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:	post by ShadowSD at 2009-11-24 14:44:20

Metal is far too often conflated with rock erroneously.

However, key differences between metal theory and classical theory include:

-Metal recognizes the fifth as the core element of a chord along with the root, more essential to its identity than the third; this goes against the linear view of classical music in this respect, which relies on incrementally going up by thirds (owing itself to its inception around the piano family of instruments, which has led to a number of limitations in the long term, not the least of which is the redundancy of sharps and flats in key signatures).

-One common consequence of the fifth being more central identity than the third is the vii chord in major keys (or the the ii chord in minor keys) ending up NOT being diminished as it is in classical theory. For example, in the riff from I Don't Know by Ozzy in the key of Am (A B C D E F G), Rhoads plays a B power chord even though it has an F# instead of playing a B with a diminished fifth (F) just for the sake of staying in key, because it would actually be MORE dissonant to do so, despite conventional assumptions; in the second half of Fade To Black (in the key of Em), the same scenario occurs, as the F# is accompanied by it's fifth, a C#, instead of going with the diminished fifth (C) just to stay in key. Anyone who wants to get a feel for this principle, try playing those riffs the correct way and then the "in key" way, and watch the latter sound worse.

-An even more common consequence is that guitar harmonies in metal often at times involve a fourth (the natural inverse of the fifth) at times INSTEAD of the third in order to being consistent with the overriding chord at the moment (for example, if rhythm guitar is playing an E power chord and lead guitar one is playing an E in the solo, the lower harmony lead would be a B, not a C).

-Classical (and jazz for that matter) view complexity as an expansion outward, more and more chords, key changes, adding and expanding out. Metal is unique in that unlike being a simple kind of music (folk/blues) or complex (classical/jazz), it is best described as complexity from within simplicity - the use of structure and boundaries to pardoxically offer the most and best possibilities without meandering. One thing metal cannot be accused of - and we're talking about almost any genre of metal, so this is quite the statement- is meandering; either a key change is jarring because it's supposed to be, or it's so smooth and well-placed it fits right in. There is no meandering middle ground between the two in metal; in metal, either a note is perfect, or its dissonant because it's supposed to be angry and twisted. While it's true that the earlier baroque music was in manyh ways similarly focused and unmeandering when it came to structure and melody (Bach's Fugues and Spanish guitar/piano compositions from later in that era are the genuine prototypes for metal), the classical and romantic eras became essentially a self-topping exercise for composers where more became better. It's never about more notes of course, it's about the right notes.

-Fine arts academia generally views genres of music in one of two overriding sociological categories: "art" music or "folk" music (in this use of the term folk, it is far broader reaching than the more common use of the term). As the definition goes, art music is done by elites based on quality even if there is no popular support, and folk music is the simpler music of the masses; classical and jazz are commonly viewed in the first category, with rock, blues, country, and many other styles falling into the latter. Metal, however, truly defies the dichotomy; it actually transcends it completely. It is on one hand available and open to anyone who wants to listen to it, learn to play it, and go to shows, with no barriers of class or wealth or any other exclusionary factors; on the other hand, metal generally requires "art music" levels talent both technically and in terms of composition, and cannot be mastered as a musician or even as a truly knowledgable fan without years of devotion.

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