hey guys came across this on the net..............i wanted to inlcude it in my songwritting thread but this isnt my work n also a totally diff topic, it not song writing but song analyisis...........and it fantastic ..........read it iif u have heard nothing else matters by metallica and u will love it if u wanna make ur own music.......or ......
u r just gonna love it yaar...... no saying ............ just go ahead
The 6/8 picked guitar intro at the beginning of Nothing Else Matters uses the key of E minor to create a sombre feel. The simple open string pattern at the beginning of the song captures and settles the listener's attention, acting as a spring board for guitarist Kirk Hammett's classical style melodies. Strings are introduced after 30 seconds to add more colour and texture to the sound and after the 1 minute intro the singing begins.
The first verse is sung in almost a whisper helping to accentuate the vulnerable nature of the lyric content. The heavy beat of the bass drum adds real weight to the mellow playing from the rest of the band and keeps the song within the 'Rock' context that Metallica's music is famous for. The second verse follows straight after the first immediately, this time with the addition of a watery synthesiser. Towards the end of this verse the band build dynamics with the drums playing louder and using a longer drum fill leading to the third verse. Throughout the third verse the drums play louder still, adding accents on certain beats and creating a slightly unsettled feeling.
As we hit the bridge the chords change from minor to major, giving a new sound and feel. This helps to separate the verse and chorus and add emphasis to the new part. The guitar also changes from its picked pattern to a strum, adding contrast, and rhythmic variation. At the end of the second line of the bridge we can also hear a heavily distorted guitar in the background, playing a muted melody that helps to add weight and counter balance.
The vocals in the bridge are harmonised, creating texture and thickness. James Hetfield also uses a vocal tail off technique that makes the softer style of the singing more 'Rock'. This involves using lots of 'wow's, 'Arrgh's, and explosive breaths at the end of each vocal line.
During the second verse, the vocals quieten down again to their earlier vulnerable style. The drums play louder this time though with more of a heavy snap to the snare drum.
After only one verse, the bridge repeats once as before.
We then have a new musical section with the guitar playing a harmonised picked lead. This still uses minor key and classical style but takes us to a whole different place. The climbing melody adds to the song's emotional feel and the variation from the previous theme helps to keep the listeners attention. The guitar reminds that us we are in fact listening to a rock song by adding a bluesy riff at the end of this section.
The next verse is again joined by the watery synthesizer sound. Varying the instrumentation used when the same piece of music or singing is used regularly in a song helps to overcome the danger of losing your listeners attention. It adds variation, texture and helps to identify which part of the song you're in. It can also be used, as it is here, to build the song slowly but dynamically to a peak. The vocals throughout this verse leave the softer styles used previously and take on a gruffer, angrier edge.
This time the bridge is extended and builds with a drum roll to a peak where the solo kicks in. During the solo a heavily distorted guitar riff replaces the clean picked guitar part. This backing riff uses typical 'heavy metal' techniques such as palm muting to create a heavy, rhythmic wall of sound behind the solo.
Lead singer James Hetfiled plays the solo in this song. He frequently uses double string bends, especially in the opening sequence to give a really intense feel. His phrasing is easy for the ear to follow and uses melody instead of fancy techniques. He mixes in notes from the blues scale which again, reminds us of the more traditional rock edge the band have. He builds the solo well moving further up the neck, increasing pitch and ending with a hanging note that rings into the repeating intro section.
The final verse drops right down to bare bones. The drums have been omitted and the vocals are again vulnerable and soft. The intro section is played, as it was at the start of the song, and we finish where we started.
What can we learn?
* Intro uses classical finger picking style and sets mood for song. Although intro is long, we hear several changes in melody and our attention is fixed.
* Verses can have new sounds and dynamics added to make each slightly different from the other, and building in dynamics.
* Chorus uses strumming instead of picking, and harmony vocals.
* Instrumental section that uses entirely new melody helps to separate repeated sections of the song. Climbing melody helps to emphasise emotional element of a song.
* Later verse builds dynamics and delivery towards a peak.
* Extend chorus before crescendo of the solo.
* Use of melodic phrasing in solo, double string bends for intensity.
* Heavy backing during solo adds impact and musical weight.
* Dropping to soft sound at end and losing the drums takes us back where to we began.
for more song analysis go to:http://www.chordcoach.com/songanalys...lsematters.htm
tell me how did u like it ........................
a : k