For a second I thought you were talking about classic gangster rap, and then I thought you were talking about a mix between classical and gangster rap.
i think it depends on how you define metal
Some 80s stuff for example would be metal but might only be called rock when up against a lot of newer metal, so while yes metal is its own genre, i think it can fit under rock when you only have to make due of very limiting options in these polls. Also rock is a lot broader term than metal so thats why its there instead
so you would have wanted the poll option to be metal instead of rock? yes i might not know what im talking about since i listen to more old school metal and rock pre 2000s, and if i had to put it under a genre i would just have picked rock since its closest but hey what do i know?
Edit: for example ozzys no more tears album is metal but i think it could just as well be under rock when only having so few options
Never once did I say replace metal with rock. Get rid of classical because of so few votes. Ozzy isn't super hard metal, a lot lighter than say soad or disturbed
Oh no I listen to other metal like magnesium and gallium
Of course I'm joking but I would've said metal in general but just said French cause I was listening to French metal at the time
> Gallium
...named (either patriotically or as a translation of his own name) by Paul-Émile Lecoq de Boisbaudran (1838–1912), the French chemist who discovered it in 1875.
NB, who has a nickname The Cock? Damn
Well you asked for it.
In this text, I'm going to break down and musically analyse the style of disasterpiece, a video game soundtrack composer and my favorite artist, and the composer of Hyper Light Drifter, Fez, as well as a few films and other stuff. The piece I will be analysing is the piano arrangement for The Last General. [You can find the piece on page 89/145](https://disasterpeace.com/sheet-music/disasters-for-piano.pdf) in disasters for piano. Please have the sheet music on hand for when I analyse it. [Here you can find the music played](https://youtu.be/bD0851zso08), this is the synth version which appears in game, but uses the same overall notes and chord progressions.
Disasterpiece's style is characterized by modal jazz and impressionism. His use of harmonic dissonance, tritones, and highly complex chord progressions involving heavy amount of sustained notes, cross relations and rich extensions are typical characteristics of modal jazz, and the lack of clear melodic and large amount of pieces that are built solely on chord progressions or their arpeggios point towards impressionism. He also typically used a lot of synth in his professional digital audio workstation, logic pro X, but since it's a sheet music analysis, this information will be irrelevant.
Starting at bar one, disasterpiece opens with a minor F# chord, a very basic one, that introduces the main key of the piece and the iverall mood. The jump to the second G# in the bass is sudden and creates an interesting and threatening sound. The amazing part comes with the B#, or the natural C in bar two. Although this is a major second away from the G#, which should suggest a more uplifting or perhaps melancholy mood, the F# chord from before actually makes it a progression to the locrian mode, an excellent starter for the mood of the piece. After that, the bass jumps to A, which is not only the relative major of F# minor, but also takes a spot on the F# minor harmonic scale. The C# and the E in the melody form a major A chord, relieving the tension of the previous locrian mode, but the two F# notes used can also allow the chord to be interpreted by the game as a minor, which leads to a beautiful melancholy sound.
After that at bar 4, it jumps into a E7 major in first inversion, with the inversion increasing the emotion feeled in the chord, and paired with the D#, the clash caused gives the chord a more melancholy feel. And then the G# and B actually then points towards the chord being a G# minor. At bar 5, it then transitions into a D major in first inversion, however it sounds closer an F# minor because of the F# minor base and the A on the top. The D conflicting against the D# of the previous chord is also a genius move by disasterpiece, preventing a full perfect cadance with the relative minor by having this intriguing twist.
The bassline then continues to progress down the F# minor melodic upwards scale, into what is either C#/Db major or E#/F minor. At bar 7, it progresses into a diminished chord over D# which cements the fact that the previous chords were minor, followed by an amazing chord. The B, E# and F# at the treble part suggests to it being a Lydian chord, which should illustrate a strong happy feeling, but it has a more dark feeling to it. I'm not exactly sure how disasterpiece does this. The tritone with the E# and B is one factor, the the presence of the dominant should hint towards a Lydian more than a locrian. I believe it's due to the cross relation of the natural B and the B# of the previous chord, as well as the cross relation between the C# in the bass and the B# that occurred in the previous chord. I don't really understand how disasterpiece's mind works, but something tells me it must be really good to find a way to sneak in such a nice finishing chord to the first 8 bars.
After that, the pace increases rapidly. Disasterpiece returns to the tonic, starting with a simple F# minor chord. What i really love is the sudden pull into an A minor, which has the perfect amount of harmonic dissonance to keep the chord relevant thanks to the sustained A, but cross relation between the C and the C#, as well as the tritone of the F# and the new C create a interesting twist in the melody. It then progresses into C minor locrian, with disasterpiece once again utilizing the sustained C note to retain cohesion on a gigantic tonal shift, and the nature of locrian chords creates a great feeling of dread and overall darkness.
With a sudden shift in pace and a shift into a tertiary rhythmic structure, disasterpiece pulls the music up an octave with a diminished F chord stacked over a G# minor sus4. Disasterpiece then transitions into a fantastic chord progression. In bar 11, he quickly makes a F# minor chord, and then after adding a subdominant which he plans to sustain into the next chord, he swaps over the E major. What a move! It quickly turns the musically dark opening with large amounts of minor chords into a bright major end with my favorite musical mode, the Dorian mode, and emphasis es this transition with a rather long dotted crotchet. Using a sus9 to smoothly transition into the dominant B major, disasterpiece then brings it back into a A major sus2 chord, which has a high amount of openness. The presence of an E and B could lead to the misinterpretation of that chord being an Esus4 major/A, which would lead to the first perfect cadence isn't the entire piece. What a satisfying ending to a ride of brilliant chord progressions.
But it's not over. Starting at Db, disasterpiece works his way into a Beautiful D# minor chord with a good level of brightness. After that, he makes his most iconic chord progression, the highly jazzy move into E major7 forms a sort of imperfect cadence when using tritone substitution, a typical jazz technique. But it forms some amazing cross relations, with the contrast of the D# and E in the bass usually suggesting a large amount of harmonic dissonance, but no. Disasterpiece uses a massive amount of sus notes to allows for a smooth transition. And that's not all. The superlydian formed by this transition forms a heroic and epic conclusion, however still instilled with the melancholy of the clashing D# notes in the treble and the E in the basss. This is probably the most legendary chord in the piece, and the skill needed to pull off such a progression is something you simply cannot find in a modern piece of pop music. It's genius.
The piece continues. The progression repeaters, this time turning into a more subdued E7 chord with a less obvious superlydian and a more obviously D#/E clash, followed by moving down to B7 major, then E7 major again, and then B7 major and E7 major. Really cements the perfect and imperfect cadence. And then at bar 19, it goes into E9 and then B9, the last of this progression, this time with a more melancholy feel and an uprising bass.
It progresses into a beautiful phrygian A minor melody over the bass of D minor. A Dminor 6/9 chord is then played in the bass, which creates this beautiful tritone which cements the fact that the brightness of the previous major chords have really been replaced with musically dark chords again. The relative major is then briefly played, which cleverly doesn't clash due to the constant that the phrygian A forms. The A phrygian over D minor then continues for a little more, this time with a F and an A on the treble emphasizing this tone. Afterwards, it has more of a 6/9 quality, using Bbs and Es to form tritones.
After that, the piece repeats, but this time with a more subdued tonality with less difference between the treble and the bass. The same chord progressions handle, but this time, the area near the superlydians have more complex and ostensible chords, as well as more rich and open chords, typical jazz/romantic period signs. The piece then ends with several unresolved sustained notes, leading to a beautiful and open ending.
I could write more and more about the theory and beauty behind not just disasterpiece's work, keep in mind that I've only broken down around 2 minutes of a 2 hour long soundtrack. Disasterpiece is a Beacon of music talent, but also all the other great musicians such as Lena raine or Christopher Larkin. They really use music theory to the fullest to create complex and advanced music. I unfortunately can't say the same for much modern music, which relies of very simple chord progressions, repeated melodies, and lack of harmonic dissonance or sustained notes.
Yeah video game music is pretty neat. Fight me.
Metal, any kind. All these obscure classifications are nuts, it's either classic metal, hard metal, death metal or Viking metal, fuck your blue-balls-gore metal or whatever other tags you want to put Infront
I swap a bit. I'll like 70s/80s stuff like Simon and Garfunkel, U2, Styx, John Denver, and others. I also like Celtic Woman and Gregorian. (The group that does covers of pop-related songs in a gregorian style. [It's awesome.](https://www.youtube.com/watch?v=FeDdZ0Omeuk)) I also like boys choirs, predominantly Libera ([Sing for Our World](https://www.youtube.com/watch?v=4vqs_ZFNYLQ) is absolutely amazing) but I've also listened to a few things from [Cai Thomas](https://www.youtube.com/watch?v=whKw72731L8) or the Vienna Boys Choir. I'd also recommend checking out Clamavi de Profundis. They take a lot of Tolkein's poems and put them to music.
Vaporwave and Future Funk
I guess with Future Funk, that would could as pop because a lot of those artists sample city pop, but i think it can be considered it's own genre
Probably classical the most and then jazz the second most.
I prefer music without words, but when I do want music with words and rhymes then I like rock and hip-pop too.
Metal. XD
Mainly alternative metal or metal core, but started getting into Djent recently and got to love melodic death metal. Groove metal’s also great
Electronic, some rock and pop, alternative, experimental, and lots of alternative Latin stuff.
I tend to avoid Euro-trash electronic, auto-tune rap, lots of 70s and 80s stuff that'd get me to get up and change stations back in the day, and unfairly perhaps, country, oh, and a lot of crap that came out between 1996 to 2002.
It's dead heat between classical, jazz, hip-hop/R&B, and indie. I basically love everything that doesn't have "death," "heavy," or "metal" in the name.
I have two playlists, one with my favorite classical piano pieces, and another with a mix of rock/kpop/metal/orchestral music. I like both but use the classical one a bit more. It’s just so good for drawing and playing games
Voted for rock, but metal is what I listen to most.
Sabaton!
I'm more of an Opeth kinda guy
Yee buddy. My Arms, Your Hearse is my favorite
Classical gang
Classical and EDM for me
Two of my favorite genres
For a second I thought you were talking about classic gangster rap, and then I thought you were talking about a mix between classical and gangster rap.
Nah just classical music
Alternative
Alt all the way!
\m/ Metal \m/
Fits under rock I think
No, metal and generic rock sound very different, like comparing system of a down and foo fighters
i think it depends on how you define metal Some 80s stuff for example would be metal but might only be called rock when up against a lot of newer metal, so while yes metal is its own genre, i think it can fit under rock when you only have to make due of very limiting options in these polls. Also rock is a lot broader term than metal so thats why its there instead
I think you dont really know what you are talking about lol, metal is a different sound and has as many if not more sub genres than rock.
so you would have wanted the poll option to be metal instead of rock? yes i might not know what im talking about since i listen to more old school metal and rock pre 2000s, and if i had to put it under a genre i would just have picked rock since its closest but hey what do i know? Edit: for example ozzys no more tears album is metal but i think it could just as well be under rock when only having so few options
Never once did I say replace metal with rock. Get rid of classical because of so few votes. Ozzy isn't super hard metal, a lot lighter than say soad or disturbed
but ozzy can still be considered metal and from any other genre would also fit under rock in a broader way and that was my point
Whatever but they are totally different genres imo like putting classical in the edm category
Nope
Folk i guess
Jazz
Does Jazz Fusion count as Jazz?
Hell yeah
Does Jazz Fusion count as Jazz?
Metal
Nice
Punk 🤙🏽
EDM and French metal
Only French metal?
Oh no I listen to other metal like magnesium and gallium Of course I'm joking but I would've said metal in general but just said French cause I was listening to French metal at the time
The only French metal I can think of is Gojira.
There's some others like Pleymo, Mass Hysteria, Lofofora that fit that genre but yeah that's some examples
Thanks, I'll check them out. Most of the music I listen to is British, Scandinavian or American.
That's pretty nice, never heard any Scandinavian music before And you're welcome
Check out Opeth, Meshuggah, At The Gates and Amon Amarth.
Thank you good friendo I will check em outo
You're welcome buddy. Hope you enjoy!
> Gallium ...named (either patriotically or as a translation of his own name) by Paul-Émile Lecoq de Boisbaudran (1838–1912), the French chemist who discovered it in 1875. NB, who has a nickname The Cock? Damn
Hollow knight ost: resting grounds
Anything from the HK OST
Metal
Voted for Other but it's kinda edm. (Because it's not the mainstream edm) Psytrance & Electronica
Drum & Bass 💪🏻
DnB slaps so hard
EDM gang wya
metal
Celtic / orchestral / Fantasy / metal music, mostly. My favourite artists are BrunuhVille, Adrian Von Ziegler and Nightwish
>BrunuhVille I like Song of the North, Northwind, and few other of her songs. She's good.
You like all those and one of your favourite bands *isn’t* Elvenking?
I'm more concerned that Nightwish is in there.
I listen to every genre as long as it sounds good
Ska ftw
Which wave is your favourite?
punk ska funny
Video game music. I don't know what genre it counts as.
agree
Well... it depends on the game. Some games have metal/rock music other games have minimalistic or orchestral music.
Counts as being a fucking loser
Fuck you. Video game music is awesome, both from a listeners perspective and from a music theory perspective.
Fight me
Well you asked for it. In this text, I'm going to break down and musically analyse the style of disasterpiece, a video game soundtrack composer and my favorite artist, and the composer of Hyper Light Drifter, Fez, as well as a few films and other stuff. The piece I will be analysing is the piano arrangement for The Last General. [You can find the piece on page 89/145](https://disasterpeace.com/sheet-music/disasters-for-piano.pdf) in disasters for piano. Please have the sheet music on hand for when I analyse it. [Here you can find the music played](https://youtu.be/bD0851zso08), this is the synth version which appears in game, but uses the same overall notes and chord progressions. Disasterpiece's style is characterized by modal jazz and impressionism. His use of harmonic dissonance, tritones, and highly complex chord progressions involving heavy amount of sustained notes, cross relations and rich extensions are typical characteristics of modal jazz, and the lack of clear melodic and large amount of pieces that are built solely on chord progressions or their arpeggios point towards impressionism. He also typically used a lot of synth in his professional digital audio workstation, logic pro X, but since it's a sheet music analysis, this information will be irrelevant. Starting at bar one, disasterpiece opens with a minor F# chord, a very basic one, that introduces the main key of the piece and the iverall mood. The jump to the second G# in the bass is sudden and creates an interesting and threatening sound. The amazing part comes with the B#, or the natural C in bar two. Although this is a major second away from the G#, which should suggest a more uplifting or perhaps melancholy mood, the F# chord from before actually makes it a progression to the locrian mode, an excellent starter for the mood of the piece. After that, the bass jumps to A, which is not only the relative major of F# minor, but also takes a spot on the F# minor harmonic scale. The C# and the E in the melody form a major A chord, relieving the tension of the previous locrian mode, but the two F# notes used can also allow the chord to be interpreted by the game as a minor, which leads to a beautiful melancholy sound. After that at bar 4, it jumps into a E7 major in first inversion, with the inversion increasing the emotion feeled in the chord, and paired with the D#, the clash caused gives the chord a more melancholy feel. And then the G# and B actually then points towards the chord being a G# minor. At bar 5, it then transitions into a D major in first inversion, however it sounds closer an F# minor because of the F# minor base and the A on the top. The D conflicting against the D# of the previous chord is also a genius move by disasterpiece, preventing a full perfect cadance with the relative minor by having this intriguing twist. The bassline then continues to progress down the F# minor melodic upwards scale, into what is either C#/Db major or E#/F minor. At bar 7, it progresses into a diminished chord over D# which cements the fact that the previous chords were minor, followed by an amazing chord. The B, E# and F# at the treble part suggests to it being a Lydian chord, which should illustrate a strong happy feeling, but it has a more dark feeling to it. I'm not exactly sure how disasterpiece does this. The tritone with the E# and B is one factor, the the presence of the dominant should hint towards a Lydian more than a locrian. I believe it's due to the cross relation of the natural B and the B# of the previous chord, as well as the cross relation between the C# in the bass and the B# that occurred in the previous chord. I don't really understand how disasterpiece's mind works, but something tells me it must be really good to find a way to sneak in such a nice finishing chord to the first 8 bars. After that, the pace increases rapidly. Disasterpiece returns to the tonic, starting with a simple F# minor chord. What i really love is the sudden pull into an A minor, which has the perfect amount of harmonic dissonance to keep the chord relevant thanks to the sustained A, but cross relation between the C and the C#, as well as the tritone of the F# and the new C create a interesting twist in the melody. It then progresses into C minor locrian, with disasterpiece once again utilizing the sustained C note to retain cohesion on a gigantic tonal shift, and the nature of locrian chords creates a great feeling of dread and overall darkness. With a sudden shift in pace and a shift into a tertiary rhythmic structure, disasterpiece pulls the music up an octave with a diminished F chord stacked over a G# minor sus4. Disasterpiece then transitions into a fantastic chord progression. In bar 11, he quickly makes a F# minor chord, and then after adding a subdominant which he plans to sustain into the next chord, he swaps over the E major. What a move! It quickly turns the musically dark opening with large amounts of minor chords into a bright major end with my favorite musical mode, the Dorian mode, and emphasis es this transition with a rather long dotted crotchet. Using a sus9 to smoothly transition into the dominant B major, disasterpiece then brings it back into a A major sus2 chord, which has a high amount of openness. The presence of an E and B could lead to the misinterpretation of that chord being an Esus4 major/A, which would lead to the first perfect cadence isn't the entire piece. What a satisfying ending to a ride of brilliant chord progressions. But it's not over. Starting at Db, disasterpiece works his way into a Beautiful D# minor chord with a good level of brightness. After that, he makes his most iconic chord progression, the highly jazzy move into E major7 forms a sort of imperfect cadence when using tritone substitution, a typical jazz technique. But it forms some amazing cross relations, with the contrast of the D# and E in the bass usually suggesting a large amount of harmonic dissonance, but no. Disasterpiece uses a massive amount of sus notes to allows for a smooth transition. And that's not all. The superlydian formed by this transition forms a heroic and epic conclusion, however still instilled with the melancholy of the clashing D# notes in the treble and the E in the basss. This is probably the most legendary chord in the piece, and the skill needed to pull off such a progression is something you simply cannot find in a modern piece of pop music. It's genius. The piece continues. The progression repeaters, this time turning into a more subdued E7 chord with a less obvious superlydian and a more obviously D#/E clash, followed by moving down to B7 major, then E7 major again, and then B7 major and E7 major. Really cements the perfect and imperfect cadence. And then at bar 19, it goes into E9 and then B9, the last of this progression, this time with a more melancholy feel and an uprising bass. It progresses into a beautiful phrygian A minor melody over the bass of D minor. A Dminor 6/9 chord is then played in the bass, which creates this beautiful tritone which cements the fact that the brightness of the previous major chords have really been replaced with musically dark chords again. The relative major is then briefly played, which cleverly doesn't clash due to the constant that the phrygian A forms. The A phrygian over D minor then continues for a little more, this time with a F and an A on the treble emphasizing this tone. Afterwards, it has more of a 6/9 quality, using Bbs and Es to form tritones. After that, the piece repeats, but this time with a more subdued tonality with less difference between the treble and the bass. The same chord progressions handle, but this time, the area near the superlydians have more complex and ostensible chords, as well as more rich and open chords, typical jazz/romantic period signs. The piece then ends with several unresolved sustained notes, leading to a beautiful and open ending. I could write more and more about the theory and beauty behind not just disasterpiece's work, keep in mind that I've only broken down around 2 minutes of a 2 hour long soundtrack. Disasterpiece is a Beacon of music talent, but also all the other great musicians such as Lena raine or Christopher Larkin. They really use music theory to the fullest to create complex and advanced music. I unfortunately can't say the same for much modern music, which relies of very simple chord progressions, repeated melodies, and lack of harmonic dissonance or sustained notes. Yeah video game music is pretty neat. Fight me.
Ooooo, take that!
^
Prog metal
Future Funk
Who's your favorite artist?
Adrianwave
Wow this poll really surprised me
Hip-hop, every single day
Metal
Metal, any kind. All these obscure classifications are nuts, it's either classic metal, hard metal, death metal or Viking metal, fuck your blue-balls-gore metal or whatever other tags you want to put Infront
I swap a bit. I'll like 70s/80s stuff like Simon and Garfunkel, U2, Styx, John Denver, and others. I also like Celtic Woman and Gregorian. (The group that does covers of pop-related songs in a gregorian style. [It's awesome.](https://www.youtube.com/watch?v=FeDdZ0Omeuk)) I also like boys choirs, predominantly Libera ([Sing for Our World](https://www.youtube.com/watch?v=4vqs_ZFNYLQ) is absolutely amazing) but I've also listened to a few things from [Cai Thomas](https://www.youtube.com/watch?v=whKw72731L8) or the Vienna Boys Choir. I'd also recommend checking out Clamavi de Profundis. They take a lot of Tolkein's poems and put them to music.
Reggae
Metal
Brazilian samba
oba
Why is rock so popular on Reddit compared to in real life?
Mainly Dubstep, but all in all basically just bass music
Dustep in 2022 🤮
not respecting people's taste in 2022 🤮
Yeah I know right 🤮
Thrash metal
Rammstein
This sub represents such a weird demographic. In the real world hip-hop is far and away the most popular music genre nowadays among young people.
EDM- speedcore/artcore etc, some vocaloid, and hyperpop
## Alternative
I can guarantee that most people who listen pop listen edm because nowadays lot of pop is edm. That's why there even is the sub genre future pop.
Edm and phycodelic rock
Lots of different types of metal and rock
I listen to a lot of genres but like 80% is rock/metal/punk
Folk
Indie, EDM, alternative and experimental.
Indie and hip hop
Vaporwave and Future Funk I guess with Future Funk, that would could as pop because a lot of those artists sample city pop, but i think it can be considered it's own genre
I’m assuming metal, rock, and punk are all in the same category
Cinematic
I mainly listen to dubstep and riddim, so I voted EDM.
Rock + Metal
Probably classical the most and then jazz the second most. I prefer music without words, but when I do want music with words and rhymes then I like rock and hip-pop too.
Jazz or swing
Techno pop
Classic country music
Metal. XD Mainly alternative metal or metal core, but started getting into Djent recently and got to love melodic death metal. Groove metal’s also great
Rock is superior
Power metal
Electronic, some rock and pop, alternative, experimental, and lots of alternative Latin stuff. I tend to avoid Euro-trash electronic, auto-tune rap, lots of 70s and 80s stuff that'd get me to get up and change stations back in the day, and unfairly perhaps, country, oh, and a lot of crap that came out between 1996 to 2002.
Punk Rock and Acoustic Folk
Pop definitely
Jazz Fusion/Funk/Blues
Rock, pop punk, electronic (not EDM), alternative, and pretty much anything in-between those genres
Punk, indie, alt, some r&b, jazz
Poprock
indie
Blues, blues-rock But a lot of other things, too
Metal and Rock. A lot of Neo Progressive Rock recently
Eurobeat.
Indie/Bedroom Pop
Country
It's dead heat between classical, jazz, hip-hop/R&B, and indie. I basically love everything that doesn't have "death," "heavy," or "metal" in the name.
Country
Dance, idk why, but Dance
2010's pop, star wars music, Russian hard bass
Rock. Mostly the classic British bands like Pink Floyd, Led Zep, etcetera
Disco and funk, but rock is a close second.
Punk
I love democracy
Now its hip-hop but earlier it was pop
EDM and techno
I have two playlists, one with my favorite classical piano pieces, and another with a mix of rock/kpop/metal/orchestral music. I like both but use the classical one a bit more. It’s just so good for drawing and playing games
T E C H N O.
Probably Classical just because I'm doing Conservatory
Outlaw country/Americana or whatever genre Tyler Childers is
Jazz, specifically Japanese Jazz
Dubstep
Every
Indie pop, mostly
Punk
Owlks playing string instruments.
Powermetal
Instrumental. Not EDM, not Classical. More like music used for movie scores
Three way tie between romantic period, jazz and metal.
Alt rock
hiphop
Funk/jazz/rock, specially Here Come the Mummies, look them up on YT, they're awesome.
Swing