Yeah, they do.

It's strange, then, that those guys love Opeth yet hate the minor second.

I don't dissect riffs to make sure they're not using seconds. I just listen to it if it sounds good.

I'm not saying you do, but if you "hate the sound of seconds" than you'd just hate the sound they were making when using seconds, whether or not you were cognisent of the fact.

I didn't mean that as a set-in-stone testament to any sound that humans can create. When I play around with instruments and tap out different scale intervals, the second usually sounds just chromatic to me.

Nope, what you said sticks. You shouldn't like Opeth.

i used to think that opeth were otep a couple years ago

:upset:

I'm pretty sure that they don't use them that often. If they did then their songs would sound more than just dissonant, it would just sound bad. They probably don't use them very often like you said.

I love when a band can harmonize in minor seconds and still make it sound good. ie The Drapery Falls.

[QUOTE=Shattered_Future;13412934]I love when a band can harmonize in minor seconds and still make it sound good. ie The Drapery Falls.[/QUOTE]
Oh, totally forgot about that song. Well I guess that is a pretty good example. You know you're a good composer when you can make stuff like that work.

My favorite interval would probably be a fifth.

Ooooooooshi'

ew @ neither major or minor/happy intervals ewwww

[QUOTE=Thor;13412912]I'm pretty sure that they don't use them that often. If they did then their songs would sound more than just dissonant, it would just sound bad. They probably don't use them very often like you said.[/QUOTE]

Umm...honestly, I'm not sure that you know what you're talking about. :p I would actually venture to say that the minor second is a foundation of Opeth's sound, whether as an interval or as a harmony. They're really common in metal and work great for heavy riffs. As far as minor seconds sounding chromatic....well, that's because they generally ARE a chromatic interval. Honestly, almost all metal other than power metal uses some chromaticism - some, like Opeth, more than others. The diminished scale is chock full of minor seconds, and alot of Opeth's heavy stuff is based around it.

I went ahead and put the beginning of Demon of the Fall to an orchestra...it actually doesn't sound half bad. It would sound amazing if I could find some decent quality samples. Check it out! Let me know what you guys think.

[url]http://download.yousendit.com/3B5DE195754EF6FB[/url]

Minor seconds don't sound bad at all when used in a melody built over a drone note.. Wich is what Opeth does whenever they use it..

[QUOTE=Det_Nosnip;13415031]Umm...honestly, I'm not sure that you know what you're talking about. :p I would actually venture to say that the minor second is a foundation of Opeth's sound, whether as an interval or as a harmony. They're really common in metal and work great for heavy riffs. As far as minor seconds sounding chromatic....well, that's because they generally ARE a chromatic interval. Honestly, almost all metal other than power metal uses some chromaticism - some, like Opeth, more than others. The diminished scale is chock full of minor seconds, and alot of Opeth's heavy stuff is based around it.

I went ahead and put the beginning of Demon of the Fall to an orchestra...it actually doesn't sound half bad. It would sound amazing if I could find some decent quality samples. Check it out! Let me know what you guys think.

[url]http://download.yousendit.com/3B5DE195754EF6FB[/url][/QUOTE]
That sounds pretty awesome, actually. Opeth's music translates really well. Good work.

Ted, this is pretty awesome. Aside from the fact that it's blatantly MIDIed (:p), if this was for real instruments, it would kill.

So "Ending Credits" came on when I had shuffle on yesterday. That's a pretty sweet song. I'll have to listen to Damnation.

[QUOTE=magicbus;13417696]So "Ending Credits" came on when I had shuffle on yesterday. That's a pretty sweet song. I'll have to listen to Damnation.[/QUOTE]
Damnation is allegedly based on 70's rock and stuff, so yeah you might dig it. :)

Ending Credits is the best song on it.

I still support

[size=7]WEAKNESS[/size]

but ok

[QUOTE=pate;13417908]Ending Credits is the best song on it.[/QUOTE]

It's great, but so inspired by Camel.

yeah most opeth is

camel are good

That's why it's so good! Camel owns.

[QUOTE=Shattered_Future;13417679]Ted, this is pretty awesome. Aside from the fact that it's blatantly MIDIed (:p), if this was for real instruments, it would kill.[/QUOTE]

I know! I'm telling you, get a string orchestra together, a conductor with some balls, and have at it...here are some tunes that I think would work great:

Demon of the Fall
Lepar Affinity
Bleak
Deliverance
Windowpane
To Rid the Disease
The Drapery Falls
Godhead's Lament
The Moor (maybe...these two might depend too much on the "folkiness" aspect)

A few soft songs on there, but it's the heavy part of Opeth that IMO is the most interesting in terms of transcribing to classical instrumentation.

Ted, what'd you use for those midi sounds? I have an orchestra VST that is pretty damned good, I could send you

I don't remember who posted it, but I remember somebody posted some guy who did a piano rendition of Damnation and added some of his own compositions based around it in there. That was quite cool.

[QUOTE=Knifeboy;13419164]Ted, what'd you use for those midi sounds? I have an orchestra VST that is pretty damned good, I could send you[/QUOTE]

I used Finale's default sound library. Which VST do you have?

[QUOTE=Shattered_Future;13419365]I don't remember who posted it, but I remember somebody posted some guy who did a piano rendition of Damnation and added some of his own compositions based around it in there. That was quite cool.[/QUOTE]

I have it. It's pretty cool.

I think I'm going to mess around in GuitarPro, converting Opeth songs into orchestra arrangements. :p

I've been wanting to arrange Mikaels vocals into a choral arrangment.