DOCSLIB.ORG

THE DARK ETERNAL NIGHT As Recorded by Dream Theater (From the 2007 Album "Systematic Chaos")

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE DARK ETERNAL NIGHT As Recorded by Dream Theater (From the 2007 Album THE DARK ETERNAL NIGHT As recorded by Dream Theater (from the 2007 Album "Systematic Chaos") Transcribed by Anton Lidstrˆm Words by Dream Theater Music by Dream Theater A Intro All guitars are 7-string in standard tuning (e B G D A E B). Moderate Metal P = 111 Gtr. IV is Keys / Organ arranged for guitar. N.C. Gtr. V is Piano arranged for guitar. g 1 gg 4 k k k I 4 gV Vf V VgV V V V Vf V Vf V V V Vf V VgV f V V V V V V V V V V V V V V V V VgV V f V V Gtrs I, II (dist.) f P.M. P.M. P.M. P.M. T A 6 B 4 5 4 5 4 1 2 1 7 6 0 0 0 6 7 7 6 0 7 6 0 0 0 0 0 0 2 0 7 6 0 0 0 3 4 4 3 0 P H H P P P P H H P g 4 gg k k k I 3 3 V gV V f V V gV V V V V f V V f V V V gV f V V V V V V V V V V V V V V V V V V V V P.M. P.M. P.M. P.M. T A 6 5 6 B 4 5 4 5 4 4 3 0 0 0 0 0 0 0 7 6 0 0 0 6 7 7 6 0 7 6 0 0 0 0 0 0 2 0 P sl. P H H P P P g 7 gg k k k I 3 V f V V gV f V V f V V V f V V gV V V V V f V V V V V gV V f V V gV f V V V V V V V gV V V V V P.M. P.M. P.M. |||| P.M. T A B 1 2 1 7 5 4 5 4 7 6 0 0 0 3 4 4 3 0 4 3 0 0 0 0 6 0 0 4 7 6 0 0 0 6 7 7 6 0 P H H P P P P H H P Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ THE DARK ETERNAL NIGHT - Dream Theater Page 2 of 28 3 10 g g g k k 5 k V I gV 4 3 3 V gV Vf V V V Vf V VgV f V V V V V V V V V V V V VgV V f V V gVf V V V V V V V V V V V P.M. P.M. P.M. P.M. P.M. T A 6 7 6 5 6 B 5 4 1 2 1 7 6 0 0 0 0 0 0 2 0 7 6 0 0 0 3 4 4 3 0 4 3 0 0 0 0 0 0 0 0 0 0 P P P H H P P g 13 gg g 4 5 I 4 V V 4 V V V V V V V V V f V V V V V V V V f V V V V V V V V V V V V V V f V V V P.M. P.M. P.M. P.M. P.M. P.M. T A B 11 9 7 11 9 7 4 9 0 10 9 0 7 0 9 7 0 6 5 0 9 0 10 9 0 7 0 9 7 0 6 5 0 3 2 0 g 15 g g 4 I g 4 V V V V f V V V V V V V f V V V V f V V V V V V V V V f V V V V V V V V T A B 4 4 4 4 5 4 4 4 4 7 0 3 3 3 0 3 3 3 0 6 6 0 3 3 3 0 3 3 3 0 6 6 H H H H H H g 17 g 5 I g 8 f VgV f V f VgV f V f VgV V V V Vf VgVf V f VgV V V V Vf VgVf V VgV V f VgVf V V VgV V f VgVf V V V V P.M. T A B 1 2 1 1 2 1 4 5 4 4 5 4 3 4 4 3 4 3 0 3 4 4 3 4 3 0 6 7 7 6 7 6 0 6 7 7 6 7 6 0 B5 g 21 g g 4 9 j j j I g 4 8 V V V V f V V V V V V V f V V V V Vf V V V V V V V V Vf V V V V V V V V V T A B 4 4 4 4 5 4 4 4 4 7 2 0 3 3 3 0 3 3 3 0 6 6 0 3 3 3 0 3 3 3 0 6 6 0 H H H H H H Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ THE DARK ETERNAL NIGHT - Dream Theater Page 3 of 28 B Verse I Fb5F5 B5 N.C. Fb5F5 B5 N.C. Fb5F5 B5 N.C. g 24 gg 4 k k k I 4 Vf V Vf V Vf V Vf VgV V Vf VgV V Vf VgV Vf V V V V V V V V V VgV V V V V V V V V VgV V V V V V V V V V Gtr I Gtrs I, II P.M. P.M. P.M. P.M. P.M. P.M. T A 4 3 4 3 4 3 B 2 1 2 4 2 1 2 4 2 1 2 7 0 0 0 0 3 0 0 3 2 3 0 0 0 0 3 0 0 3 2 3 0 0 0 0 3 0 0 6 5 6 sl. H sl. H sl. H 1. 2. B5 N.C. Fb5 F5 B5 N.C. Fb5 F5 B5 27 g g k k k g V I V f V V f V 3 3 V V V V V f V gV V f V V V f V gV V V V V V V V V V V V V V V V V gV V V V V V V V P.M. P.M. P.M. P.M. |||| P.M. T A 6 4 3 4 3 5 B 4 2 4 2 1 2 7 5 2 1 2 3 0 0 0 0 3 0 0 3 2 3 0 0 0 6 0 0 4 0 0 0 0 0 0 0 H sl. P sl. sl. C Pre-Chorus I & II TN.C. g 30 g 5 I g V V 4 V V V V V V V V V V V V V V V V V V V V V gV f V V V V V V gV f V V f V V V P.M. P.M. P.M. P.M. P.M. P.M. T A 11 9 7 11 9 7 4 B 9 0 10 9 0 7 0 9 7 0 6 5 0 9 0 10 9 0 7 0 9 7 0 6 5 0 3 2 0 1. g 32 g 4 5 I g 4 4 V V f V V V gV V V f V V V gV V V V V V V V V V V V V V V V V V V V V V V V V T A 2 2 B 4 4 3 3 4 4 4 3 3 4 4 0 2 2 2 0 2 2 2 0 3 0 2 2 2 0 2 2 2 0 3 3 2 0 H H H H H H Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ THE DARK ETERNAL NIGHT - Dream Theater Page 4 of 28 2. to Coda g 34 g 6 I g 4 V V f V V V gV f V V V gV V V V V V V V V V V V V V V T A 2 2 B 4 4 3 3 4 3 3 4 0 2 2 2 0 2 2 2 0 2 2 2 0 3 H H H H D Chorus I B5 A5 E5 B5 A5 G5 c c 35 g g 4 V V V V V V V V V V V V V V V V V V V V V V V I 4 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V let ring let ring let ring let ring let ring let ring T (3) (3) 4 7 7 6 6 4 2 2 2 4 4 4 4 7 7 6 6 4 2 2 2 0 0 0 A 4 4 2 2 2 2 2 2 4 4 2 2 2 0 0 0 0 0 0 0 B 0 0 3 3 0 0 0 0 sl.
Load more

Recommended publications
  • 5713 Theme Ideas
    5713 THEME IDEAS & 1573 Bulldogs, no two are the same & counting 2B part of something > U & more 2 can play that game & then... 2 good 2 b 4 gotten ? 2 good 2 forget ! 2 in one + 2 sides, same story * 2 sides to every story “ 20/20 vision # 21 and counting / 21 and older > 21 and playing with a full deck ... 24/7 1 and 2 make 12 25 old, 25 new 1 in a crowd 25 years and still soaring 1+1=2 decades 25 years of magic 10 minutes makes a difference 2010verland 10 reasons why 2013 a week at a time 10 things I Hart 2013 and ticking 10 things we knew 2013 at a time 10 times better 2013 degrees and rising 10 times more 2013 horsepower 10 times the ________ 2013 memories 12 words 2013 pieces 15 seconds of fame 2013 possibilities 17 reasons to be a Warrior 2013 reasons to howl 18 and counting 2013 ways to be a Leopard 18 and older 2 million minutes 100 plus you 20 million thoughts 100 reasons to celebrate 3D 100 years and counting Third time’s a charm 100 years in the making 3 dimensional 100 years of Bulldogs 3 is a crowd 100 years to get it right 3 of a kind 100% Dodger 3 to 1 100% genuine 3’s company 100% natural 30 years of impossible things 101 and only 360° 140 traditions CXL 4 all it’s worth 150 years of tradition 4 all to see (176) days of La Quinta 4 the last time 176 days and counting 4 way stop 180 days, no two are the same 4ming 180 days to leave your mark 40 years of colorful memories 180° The big 4-0 1,000 strong and growing XL (40) 1 Herff Jones 5713 Theme Ideas 404,830 (seconds from start to A close look A little bit more finish) A closer look A little bit of everything (except 5-star A colorful life girls) 5 ways A Comet’s journey A little bit of Sol V (as in five) A common ground A little give and take 5.4.3.2.1.
    [Show full text]
  • Nightlife Albums
    THURSDAY, JULY 12, 2007 19 [email protected] comedy music film on line radio pop culture live downloads television DIVE DIVE DIVE: Sam Walsh, foreground, and Adam McKay nightlife captains of The Yellow Submarine. PICTURE: Bruce Mercer waikato Hannah Curwood and Simon Comber at La Commune. TONIGHT Ric Rush and Kellyn with a new The Big Pay Back at Sekure, with monthly event at The Loft Kellyn and Ric Rush. showcasing new and old house grooves, electro-funk and assorted Rubix Cuba (Australia), Dynamo beats. Go plus guests at Yellow Submarine (see main story). out of town TOMORROW (internationals) Evil, the new project from The 3Ds’ David Mitchell, at Ward SUNDAY Lane. Local support from Skelitor Bobby Brown, American R&B and Yokel Ono, door charge $15. singer, Energy Events Centre, Yellow Submarine Benefit Show Rotorua, tickets from Ticketek. (see main story). Kimbra solo acoustic show at La WEDNESDAY Commune. Regina Spektor, Russian-born Sophie serving up house classics, singer-songwriter, Bruce Mason rolling beats and funk at Sekure. Centre, Takapuna. Tickets from Ticketek. SATURDAY Unearth, Boston metalcore The Bleeders at Yellow Submarine exponents, The Studio. Tickets (see main story). from Ticketek. Paul Orion (Auckland) lashing Bobby Brown, TelstraClear Events out house, breaks and electro- Centre, Manukau. Tickets from styled tunes at Sekure. Ticket Direct. Email event info to [email protected] The submarine surfaces The Mole Music chaps are making a new stand for The Yellow Submarine. make it a nice environment to be in.” local music. “The scene relies on people coming to shows — even With a maximum capacity of more than 300 people Sam Walsh and Adam McKay, the 23-year-olds who when there is not 150 or 200 people there, even when — the bunker-like bar is deceptively large once you formed Hamilton’s fledgling Mole Music label, have it’s quite small,” says McKay.
    [Show full text]
  • 1 Introduction
    ICMR Inserm Development of Biomarkers for CVD & Diabetes 22-24 January 2007 INTRODUCTION In 2001, an NIH working group standardized the definition of a biomarker as "a characteristic that is objectively measured and evaluated as an indicator of normal biological processes, pathogenic processes, or pharmacologic responses to a therapeutic intervention" and defined types of biomarkers Our ability to study and treat diseases including diabetes, heart diseases, obesity and metabolic syndrome is hampered by a lack of unique, reliable, quantifiable, easily measured biomarkers that correlate well with disease progression. The clinical presentation of these chronic diseases is more often at a stage at which reversal or optimal control is very difficult. Compounding the problems in disease management is the non-availability of methods for monitoring disease progression or the efficacy of potential therapeutic interventions short of frank, clinically observable signs or symptoms. Similarly, clinical trials are especially difficult to design for chronic diseases. These trials for new therapies are often impractical or very expensive; since large numbers of patients must be followed for the long periods of time needed to achieve hard clinical endpoints such as non fatal MI or MI caused deaths. Therefore, robust biomarkers for cardiovascular diseases and diabetes need to be developed. These must be quantifiable and correlate well with clinical and biochemical measures of disease progression, and should be relatively inexpensive and noninvasive so that they can be measured serially over time. Efforts are also required to identify biomarkers which can reduce the need to achieve hard clinical endpoints in clinical trials, and would therefore help to lower the associated costs by reducing the number of patients needed and the time during which they are monitored.
    [Show full text]
  • Dream Theater – Dream Theater (2013) English Review
    Dream Theater – Dream Theater (2013) English Review dtnorway.com/2013/09/dream-theater-dream-theater-2013-english-review/ Les alle innlegg av Kim Arthur Sakariassen → Dream Theater – Dream Theater (2013) (Roadrunner Records) 1. False Awakening Suite – 2:42 1. Sleep Paralysis 2. Night Terrors 3. Lucid Dream 2. The Enemy Inside – 6:17 3. The Looking Glass – 4:53 4. Enigma Machine – 6:02 5. The Bigger Picture – 7:41 6. Behind the Veil – 6:53 7. Surrender to Reason – 6:35 8. Along for the Ride – 4:45 9. Illumination Theory – 22:18 1. Paradoxe de la Lumière Noire 2. Live, Die, Kill 3. The Embracing Circle 4. The Pursuit of Truth 5. Surrender, Trust & Passion «Dream Theater» by Dream Theater is the bands twelfth studio album, and it’s their fourth album with Roadrunner Records. Its release date is September 24. This is the second album recorded with Mike Mangini as the drummer in the band, however it is the first where Mangini participated in the writing process from day one. The album is the first self titled in it’s career, and us prog nerds just love some fun trivia; 20 years ago another famous prog band, Genesis, released their self titled album. It was that bands twelfth studio album. The album also contained 9 tracks. Obviously this is just pure coincidence, it’s just some fun trivia for you all. Now, there may be some questions as to why self titled this far into their career. When a band names an album after itself, it’s usually the album that introduces the band to the world, or an album that signifies a complete rebirth or re- imagining of what the band stands for.
    [Show full text]
  • I PRISM I PRISM I PRISM
    the 2021 PRISM LITERARY MAGAZINE OF THE UNIVERSITY OF LYNCHBURG PRISM i PRISM i Co-Editors: Anna-Catherine Kueng Nicole Tolley Editorial Staff: Jay Bilenski Maliyah Harris Mariah Molina Marley Peterson Maria Wright Faculty Advisor: Dr. Laura Long Special thanks to Professor Laura Marello, all English department faculty, English Department Chair Robin Bates, Associate Dean Cheryl Coleman, Ms. Julie Williams, Art department faculty, Professor Ursula Bryant and Provost Allison Jablonski. Front Cover: “When The Flowers Bloom” by Mariah Molina © 2021 University of Lynchburg First North American Serial Rights, after which rights revert to the author or artist. The views expressed herein are creative works by the authors and artists and do not necessarily reflect the views of the University of Lynchburg. Text: 10% and 30% post-consumer waste ii PRISM ii PRISM Table of Contents Poetry 6 Marissa Smith ..........................................................Wanna Dance? 7 Marissa Smith ......................................................Cosmic Thoughts 21 Elizabeth Roti ...............................................................Clandestine 23 Maliyah Harris ..................Part 1: Ode to a Brown Girls’ Resilience 25 Maliyah Harris ....................Part 2: Ode to a Dark Man’s Humanity 27 Claire King ..........................................................................Mirage 31 Nicole Tolley ..............................................................Honeysuckles 33 Evelyn Brunelle ..............................................................
    [Show full text]
  • A Blockbuster Year a Brave New World a Celebration of … a Century of Excellence a Certain Point of View a Change in Time A
    A blockbuster year A brave new world A celebration of … A century of excellence A certain point of view A change in time A change of face A change of pace A chip off the old block A class act A class worth waiting for A classic A closer look A colorful life A cut above A day in the life A delicate balance A different perspective A different point of view A dramatic comeback A face in the crowd A finer finish A first‐class label A fraction of time A full revolution A galaxy of possibilities A glance back A gold standard A good thing going A horse of a different color A journey through time A kinder word A knight to remember A language of our own A lasting glow A league of our own A little bit more A little left of center A little off center A little right of center A little rough around the edges A little too close to home A lot to remember A mark in time A matter of degrees A matter of time A matter of understanding A method to it all A method to the madness A must see A name you recognize A new beginning A new combination A new day and age A new direction A new generation A new horizon A new look A new perspective A new road A new twist A novel approach A novel idea A novel worth reading A novel you won’t put down A part of history A part of the action A part of the whole A parting glance A patchwork of success A paws in time A penny for your thoughts A perfect ten A phenomenal year A picture for every season A picture in time A picture is worth (yeardate) words A piece of the puzzle A place in our world A race against time A rare combination
    [Show full text]
  • Representations of Angelic Beings in Early Jewish and in Christian Traditions
    Wissenschaftliche Untersuchungen zum Neuen Testament · 2. Reihe Herausgeber / Editor Jörg Frey (Zürich) Mitherausgeber / Associate Editors Markus Bockmuehl (Oxford) · James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) · Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 544 Representations of Angelic Beings in Early Jewish and in Christian Traditions Edited by Amsalu Tefera and Loren T. Stuckenbruck Mohr Siebeck Amsalu Tefera, born 1975; BA Holy Trinity Theological College, Addis Ababa; MA and PhD Addis Ababa University; since 2011 Assistant Professor at Addis Ababa University; 2015–2018 Humboldt Scholar at Ludwig Maximilian University of Munich. Loren T. Stuckenbruck, born 1960; BA Milligan College; MDiv and PhD Princeton Theological Seminary; since 2012 Chair of New Testament Studies (with Emphasis on Ancient Judaism) at Ludwig Maximilian University of Munich, Germany. ISBN 978-3-16-159760-2 / eISBN 978-3-16-159761-9 DOI 10.1628/978-3-16-159761-9 ISSN 0340-9570 / eISSN 2568-7484 (Wissenschaftliche Untersuchungen zum Neuen Testament, 2. Reihe) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available at http://dnb.dnb.de. © 2021 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This applies particularly to repro- ductions, translations and storage and processing in electronic systems. The book was typeset by Martin Fischer in Tübingen using Minion typeface, printed on non- aging paper by Laupp & Göbel in Gomaringen, and bound by Buchbinderei Nädele in Nehren. Printed in Germany. Table of Contents Introduction .......................................................
    [Show full text]
  • Utgave 20 - Sommeren 2009 R W a Y Progressive Nation 2009 - Oslo Spektrum 29
    D T N o Utgave 20 - Sommeren 2009 r w a y Progressive Nation 2009 - Oslo Spektrum 29. September De progressive metal veteranene fra New re is no life I know to compare with pure MANDAG 20. april kl 09:00 via : York, Dream Theater, bekrefter nå at de imagination. Living there, you’ll be free if www.billettservice.no for første gang tar sin PROGRESSIVE you truly wish to be…”. Vi kan ikke vente tlf. 815 33 133 Skriften På Veggen- Nyheter om løst og fast NATION turnè til Europa i September, med å komme tilbake til Nord-Europa og www.oslospektrum.no Oisann. Har det gått to år allerede? Da større publikum, da vi holder podcasten i Oktober og November 2009. vi har heller aldri spilt i England. Den fø- tlf. 815 11 211 var det jaggu på tide med et nytt blad til stor grad på engelsk og dermed når ut til lelsen har plaget oss de siste årene. Vi gle- eller personlig fremmøte dere, et lenge etterlengtet ett vil jeg tro. større deler av verden. Faktisk ble forrige Hjernen og initiativtaker bak PROGRES- der oss enormt til å ta med musikken vår Det har jo blitt slik de siste par årene podcast lastet ned over 3000 ganger på SIVE NATION er Mike Portnoy, som er tilbake til landet som har For ytterligere lokal informasjon, be- at det egentlig ikke har skjedd så mye i en uke, noe som førte til store bekymrin- trommis i Dream Theater. Han har nok en gitt oss så mye inspirasjon”. søk: www.livenation.no Dream Theater verdenen.
    [Show full text]
  • CONSTANT MOTION As Recorded by Dream Theater (From the 2007 Album "Systematic Chaos")
    CONSTANT MOTION As recorded by Dream Theater (from the 2007 Album "Systematic Chaos") Transcribed by [email protected] Words by Dream Theater Music by Dream Theater All guitars std. tuning A Intro 0:00 P = 178 N.C. Band & Gtr II Enter 2nd Time 1 j 2 V 5 6 V 5 I 4 4 V V V V V V 4 V V V V V V V 4 V V V V V V Key sig denotes V gV V V gV V V gV V E Phrygian V V V Gtrs I, II ff T A 5 B 7 5 7 5 8 5 7 5 7 5 8 7 7 5 7 5 8 5 15 0 5 6 6 0 5 6 8 6 0 5 6 6 sl. 1., 2. 3. 5 7 4 7 5 I 8 4 V V 8 8 V V V V V V V V V V V V V V V V V V V V V gV gV V V V gV gV V V T A 5 5 B 7 5 7 5 8 7 3 2 7 5 7 5 8 7 3 5 2 0 5 6 8 6 1 0 5 6 8 6 3 1 10 5 6 5 I 4 4 4 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V T A B 2 0 2 0 3 2 2 0 2 0 3 5 2 2 0 2 0 3 2 0 1 1 1 0 1 1 3 1 0 1 1 1 1.
    [Show full text]
  • The Security Challenges of European Demographics and Politics Caused by the Modern Migration Crisis
    Journal of Liberty and International Affairs | Vol. 7, No. 2, 2021 | eISSN 1857-9760 Published online by the Institute for Research and European Studies at www.e-jlia.com Copyright © 2021 The Author/s This work is licensed under a CC-BY 3.0 License Peer review method: Double-Blind Accepted: May 23, 2021 Published: June 18, 2021 Original scientific article DOI: https://www.doi.org/10.47305/JLIA21720031a THE SECURITY CHALLENGES OF EUROPEAN DEMOGRAPHICS AND POLITICS CAUSED BY THE MODERN MIGRATION CRISIS Emilia Alaverdov Georgian Technical University, Georgia ORCID iD: https://orcid.org/0000-0003-3282-172X [email protected] Abstract: The paper aims to analyze the ongoing situation in the European Union member countries caused by modern migration flows. It shows the real impact of refugees and migrants on European demography. It describes the future scenarios of global demographic and social challenges, which lead to the socio-economic and political crisis, and the failure of European political elites. The study mainly is based on the following research methods: descriptive, statistical, and analysis. The basis of the source represents the books, scientific articles, empirical and press materials, documents published on official websites in the field of migration policy. The essence of the modern migration in Europe became very acute since the current migrants are mostly followers of Islam, which in all its aspects and completeness is currently one of the most urgent topics, and draws the special attention of political circles and international clubs. Muslims in Europe are, first, immigrants whose influx into the European continent has seriously changed its demographic picture and political situation.
    [Show full text]
  • Traditions, Inspirations, Contrasts Jordan Rudess' Explorations For
    Prof. Dr. Michael Custodis – Institute for Musicology – WWU Münster, Germany – Sept. 2016 Traditions, Inspirations, Contrasts Jordan Rudess’ Explorations for Keyboard and Orchestra The attempt of characterizing Jordan Rudess from a musicological perspective throws light upon his many talents. Legions of fans admire him because of his role as keyboardist in the prog metal-band Dream Theater, which he joined in January 1999; together they have since recorded nine studio albums and toured the world many times. Information about this career of his is readily available on the internet and in specialized magazines. A smaller fan base knows about his varied skills as app developer, designer of instruments, composer, and creative partner of iconic players such as Tony Levin and Steven Wilson. In social networks, which Rudess himself frequents regularly, his fans discuss their idol and his talents to the smallest detail. In doing so they contribute to his fame as an exceptional musician, as which he is known amongst colleagues and in professional circles. Most authors that report on Rudess revert to describing him as wizard or genius and focus their discussions on only one aspect of his talent. But the actual musical necessities that led to the creation of a new song or to the development of a new instrument can hardly be explained without understanding Rudess’ creativity as an entity with different facets. During his instrumental education musical barriers started to fade when the sound revolution of the first Moog synthesizers reached him in the early 1970s as a teenager. He subsequently abandoned the piano virtuoso career which he had started at the age of nine at the New York Juillard School.1 British prog rock-musicians such as Keith Emerson and bands such as Gentle Giant, Jethro Tull, King Crimson and Yes reverted to classical music for inspiration to elevate rock music onto a new artistic level.
    [Show full text]
  • MTO 19.2: Mccandless, Metal As a Gradual Process
    Volume 19, Number 2, June 2013 Copyright © 2013 Society for Music Theory Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater Gregory R. McCandless NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.2/mto.13.19.2.mccandless.php KEYWORDS: Dream Theater, heavy metal, progressive rock, progressive metal, rhythm, meter, popular music, minimalism, liquidation, ABAC-AMP ABSTRACT: While the popular genres of progressive rock and heavy metal have received significant scholarly attention, discussions of the syncretic subgenre of progressive metal are rare. Jonathan Pieslak’s 2007 article on the music of Meshuggah does much to delimit the stylistic boundaries of the subgenre, noting the importance placed by progressive metal bands and their fans on the rhythmic and metrical complexity of the music. Dream Theater, one of the most visible and commercially successful progressive metal bands, however, has received little scholarly attention to this point. The aim of this article is to describe Dream Theater’s unique metrical processes, focusing on a technique that I label the ABAC Additive Metrical Process (ABAC-AMP). The temporally complex examples I analyze in this article—culled from throughout Dream Theater’s decades-long career—are compared with techniques of early minimalist composers. The analysis demonstrates Dream Theater’s “progressive” aesthetic, and it aids in a characterization of the band’s sound as possessing a progressive rock center and a heavy metal periphery. Received September 2012 Introduction [1] One of the most commercially successful heavy metal subgenres became known as “progressive metal.” Durrell S.
    [Show full text]