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God I hate when people are so damn close minded

You're claiming it's one chord with unintelligible screaming over the top. This is false.

Early death metal was simple, and brutal, as it was meant to be, however, it was NEVER one chord material. Metal, as a whole is based upon using sets of riffs, so by default it can't be anything like you described. (I realize that was probably hypberbole, however, it isn't the three chord per song stuff you're thinking of, either) Some later death metal is very difficult material to pull off properly on a technical and emotional level (such as Atheist and Gorguts' Obscura) even taking heavy jazz and classical influences at times, and the vocals range from the low grunts you speak of to higher range material. Some also focuses (wonderfully) on creating an atmosphere rather than technical ability of the musicians.

Tell me, what death metal bands have you heard?

Jazz is conversational by nature. I mean, just sit down with a good recording and listen to the solos.

That takes thought.

Most often, the people who don't like jazz generally don't like much thought to their conversations.

That's a major generalization though.

In my opinion, music is music. There's music everywhere. Whether its "that noise" coming from the car next to you, or even just the particular cadence and phrasing of human speech, music is everywhere.


Another reason people sometimes don't like jazz is because they just don't get it.

Music as we know has evolved over centuries. Jazz is merely another form its taken. A form with its own distinct harmonies.

Let's look at the 7th chord.
THis is actually pretty interesting. I asked my sax teacher why the dominant 7th got so popular. He mentioned something about part of it going back to the old black spirituals. The slaves of the south tried to convey their culture and emotions in ways that their current world would understand. As they were exposed to western music, they began to introduce their own cultural influences. Most noticeably was a bend in pitch, about a half step.
(I really can't explain how he did it, but he sang a little spiritual phrase that, given my experience with jazz, began to sound more and more bluesy)

> < poor explanation on my part, i know.

My point is that learning about the history of jazz harmony and essentially jazz theory gave me a greater appreciation for the music I love.

Someone who thinks that jazz is just pounding random chords in a smokey piano bar wouldn't get that.


It's true, jazz does get pretty experimental, but that's the fun part. Why do we like Giant Steps so much. The melody is hardly impressive. It's the harmony that gets you. I mean, its thirds. Thirds! That's interesting.


I don't get that kind of interest when i listen to the stuff on the radio. I don't get that when I listen to my friend's death metal, or his "fat beats."


Again, I'm going back to the conversational aspect of jazz. A long time favorite among fans.

People don't like instrumental music as much now. WHy's that? Do you absolutely need words to get the message of the song out. No. The fact that there are so many emotionally charged songs w/o a single sung syllable amazes me. That's another thing I find interesting about jazz.

The degree of control over pathos.

It takes a lot more skill to get a powerful message out, w/o explicitly saying it.

And as for the "complex harmonies" thing.
Sure, some people make some complex harmonies for death metal.

So what. Technical complexity isn't everything.
In terms of overall simplicity the song that gets me the most is Gershwin's They Can't Take that Away from Me.
What a great song. It's so simple. What's better is that Gershwin was able to make something that when played well, is immensely emotional, but when played not as well, is still pretty damn good. It's hard to mess it up.


A song with noticeably more complex harmonies, but a simpler melody ( i mean like two or three real ideas throughout) is Aguas de Marco, or Waters of March. Though the melody, the face, of the song doesn't do much moving, the song goes through all kinds of emotional hurdles.

(On a side note, look up the lyrics for that song. I know i asked you guys to in another thread, but just look up the lyrics for how they relate to this. That song has the best lyrics I've ever heard. It's just a bunch of haunting images. Never actually says what its about)


What this Orizion wrote about is merely a compositional concept hardly unique to death metal.

That's what I think is so funny about it.

One of my friends who's insanely into death metal even admits that he has to give credit where it's due to jazz.

I like fusion. Idk why so many of my friends dislike it.

No, these are my jazz inclined friends. Two members of my combo in particular.

I like fusion, and I like blues.

The only offshoot of jazz I don't really care for is smooth jazz. Some of it is fine. This one band, I think called Spyro Jyro, is interesting. That and there are some phenominal players who do smooth jazz.
Still, I just can't really get into it.