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

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.

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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)_____________________________

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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.

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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

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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

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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

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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

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Figure 20 - The Truth Beneath the Rose "M1a" excerpt transcription ........................... 30 Figure 21 - The Truth Beneath the Rose "M1b" excerpt transcription .......................... 30 Figure 22 - The Truth Beneath the Rose "M2a" excerpt transcription ........................... 31 Figure 23 - The Truth Beneath the Rose "M3a" excerpt transcription ........................... 32 Figure 24 - The Truth Beneath the Rose "M4" excerpt transcription ............................ 33 Figure 25 - The Truth Beneath the Rose section 2 structural diagram ........................... 34 Figure 26 - The Truth Beneath the Rose "M1c" excerpt transcription ........................... 34 Figure 27 - The Truth Beneath the Rose "M2b" excerpt transcription .......................... 35 Figure 28 - The Truth Beneath the Rose "M5" excerpt transcription ............................ 36 Figure 29 - The Truth Beneath the Rose "M6" excerpt transcription ............................ 37 Figure 30 - The Truth Beneath the Rose section 3 structural diagram ........................... 37 Figure 31 - The Truth Beneath the Rose "M7" excerpt transcription ............................ 39 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 36 - Death of a Dream section 2 structural diagram ........................................... 44 Figure 37 - Death of a Dream "M3a" excerpt transcription ........................................... 45 Figure 38 - Death of a Dream "M3b" excerpt transcription ........................................... 45 Figure 39 - Death of a Dream "M5a" excerpt transcription ........................................... 46 Figure 40 - Death of a Dream "M5a" mode ................................................................... 47

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Figure 41 - Death of a Dream section 3 structural diagram ........................................... 47 Figure 42 - Death of a Dream "M7" excerpt transcription ............................................. 48 Figure 43 - Death of a Dream section 4 structural diagram ........................................... 49 Figure 44 - Death of a Dream section 5 structural diagram ........................................... 49 Figure 45 - Death of a Dream "M5b" excerpt transcription ........................................... 50 Figure 46 - Death of a Dream "M8" excerpt transcription ............................................. 51

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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

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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 Epica’s 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. Nightwish’s 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

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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.

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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

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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 Metallica’s 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

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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 Therion’s biography (Corro & With, 2013), Therion’s 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 band’s 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 wellknown 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-

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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. 1800000 1600000 1400000 1200000 1000000 800000 600000 400000 200000 0

Users Topics Posts

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

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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 “it’s all about being able to keep the right balance and the cadence between the voice, the orchestra and the contemporary instruments”, confirming symphonic metal’s classical leanings (Gaia88, 2013).

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Forum All Metal Forums Ultimate Metal

User GordOfThunder

Key words Epic, over the top

SomeGuyDude

Heavy Metal Haven

Wyvern_13

Sense of grandiose, supporting role, extra layer, majesty Classical influence, orchestra highlights other parts, varying focus between metal and orchestra Blend modern and classical sounds, symphony-like effect Broadens song's sound, more theatrical, wider emotional range Adds atmosphere

Nightwish Gaia88 Forum Tuomas*Dandelion* holopainen.com forums Lupine

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 Within Temptation Nightwish Epica

Mentions 9 8 7

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

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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.

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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

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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.

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Section 1

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

The first section in 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 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 characterised characterised by a pattern of short "ah" notes sung by the choir in the “M1a” subsection.

Figure 5 - Ghost Love Score "M1a" excerpt transcription

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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.

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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

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this, a melody in the high-pitched pitched instruments of the orchestra orchestra can be played, in this instance 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 light li 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 band and choir. The "M2a" subsection opens with an a open fifth power chord from 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 harmony is provided by the keyboard using a synth pad. The soprano is accompanied by the bass guitar playing quavers with a repeating long-short 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 following "M2b" subsections, the electric guitar re-entering 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 sustained chords and the vocalist sings a drawn-out drawn out countermelody. This is transcribed below.

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Figure 8 - Ghost Love Score "M3a" excerpt transcription

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.

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Section 3

Figure 9 - Ghost Love Score 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 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, choir-like choir synth pad from the keyboard playing chords, the double basses playing the lowest notes of these chords and a 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 subsection cease. The keyboard 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 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 However the orchestra does not feature at all in this

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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 following section. Section 4

Figure 10 - Ghost Love Score section 4 structural diagram

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 orchestra only interlude and builds to a powerful climactic imactic section that continues into section 5. The metal band provides power and drive to an orchestra-focused orchestra 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" subsections marked above.

Figure 11 - Ghost Love Score "M5" melody transcription

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The harp plays occasional arpeggios near the beginning of the subsection while chords from the strings are accompanied 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 tension building subsection unmarked by transients from the metal band. This demonstrates the way the orchestra 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, 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 metal band, low strings and timpani. Below is a transcription of the first four bars of "M5b".

Figure 12 - Ghost Love Score "M5b" excerpt transcription

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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.

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

Figure 14 - Ghost Love Score "M6a" excerpt transcription

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

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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

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

Figure 16 - Ghost Love Score "M5d" excerpt transcription

After the first four-bar 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 one-bar one bar pattern. This underlines the melody playedd by the orchestra, the metal band providing power and drive. Section 5

Figure 17 - Ghost Love Score section 5 structural diagram

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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 choir’s melody but also play during the choir’s 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,

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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".

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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

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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

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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.

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

The second subsection of section 1, marked as "M1b", expands on the material m from the opening at a much more intense dynamic. Here, the choir sings a characteristic ascending three-note note motif at the start of the first three bars of both of the four-bar four 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 bar of each phrase.

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

In the second four-bar bar phrase, a short 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

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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.

Figure 22 - The Truth Beneath the Rose "M2a" excerpt transcription

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.

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Figure 23 - The Truth Beneath the Rose "M3a" excerpt transcription

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.

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Figure 24 - The Truth Beneath the Rose "M4" excerpt exce 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 less audible influence, 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.

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Section 2

Figure 25 - The Truth Beneath the Rose section 2 structural diagram

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.

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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

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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.

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Figure 29 - The Truth Beneath the Rose "M6" excerpt transcription

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

Figure 30 - The Truth Beneath the Rose section 3 structural diagram

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

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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.

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Figure 31 - The Truth Beneath the Rose "M7" excerpt transcription

As can be seen from the above transcription, rhythmic drive is provided by the t lower electric 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 ompletely orchestral, although there is no low-pass low pass filter and the piano plays chords with the string melody. The tubular bells play E flat at the beginning of the first three four-bar bar phrases, the third of these phrases being extended to last eight bars before b

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the final note where the tubular bells chime for the last time and the low strings hold a low E flat to finish the song. Summary of Orchestral Function in The Truth Beneath the Rose This analysis of The Truth Beneath the Rose has revealed certain patterns apparent in Within Temptation's approach to symphonic metal in this song. Overall, the strings were the most-used orchestral section and the high strings were the most prominent when combined with the metal band. The low strings, although utilised outside metal passages, were either unused or ineffective during metal passages as bass frequencies were covered by the guitars. However the high strings were utilised very commonly for providing countermelodies and doubling other instruments, the choir and the vocalist. The choir was used prominently, recognisably during the "M1b", "M1c", "M1d" sections where it sang short staccato notes in repeating rhythmic patterns. The choir was the main focus of the music in the "M7" section. Apart from the "M7" section, the choir tended to sing vowels instead, usually sustaining chords and providing the occasional short countermelody such as during the "M4" choruses and the "M2a" and "M2b" verses. This gave the music an air of solemnity. The brass section was utilised only infrequently during the song and usually near climaxes, such as the trumpets and trombones playing four notes with the strings at the end of "M1b" after a short horn countermelody. The woodwind section was absent from the song and orchestral percussion was used sparingly, most noticeably during the beginning and ending orchestral subsections where the tubular bells were used at the starts of phrases to set the mood. The metal band functioned mainly to provide rhythmic drive during and the electric and bass guitar mostly played the bass notes. Commonly the guitars would play rhythmic figures underneath the chords sustained by the strings or choir. Near the end of the song, the guitar also doubled the strings' countermelody. The drums functioned as a rhythmic backbone to the song which remained at the same tempo and time signature for its entirety. During the "M1b", "M1c" and "M1d" subsections, the guitars and drums played the same rhythm, creating a unified effect. In The Truth Beneath the Rose, the function of the orchestra was to provide sustained harmony in the strings above the bass provided by the metal band. The choir was also

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used for this effect however the strings were also commonly utilised to provide countermelody. Outside sections featuring the metal band, the strings were used for both melody and harmony and provide a characteristic opening and closing to the song. The orchestra functions to extend the scope of this song beyond what would be possible with the metal band alone.

Case Study 3: Epica: Death of a Dream (The Embrace That Smothers, part VII) The Dutch band Epica was founded by guitarist Mark Jansen, following his departure from After Forever (Sharpe-Young, 2013). Utilising classically-trained opera mezzosoprano Simone Simons as lead singer, the band has released five albums. Mark Jansen also contributes harsh male vocals and this distinguishes the band along with its varied musical style which includes gothic and symphonic elements (Bowar, 2013). These elements are apparent in the song to be analysed, Death of a Dream (The Embrace That Smothers, part VII), on which After Forever vocalist Sander Gommans provides death grunts (Discogs.com, 2013). The lyrics, contained in Appendix 4C, suggest outrage at being oppressed and the aggressive nature of the song matches this. The song is from Epica's 2007 album The Divine Conspiracy. Appendix 3C contains an outline of the five sections of Death of a Dream. These sections will now be deconstructed to demonstrate the function of the orchestra within them.

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Section 1

Figure 32 - Death of a Dream section 1 structural diagram

The first major section of Death of a Dream is characterised by rapid rhythms from the metal band and orchestral strings alike. It sets the heavy tone for for the song and introduces shout-like like notes from the soprano and growled male vocals. The first subsection, marked "M1", lasts for eight bars and begins with twelve semiquaver notes from the electric guitar, bass guitar, snare drum and violins at the speed of 174 beats per minute. After one rest beat, this is followed by two groups of four semiquavers and a quaver rest and then two semiquavers and a quaver rest as transcribed below.

Figure 33 - Death of a Dream "M1" excerpt transcription transcr

The soprano sings one syllable of the lyrics each time the instruments begin a sequence of semiquavers. Her voice is doubled an octave below, giving a choir-like choir like impression. The final three bars of this subsection feature the soprano singing sustained sustain notes in a motif ascending to G and falling to F sharp. This accompanies the lyrics "branded by shame" while the kick drum is played on every semiquaver for the last two bars and the

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violins play semiquavers on the same notes as the soprano. This motif moves towards the second subsection, "M2a", which continues in a similar texture. The orchestra is used in "M1" to double the guitars' and drums' notes at a higher octave. The second subsection, "M2a", continues in the vein of the opening subsection with the soprano singing with a similar rhythm to the second bar of "M1". The electric guitar plays single notes with the soprano's lower octave but returns to its lower register to play semiquavers during the soprano's rests. The snare drum is played on every beat with the kick drums playing constant semiquavers. The low brass plays short notes in harmony with the soprano every second bar for emphasis. In the second half of the eight-bar phrase when the soprano holds a long note, the strings play a short countermelody. During the second phrase of "M2a", the trumpets play rapid semiquavers before the low brass play in harmony with the soprano. This is transcribed below.

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

This indicates the use of orchestral instruments to add unique flavour to the song. The figures from the trumpets and the strings in the above transcription are effective in building tension in the song for dramatic effect. The "M2b" subsection consists of two four-bar phrases in C sharp minor with growled male vocals either side of a four-bar phrase very similar to the beginning of "M2a". These four-bar phrases at the beginning and end of "M2b" are played by the metal band and male vocalist alone, without any orchestral components. The guitars play semiquavers using the same melody as sung by the soprano at the beginning of the previous subsection however this is transposed down a minor third. The drums play

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semiquavers, alternating the kick drum and snare while playing playing cymbal crashes each time the guitars change notes. The middle four bars in this subsection mirror the first four bars of the previous subsection with the addition of the violins playing staccato notes accompanying the soprano. The horns also harmonise the the soprano with the same rhythm. In this subsection, the orchestra serves only to support the soprano's melody, utilising the brass and high strings. During the "M2c" subsection, the guitars play a similar figure to "M2a" however they vary the lengths of the he bars to destabilise the beat. This builds on the figure introduced in "M2a" and this gradual disruption leads to a long note from the guitars before moving into the next section.

Figure 35 - Death of a Dream "M2c" excerpt transcription tran

Section 2

Figure 36 - Death of a Dream section 2 structural diagram

The second section of Death of a Dream eases back on the rapid pace introduced in section 1 while remaining at the same tempo. The metal band continues continues to provide constant rhythmic support and drive but with fewer notes to the bar. This creates a heavier feeling while some exotic instruments are used, creating a somewhat MiddleMiddle Eastern impression. The heaviest growling vocals of the song are present in this section.

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The sixteen-bar "M3a" subsection consists of two eight-bar phrases and features a descending melody played on the instrument known as the duduk, a Middle-Eastern double reed instrument similar to the oboe. The metal band plays a two-bar rhythmic pattern that features quavers in the first bar and semiquavers in the second bar shown in the transcription below. The unison rhythms between the metal instruments is distinctive.

Figure 37 - Death of a Dream "M3a" excerpt transcription

The strings join the duduk in the second eight-bar phrase of "M3a" and the horns also play short, sustained countermelodies. Near the end of the subsection, tension is built towards the "M3b" subsection where growling vocals are featured. The orchestra performs melodic functions in the "M3a" subsection over the distinctive rhythmic background provided by the metal band. The "M3b" subsection utilises the same rhythmic background as "M3a", however the focal point of the music is now the powerful male vocals which sound alternately "growling" and "rasping", the latter having the effect of responding to the former. Notably, the vocals mostly keep to the rhythm of the guitars and drums, presenting a powerful, unified sound.

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

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The orchestra is not used at all in this subsection however this aids the brutal sound of the vocals by keeping the music purely metal at this point and this demonstrates the effect of excluding the orchestra from the music. The "M4a" subsection, lasting for four bars, serves as a link from "M3b" to the "M5a" subsections. The rapid semiquaver rhythms from "M3b" continue for the first three bars however the drum fill in the fourth bar contains mainly quavers, smoothing the transition to "M5a". Quaver rhythms alternately featuring sustained and palm-muted notes are played by the guitars. The time signature in "M4a" is altered in the second bar, which consists of three beats, creating a 'compressed' impression. The strings crescendo on a tremolo in the first bar of this subsection and play eight semiquavers beginning on the second beat of the second bar before playing a softening tremolo in the third bar. This 'palindrome' in the strings has the effect of gently softening the music for the "M5a" subsection which contrasts with the growled vocals that precede and follow it. This is an example of the orchestra both sustaining notes over the top of the metal band and playing rhythmic figures faster than the guitars. "M5a" sees the soprano singing melodically with sustained notes for the first time in the song. The guitars play mostly sustained notes as well with occasional palm-muted quavers. The drums play a straightforward pattern and the duduk returns to play a countermelody against the soprano.

Figure 39 - Death of a Dream "M5a" excerpt transcription

Although this subsection lacks involvement from traditional orchestral instruments, the inclusion of the exotic duduk lends an Arabian flavour to the timbre and this impression is aided by the use of the mode shown below.

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Figure 40 - Death of a Dream "M5a" mode

Following "M5a" is a sequence of subsections utilising almost-identical almost identical musical features. "M3c", returning eturning to 'growling' and 'rasping' male vocals, is very similar in approach to "M3b" however it features different lyrics and also includes orchestral countermelodies. These are played by the bassoon before the 'rasping' vocals and by the strings in an ascending scending countermelody strings that leads into their note in the "M4b" subsection, identical to "M4a" apart from the last vocal growl lyric of the previous subsection. The second "M5a", following this, replicates its former "M5a" counterpart.

Section 3

Figure 41 - Death of a Dream section 3 structural diagram

The relatively short section 3 provides a contrast to the previous sequence of subsections in "M6" by returning to rapid rhythms from the metal band, however its second subsection ection noticeably contrasts with the rest of the song by leaving out the metal band before transitioning back towards the opening material for section 4. "M6" features a unified rhythmic texture from the guitars and drums characterised by a sequence of eight ht semiquavers followed by a sustained minim and this can be compared

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to the style of the opening "M1" subsection in that it features many fast notes played in succession on a single note. The long guitar notes form the pattern of E, F sharp, G and F sharp while the semiquavers are always on a pedal E. This four-bar sequence is played four times over the subsection. While this is played by the metal instruments, a gradually-ascending countermelody is sustained by the strings French horns. In the second eight-bar phrase of this subsection, the soprano sings an ascending melodic line that moves towards the F sharp that begins the "M7" subsection. The orchestra functions in this section to provide a countermelody to the soprano and increase the tension leading into the next subsection, "M7". "M7" is unique to the rest of the song in that the metal band does not play at all during this subsection. Instead, all background is provided by the strings for the soprano to sing over.

Figure 42 - Death of a Dream "M7" excerpt transcription

The transcription above demonstrates the way the orchestra alternately doubles the soprano and provides countermelody in both the upper and lower parts of the strings, functioning to support the vocalist and provide a striking contrast to the rest of the song with a much gentler timbre. At the end of this subsection, the strings play an ascending figure with two semiquavers to a note that leads into section 4. Apart from the song's short coda, "M7" is the last time new musical material is introduced to the song.

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Section 4

Figure 43 - Death of a Dream section 4 structural diagram

The fourth section of Death of a Dream corresponds almost exactly to section 1. The only differences are malee vocals being performed slightly differently in "M2b" and minor variations in the drum fills at the ends of "M1" and "M2c", the latter leading into a soft texture for the final section.

Section 5

Figure 44 - Death of a Dream section se 5 structural diagram

Section 5, concluding Death of a Dream, Dream, revisits material introduced in section 2 while altering its treatment in terms of texture and lyrics. "M6" appears as it was in section 3, building tension before the final four notes of "M8" " to finish the song.

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"M5b", beginning this final section, has the soprano sing the same melody as presented in "M5a" in section 2 with different lyrics. However this time the metal accompaniment is replaced by a banjo-like instrument playing harmony notes while a wooden flute and an ethereal choir-like sound likely produced by a keyboard synth sustain fifths as transcribed below.

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

Although neither the orchestra nor the metal band are used in this subsection, the Middle-Eastern sound returns and provides a brief reprieve before the metal band and orchestra return in the next subsection. "M5c" sees the return of the texture used in the "M5a" subsections of section 2. Different lyrics are sung and the high strings double the duduk in the second eight-bar phrase as a contrast to this subsection's earlier counterparts. The Middle-Eastern impression is aided by the strings who play a four-quaver turn before they begin to double the duduk. In this subsection, the orchestra functions to a previously-introduced countermelody and enhance its sound. This subsection is followed by "M6" which appears identically to its counterpart in section 3. Once again the orchestra provides countermelody and builds tension over a repeating rhythmic cell played by the metal band. The song finishes with the "M8" subsection which comprises four notes and recalls the texture of the opening "M1" by featuring sequences of rapid notes played by the guitars and drums before rests and the soprano singing notes on the beginnings of these sequences. While the metal band plays, the orchestra is audible only during the strings' ascending passage during the bar before the last note. However they are heard prominently as they play the final, the strings holding the final E and the horns playing an open fifth with the guitars until they die away two after two bars' length. The violins

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are left as the last instruments, dying away three beats after the rest of the instruments. This final subsection is transcribed below.

Figure 46 - Death of a Dream "M8" excerpt transcription

Summary of Orchestral Function in Death of a Dream This deconstruction of Death of a Dream has unearthed an approach to symphonic metal that appears to utilise a number of particular combinations of instruments in certain contexts. Strings were used prominently in the song as the most prevalent orchestral group and were often used to emphasise figures played by the guitar and drums such as in the "M1" subsections. In places such as "M2a" where soprano held notes at the ends of phrases, the strings would play short motifs to provide interest. Strings were also used for doubling the soprano in places such as the "M2b" subsections. While the metal band played fast rhythmic figures at "M3a", the strings doubled the duduk to provide melodic interest and at "M4a" and "M4b" they were also used for melodic interest during the transition to a lighter texture. During section 3, the strings featured prominently, firstly providing countermelody to the soprano and then providing the entirety of the musical background in addition to countermelody support. Rapid notes from the strings also smoothed the transition from the subdued "M7" of section 3 back into the rapid notes of section 4. Finally, the strings held the very last note of the song and were the final instruments to die away. The brass section was also present in

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this song however it was not used as prominently as the strings. The trumpets were used during the "M2a" subsection playing rapid notes to increase tension and dramatic effect while the horns were used in the same subsection to emphasis the short, 'shouted' notes from the soprano, continuing this effect in the following "M2b" subsection. The horns were also used to provide countermelody along with the strings in "M6" where their timbre aided in building tension. Lastly, the horns held the final note of the song with the strings, bringing power to the last open fifth chord with the guitars. Traditional orchestral woodwinds were not used however the inclusion of the duduk added exotic taste. The metal band played many distinctive rhythms in this song, particularly presenting sequences of rapid semiquavers on the same note followed by short rests. The guitars also provided countermelodies and melodic interest in sections both including and excluding the soprano. The drums supported the rhythms of the guitars most of the time, such as playing rapid semiquavers with the guitars during subsections such as "M2b" and "M6" and alternately playing quavers and semiquavers along with the guitars during the "M3a", "M3b" and "M3c" subsections. Apart from during the "M1", "M2a" and "M2b" subsections where the soprano sang short, 'shouting' notes in a unified rhythm with the metal band and orchestra, she tended to sing melodic phrases over the metal band which played faster rhythms. However the male vocals tended to line up more squarely with the metal band such as during the "M3b " and "M3c" subsections. Overall, the orchestra was most commonly utilised to provide countermelody to the soprano and for melodic interest that increased tension, occasionally playing in unison with the metal band for a unified effect, leaving most rhythmic and bass functions to the metal band. The dramatic effect of this song was enhanced by the inclusion of the orchestra.

Conclusion The analysis conducted on the three chosen songs has revealed a variety of ways in which the orchestra and metal band can be combined, analysing each song by section. The following chapter will summarise these findings.

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Chapter 4: Findings and Conclusion This dissertation has focused on ascertaining the function of the orchestra in symphonic metal. Metal music was discussed as having roots in the 1960s, emerging from rock. Metal musicians played with virtuosity and took influence from classical music, integrating elements of compositions used by classical composers into metal songs. As such, it would seem understandable that taking further influence from classical music, such as integrating the classical orchestra and choir into metal, would not be uncharacteristic for this genre. This is known as "symphonic metal" where the orchestra and metal band are combined. It was described that the symphonic component of this subgenre features not only the orchestral instruments but the choir and such bands often feature an operatic female vocalist. Since the orchestra can be combined with many metal subgenres, symphonic metal can exist within a wide variety of styles. Existing literature was shown to mainly discuss metal culture, its origins and stylistic characteristics across a range of subgenres, however symphonic metal received little attention and this left a gap in the area of academic symphonic metal research. Due to the scarcity of such research, it was necessary to rely on the online community for information pertaining to the topic. As a fan-driven genre, metal enjoys a wide following of enthusiastic and devoted fans and this community was helpful in responding to questions on the function of the orchestra in symphonic metal. Responses showed that fans regard the inclusion of the orchestra as an element that heightens the drama and emotional heights of the music. Due to core existing metal research focusing on cultural rather than musical aspects, a methodology relying on music analysis was developed. This approach analysed songs by the three bands determined by fans to be the most representative of the genre. The method of this analysis was to break each song into sections and subsections, analysing each in terms of orchestral function and interaction between the orchestra and metal band. The analysis revealed idioms in which the orchestra achieves drama and emotional effect as well as the way the it is woven into song structure. The chosen songs made effective use of passages involving the orchestra alone, orchestra with metal band and metal band alone.

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Findings While all three songs analysed were unique in their own right, they shared various core elements of symphonic metal. The format of the band is similar between Nightwish, Within Temptation and Epica in that they all feature a female soprano vocalist, an electric guitarist, bass guitarist and drummer, and all feature the orchestra significantly. Orchestra alone One of the advantages of the orchestra in symphonic metal is that it can provide a very effective contrast to the metal band when used alone. When used this way, the orchestra is very effective at creating a feeling of sensitivity, seriousness and emotion, such as in section 4 of Ghost Love Score and The Truth Beneath the Rose. Death of a Dream did not feature the orchestra alone at all however in one passage, the strings alone accompanied the soprano in a sensitive interlude. Orchestral components consisting of the harp, low strings and choir accompanied the soprano in passage of similar character in The Truth Beneath the Rose and Ghost Love Score utilised the highest and lowest strings to outline harmony and countermelody in a sensitive passage in section 3. This shows the way the orchestra was used to accompany the soprano without the metal band at a point near the middle of each song. This served to provide contrast to the surrounding sections featuring the heavy drive of the metal instruments. Strings During the analysis, some common occurrences appeared and one of these was that the strings section was the most-utilised family of the orchestra. During The Truth Beneath the Rose, the strings were almost the sole orchestral component. Of the strings section, the violins tended to be the most prominent and tended to be used extensively for playing countermelodies although the cellos were also used for this purpose. The strings tended to play sustained notes in countermelodies to the soprano in all three songs and provided countermelodies to parts featuring the choir or choral effects. Choral passages were often accompanied by string countermelodies and strings were present during the guitar solos of two songs. Strings also doubled the melodies of other instruments and voices, notably being used in all three songs to accompany sequences of short vocal notes sung either by a choir or by a soprano singing with their voice layered to create a

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choir-like effect. Occasionally, the strings would function to double the soprano's melody but countermelodies to the soprano were more common. Common to all three songs was the use of the strings to play long, sustained notes to support the soprano in quieter interlude sections near the middle of the song. When combined with the metal band, the strings would often provide a contrast to the guitars and drums by holding sustained notes while the metal band would play faster notes. The low strings often were used to support the texture of the electric and bass guitars which usually played the bass notes, the low strings, being less powerful, double the guitars and contributing to the timbre. In some places, the high strings doubled the electric guitar in higher octaves and this heightened the dramatic effect. The harp was used most effectively during quiet or orchestral sections, becoming less effective in passages featuring the metal band due to being overpowered. Choir Dramatic effect was also provided very effectively by choral components, often characterised by sequences of short, 'shouted' notes at points of high dynamic intensity. The choir would also sustain chords underneath the soprano and when singing with lyrics, it would repeat short rhythmic patterns. Accompanying the choir, the metal band would always play more rapid notes than the choir, supporting it with the bass notes. In this manner, the choir timbre was effective in providing dramatic atmosphere. Brass The brass section was used by all three bands with the most prominent instruments being the trumpets and French horns. The trumpets were often used for crescendos leading up to climax points or were used for countermelodies, the French horns commonly performing the latter. Being not as widely used as the strings, the brass tended to be used only in passages of high dynamic intensity. The low brass were generally used mainly with staccato articulation, emphasising figures from the guitars. Woodwind The woodwind section, by contrast, was not usually combined in passages with the fullforce metal band. Rather, woodwind instruments were featured as solo instruments, the

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double reed instruments providing countermelodies in the Nightwish and Epica songs. Ghost Love Score featured various woodwind instruments in a passage containing excerpts of a motif being played on the oboe and bassoon, clarinet, flute and piccolo. In this context the metal band provided bass and rhythmic drive, allowing the woodwind instruments to carry the melody. Percussion Most percussive elements were understandably provided by the drum kit. However in some places, orchestral percussion was used to effect. Ghost Love Score utilised the timpani and castanets to emphasise dramatic moments, particularly in orchestradominated sections. Tubular bells were used in The Truth Beneath the Rose to emphasise strings in the opening and closing sections, however no orchestral percussion was used in Death of a Dream. This indicates orchestral percussion is most effective when used in orchestral sections and less common while the metal band is playing. Orchestral/Metal Combination The orchestra acted within all songs to both strengthen and provide contrast to the metal band. Often, the orchestra would sustain long notes while the guitars and drums would play faster rhythms underneath. Additionally, all three songs featured a section where the drums, guitars, strings and vocalists (either soprano or choir) would unite in rhythmic unison somewhere towards the end of the song, such as "M1c" in Ghost Love Score, "M1d" in The Truth Beneath the Rose and "M1" in Death of a Dream. In all cases, the metal band was the driving rhythmic force and the guitars provided the bass notes of the harmony while the orchestral and choral components were more sustained in their nature. The strings were used for countermelody and harmonic support, the choir for drama and atmosphere and the brass for emphasis at high-intensity points. The woodwind section was generally used for solos and countermelodies and the orchestral percussion provided emphasis at dramatic moments. Appendix 5 contains an abridged summary of functions for all orchestral sections as discussed here. Overall it can be said that the addition of the orchestra to the metal band provides for a heightened sense of atmosphere, mood and drama.

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Relationship to Fan Perception The addition of the orchestra to the metal band has been shown to be regarded by fans as the provider of a sense of grandiose mood, atmosphere and drama, contrasting to the hard-edged nature of metal. This has been demonstrated by the results of the three symphonic metal songs. In Nightwish's Ghost Love Score, one example where tension and mood were heightened by the orchestra was during a long orchestral section leading to a powerful climax involving the orchestral instruments playing the melody with interjections from the metal band before moving to a driving, metal-focused passage. Within Temptation's The Truth Beneath the Rose used orchestral sections at its beginning and end to provide an air of solemnity while its powerful chorus passages were driven by the metal band while harmony was provided by sustained singing by the choir and countermelodies were provided by the strings. All of this was supportive of the operatic soprano, presenting an epic, grandiose sound. Epica's Death of a Dream was driven relentlessly by the metal band for most of its duration, the orchestra acting to support and strengthen the band, increasing the scope of the song's sound. In these ways among many others, the orchestral components of symphonic metal were shown to allow the metal band to achieve dramatic and emotional heights not otherwise possible. This supported the fans' perceptions of the function of the orchestra in symphonic metal. Summary Most academic literature on the subject of metal has focused on its cultural aspects and has not examined the musical aspects in great detail, however this dissertation has utilised music analysis to achieve its means, explaining each element of the symphonic language and its relation to the metal aspects within this subgenre. This dissertation has proposed the question of the function of the orchestra in symphonic metal music, considering songs from the three most representational bands of the genre as decided by fans. Subsequently, new ground has been covered in the area of metal research in exploring a genre that has received comparatively little attention in the field. The music analysis research method, so far having been under-utilised in this area of research, has been shown to be effective in determining orchestral function in symphonic metal. However this represents only a starting point in demonstrating some of the core idioms of the limitless possibilities of the combination of metal and symphonic elements.

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Further research into symphonic metal would undoubtedly reveal many additional ways these two elements can be combined to great effect.

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Appendix 1 1A List of metal forums Adelaide Metal Forums: http://adelaidemetal.com/smf/ All Metal Forums: http://www.allmetalforums.com/forums/ Atlanta Metal Forums: http://forum.atlantametal.net/ Doom-metal.com Forums: http://www.doom-metal.com/phpbb2/ Encyclopaedia Metallum: http://www.metal-archives.com/board/ Heart of Metal: http://www.heartofmetal.net/ Heavy Metal Haven: http://metaltube.freeforums.org/index.php Heavy Metal Rarities: http://heavymetalrarities.com/forum/index.php Masters of Metal: http://www.mastersofmetal.us/ Metal Storm.net: http://www.metalstorm.net/forum/ Metal Forum: http://metalforum.com/ Metal From Finland Discussion: http://forum.metalfromfinland.com/ Metal Hammer: http://www.metalhammer.co.uk/forum/ Metal Throne: http://www.metalthrone.net/forum/ Metal Underground: http://www.metalunderground.com/ Metalship Forum: http://en.forum-metal.com/ MRU Metal Forums: http://www.mruforums.com/ Spirit of Metal: http://www.spirit-of-metal.com/forum/index-l-en.html Ultimate Metal Forum: http://www.ultimatemetal.com/forum/ World Metal Alliance.org: http://worldmetalalliance.com/forum/

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1B Most popular metal forums 1800000 1600000 1400000 1200000 1000000 800000 600000

Users

400000

Topics

200000

Posts

0

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1C Forum statistics Forum Encyclopaedia Metallum All Metal Forums Metal Storm Heart of Metal Metal Throne MRU Metal Forums Doom-metal.com Metal Hammer Masters of Metal Heavy Metal Rarities Atlanta Metal Forums World Metal Alliance.org Metal Forum Heavy Metal Haven Adelaide Metal Forums Metal From Finland Discussion

URL http://www.metal-archives.com/board/ http://www.allmetalforums.com/forums/ http://www.metalstorm.net/forum/ http://www.heartofmetal.net/ http://www.metalthrone.net/forum/ http://www.mruforums.com/ http://www.doom-metal.com/phpbb2/ http://www.metalhammer.co.uk/forum/ http://www.mastersofmetal.us/ http://heavymetalrarities.com/forum/index.php http://forum.atlantametal.net/ http://worldmetalalliance.com/forum/ http://metalforum.com/ http://metaltube.freeforums.org/index.php http://adelaidemetal.com/smf/ http://forum.metalfromfinland.com/

Posts 1336474 765558 586190 535997 388055 246514 108283 91003 88953 85117 82562 63721 62533 44508 29316 1951

Topics 54499 33589 37718 16494 13738 13294 7528 5228 2938 10052 4718 4672 3322 2874 1358 187

Users 241347 57653 46179 1320 27937 1850 3709 10474 267 7791 1076 4397 2394 522 766 74

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Appendix 2 2A Forum question 1 How would you describe the function of the orchestra in symphonic metal? Forum All Metal Forums Ultimate Metal

User GordOfThunder

Key words Epic, over the top

SomeGuyDude

Sense of grandiose, supporting role, extra layer, majesty Baroque Fills chords, timbre variety, contrast to metal, extra effect Heavy Metal adg211288 Keyboards can take orchestra's place, Haven cross genres, classical influence Wyvern_13 Classical influence, orchestra highlights other parts, varying focus between metal and orchestra 666Sharon666 Orchestra is defining element, metal makes way for it, guitar secondary, keyboards have orchestral effect Nightwish Baki Shows band can afford orchestra, Forum dramatic effect Gaia88 Blend modern and classical sounds, symphony-like effect, narrative, Tuomasdragonprincess Adds to music, can be essential for some holopainen.com songs, changes mood forums *Dandelion* Broadens song's sound, more theatrical, wider emotional range Lupine Adds atmosphere swatata Adds drama Evil_Wench Compares orchestral element to shading in a drawing NyjahAtaru Adds film music atmosphere, softens metal's hard edge, widens appeal AmaranthMockingbird Adds elements not achievable by just metal band, orchestra lays 'blanket' of sound

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2B Forum question 2 What are the most representative symphonic metal bands? Band Within Temptation Nightwish Epica Kamelot Therion Delain After Forever Septicflesh Sonata Arctica Xandria Fleshgod Apocolypse Rhapsody Blind Guardian Diablo Swing Orchestra Symphony X Tvangeste Epica Apocalyptica Xystus Theatre of Tragedy Haggard Edenbridge Tristania Versailles Visions of Atlantis Edenbridge Wintersun Amaranthe Eihwaz Elis X Japan Sigh Stream of Passion

Mentions 9 8 7 4 3 3 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

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2C Links to forum questions http://www.allmetalforums.com/forums/showthread.php?204406-How-do-you-thinkorchestra-can-be-combined-with-metal&p=1079894#post1079894 http://www.ultimatemetal.com/forum/general-metal-discussion/879754-functionorchestra-when-combined-metal.html#post10633049 http://metaltube.freeforums.org/function-of-orchestra-in-symphonic-metalt2996.html http://www.nightwishforum.com/index.php?/topic/1161-nightwish-off-topic/page-15 http://www.nightwishforum.com/index.php?/topic/1161-nightwish-off-topic/page-17 http://www.tuomas-holopainen.com/en/forum/56-nightwish-discussion/99940function-of-the-orchestra-in-nightwish#99940 http://www.reddit.com/r/symphonicmetal/comments/1kceyf/what_are_the_best_repr esentative_symphonic_metal/

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Appendix 3

3A Visual outline of sections in Ghost Love Score

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

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

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Appendix 4 4A Lyrics to Ghost Love Score by Nightwish We used to swim the same moonlight waters Oceans away from the wakeful day

Every day Just another loop in the hangman's noose

My fall will be for you My love will be in you If you be the one to cut me I'll bleed forever

Take me, cure me, kill me, bring me home Every way, every day I keep on watching us sleep Relive the old sin of Adam and Eve Of you and me Forgive the adoring beast

Scent of the sea before waking afterwards Brings me to thee Into the blue memory My fall will be for you My love will be in you If you be the one to cut me I'll bleed forever Into the blue memory A siren from the deep came to me Sang my name my longing Still I write my songs about that dream of mine Worth everything I may ever be

Redeem me into childhood Show me myself without the shell Like the advent of May I'll be there when you say Time to never hold our love My fall will be for you My love will be in you You were the one to cut me So I'll bleed forever

The Child will be born again That siren carried him to me First of them true lovers Singing on the shoulders of an angel Without care for love n' loss Bring me home or leave me be My love in the dark heart of the night I have lost the path before me the one behind will lead me Take me Cure me Kill me Bring me home Every way

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4B Lyrics to The Truth Beneath the Rose by Within Temptation Give me strength to face the truth, the doubt within my soul No longer I can justify the bloodshed in his name Is it a sin to seek the truth, the truth beneath the rose? Pray with me so I will find the gate to Heaven's door I believed it would justify the means It had a hold over me Blinded to see the cruelty of the beast It is the darker side of me The veil of my dreams deceived all I have seen Forgive me for what I have been Forgive me my sins Pray for me 'cause I have lost my faith in holy wars Is paradise denied to me cause I can take no more Has darkness taken over me, consumed my mortal soul All my virtues sacrificed, can Heaven be so cruel?

How can blood be our salvation And justify the pain that we have caused throughout the times Will I learn what's truly sacred? Will I redeem my soul, will truth set me free? Blinded to see the cruelty of the beast It is the darker side of me The veil of my dreams deceived all I have seen Forgive me for what I have been Forgive me my sins LATIN: Et est signum dies datus et tenebris mea culpa acta est fabula pereo (Latin: This is the sign given to the darkness. It's my fault - the art is dutifully over)

I believed it would justify the means It had a hold over me Blinded to see the cruelty of the beast It is the darker side of me The veil of my dreams deceived all I have seen Forgive me for what I have been Forgive me my sins I'm hoping, I'm praying I won't get lost between two worlds For all I have seen the truth lies in between Give me the strength to face the wrong that I have done Now that I know the darkest side of me

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4C Lyrics to Death of a Dream (The Embrace That Smothers, part VII) by Epica I followed your rules A willing fool Branded by shame My soul suffers from your hostile ways I bear so many scars, hit me hard Time to change we have to rearrange For this has gone too far, way too far Creating new laws and living by unwritten rules Restricting us My soul suffers from your hostile ways I can't let go Creating new spins on ancient creed to fit your views Denying us You created this world Where honesty is not allowed You created this world Where ignorance is being taught You created this world While I am all you'll never be You've been drilling these Such falsely-based philosophies ...in me The curtain has fallen There's no one behind Corrected one mistake But I am still around

You created yourself While I am all you'll never be You're deceiving me Now I am forcing you to see ...this The curtain has fallen There's no one behind Corrected one mistake But I am still around Our fight is over My scars will leave a stain You thought that it was all easy But I will still remain Take my hand I'm sinking I'm reaching out for you Can't you see what you've done to all of us? Torturing me has no use here anymore I followed your rules A willing fool Branded by shame My soul suffers from your hostile ways I bear so many scars, hit me hard Time to change we have to rearrange For this has gone too far, way too far Creating new laws and living by unwritten rules Restricting us

Our fight is over My scars will leave a stain You thought that it was all easy But I will still remain

My soul suffers from your hostile ways I can't let go

You created yourself Based on nothing else but lies You created yourself Where all your aspiration died

Creating new spins on ancient creed to fit your views Denying us

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The curtain has fallen There's no one behind Corrected one mistake But I am still around

Your time is over I'm taking back what's mine You thought that you could keep me Under your thumb and mind

Our fight is over My scars will leave a stain You thought that it was all easy But I will still remain

Take my hand I'm sinking I'm reaching out for you In my dying dream

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Appendix 5 Summary of Orchestral Functions Orchestral Section

Function

Orchestra alone

Used sensitively, creates seriousness and emotion Harp, low strings and choir provide accompaniment to the soprano Violins most prominent Used for playing countermelodies with sustained notes, noticeably during choral passages Cellos provide countermelodies in their higher register Doubles melodies of soprano and other instruments and voices Supports texture of and contributes to timbre of guitars Harp used during quiet or orchestral sections Provides dramatic atmosphere and effect with short, 'shouted' notes at high dynamic intensity Sustains chords underneath soprano Repeats short rhythmic patterns when singing with lyrics Accompanies metal band's faster rhythms with long, sustained notes Prominently features trumpets and horns Trumpets used for crescendos leading to climax points and for countermelodies Used in passages of high dynamic intensity Low brass used mainly with staccato articulation, emphasising guitar figures Not generally used in high intensity metal passages Woodwind instruments used as solo features with melodic function Double reed instruments provide countermelodies Most effective during orchestral passages Not used often during metal passages Timpani and castanets can emphasise dramatic moments Tubular bells emphasise strings Strengthens and provides contrast to metal Sustains long notes while metal plays faster rhythms Rhythmic unison of all elements a feature Softens metal's hard edge Heightens dramatic and emotional heights

Strings

Choir

Brass

Woodwind

Percussion

Orchestral/Metal Combination

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