the Rose "M2b" excerpt transcription

The rest of this subsection corresponds similarly to the "M2b" subsection although its lyrics differ. Orchestral function in this subsection is to support the soprano harmonically while leaving rhythmic function to the metal band.

The "M3b" and "M4" subsections in this second verse are almost identical to their section 1 counterparts however the "M3b" bridge features the vocalist singing "forgive me my sins" in octaves at a reduced volume instead of the strings playing three staccato ascending notes. The presentation of the chorus, "M4", is no different to its appearance in section 1.

The third verse is sung in the "M5" subsection, lasting sixteen bars and characterised by the syncopated guitar rhythm of six crotchet notes against the compound time signature supported by the drums. The soprano is accompanied by the choir, which again sings sustained notes and supports the harmony while the electric and bass guitars provide the

36

bass notes. The strings play staccato quavers along with the electric guitar in patterns of three ascending notes, reminiscent of the "M1b" and "M1c" subsections.

Figure 28 - The Truth Beneath the Rose "M5" excerpt transcription

The trumpets accompany the strings near the end of the first eight-bar phrase with staccato chords while the choir takes on this role near the end of the subsection. "M5" continues the pattern of the orchestra and choir playing a supporting role to the vocalist by providing countermelody and harmonic support, respectively. The metal band continues to provide rhythmic drive, the guitars playing the bass notes. The choir's notes near the end of this section are reminiscent of the "M1b" and "M1c" sections with a similar rhythm of crotchets against the compound rhythm.

Section 2 ends with the "M6" subsection, the fourth verse featuring a scaling back of intensity. Consisting of two eight-bar phrases, "M6" opens with a sustained chord from the electric guitar with piano notes on the next three notes as in the beginning of "M2a" of section 1. The texture that follows is unique as the metal instruments are absent and the harp outlines the harmony with arpeggios while the choir sustains chords.

37


The cellos play the bass notes at a low volume while the rest of the strings enter only in the second phrase at the end of the third bar with a countermelody. A soft bass drum hit marks the beginning of the second phrase. The orchestra is prominent in this subsection, functioning as the foundation of the music for the soprano to sing the verse.

Section 3


Section 3 ends the song, recapping some of the earlier material before a section with Latin lyrics sung by the choir and an orchestral subsection as the coda, which mirrors the opening subsection.

"M1d", opening the final major section, features the same choir motif as in "M1b" and "M1c". However this occurrence is the most powerful as the guitars and drums mirror

38

the choir's signature three-crotchet rhythm for the beginnings of the first three bars of this eight-bar subsection. On the fourth beats of these bars the guitar "falls" from the note an octave above its previous note towards its next note on the downbeat. The guitar plays a brief solo from the fourth to the eighth bar of the "M1d" subsection, the accompaniment of this subsection remaining the same as the "M1b" and "M1c" subsections but without the choir. The orchestra continues to play its countermelody for the remainder of this subsection.

Following the soprano singing "forgive me my sins" as at the end of "M3" in section 2, the "M4" chorus is sung again and is no different from its previous incarnations in sections 1 and 2. It is followed by "M1c" in the same pattern as the transition from the chorus in section 1 to the beginning of section 2.

The "M7" subsection begins the song's coda with material that is fairly dissimilar to what has come before. The main focus in this subsection is the male choir singing Latin lyrics in a repeated rhythmic pattern for seven bars before a climax. The guitars and drums drive the rhythm in this section with a repeating pattern. A constant countermelody is provided by the strings and doubled by the electric guitar. At the end of the fourth bar of this subsection, the strings play three crotchet notes before continuing their countermelody in the next bar an octave higher.


As can be seen from the above transcription, rhythmic drive is provided by telectric guitar, bass guitar and drums while the orchestra functions to provide an unrelenting countermelody, finally doubling the choir at the climax.

The final subsection, "M1e", mirrors the opening "M1a" subsection in terms of material, being completely orchestral, although there is no lowchords with the string melody. The tubular bells play E flat at the beginning of the first three four-bar phrases, the third of these phrases being extended to last eight bars b

The Truth Beneath the Rose "M7" excerpt transcription

As can be seen from the above transcription, rhythmic drive is provided by telectric guitar, bass guitar and drums while the orchestra functions to provide an unrelenting countermelody, finally doubling the choir at th

Documents

The Function of the Orchestra in Symphonic Metal Music (Honours Thesis)