easycure

No, Orion, I wasn't saying that there are seven notes in Petrucci's riff; I was saying that there are generally 7 (or rather 12) notes, and the harmonic combinations that can be obtained by adding the variable of time are infinite. Aside from this, of course, the position of the solo means absolutely nothing; the fact that Petrucci has several references is a confirmation of what I've always said, and anyway you obviously limit yourself to the pure technical/interpretative aspect. Listening to the expression (or at least what is meant to be such), Petrucci's solo reminds me A LOT, but A LOT, of Gilmour's... :-) Putting the expressive aim before the means is for me, as I've already said, what Dream Theater have NEVER done. You will admit that they are famous for their embellishments, solos, various embellishments... and on the other hand, they wouldn’t have thousands of fans with their continuous display of technique. Now, can such a continuous display of technique be a "service" to expression? I highly doubt it... at the very least, they lack usefulness, viewed from another perspective of my argument... the aforementioned solo, for example, has no function in dragging on for over a minute... what is it, what does it want? Pure formal expedient. Just like the intro to Home, or the first three abundant minutes of Metropolis part.1, for example. What sense do they have? What do they say? They say: "we do prog metal, admire us for this" :-D ... indeed you say: "like when the typical 'charleston' motif of the Wild West was played with sounds and timbre in the rhythm distinctly hard rock, if not even metal"... absolutely original, even if it got a bit lost in the composition... "okay, so what? It’s the SENSE that’s missing.

Well, to me, Petrucci’s solo in its entirety really reminds me a lot, I mean A LOT, of Gilmour's. Of course, I repeat, it's obviously much more articulated and baroque; Petrucci has to show that he knows how to play... eh eh eh :-D Aside from that, those 4 identical notes exist, and since you wanted proof, I gave it to you, nothing more, nothing less :-) Besides, they may be 4 notes, but in any case, the intervals of time and harmonics are identical. :-) Is there no solo that doesn’t have 4 consecutive notes like solos from the past? :-D Come on, what are you saying? And you, a guitarist, are telling me things like this? :-D They seem simply ridiculous to me... furthermore, the "identical notes" can also be reworked a little to avoid making them sound exactly the same... the notes may also be seven, but the harmonic combinations, with the time variable added, are virtually infinite; there’s not much to be done. In any case, you wanted the exact moment, and I gave it to you. Irrefutable. To the anonymous, I sadly reiterate (and come on guys, a little attention) that I never said the two solos are the same in their entirety; I've always talked about individual "passages." If Italian is still understandable, I hope I’ve clarified once and for all.

no no, not that. In the latest posts, Orione has shared his thoughts, nothing to add. :-) Alex, I've only heard "Pink Flag" and "154" by Wire, and I honestly can't say much about their later works. But do you really find Pink Flag difficult? After all, it's quite a straightforward album!

Yes, exactly, you didn't follow the discussion much: Orion actually did not dismantle anything at all :-) and this about the solo is an example of that (not even the most glaring one, by the way).. bye!

sorry, don't they seem the same to you?? (I repeat that I'm not referring to the entire solo, although having listened to both again I must admit that Petrucci's very closely resembles Gilmour's in its entirety, even though it is obviously more beefed up and much more pompous).. that passage is simply IDENTICAL in both time intervals and harmonic intervals, we can discuss it as much as we want.. :-D anyway, I'm not clinging to anything, my argument was much broader, as can be easily noticed.. rather it was Orion who wanted to dismantle my examples at all costs, clinging to emphasize every one of my statements. anyway, I replied to you, two posts below yours is my answer :-)

Wow, nobody's commenting anymore :-D ..why is that? Is it "spirit" at 4.11, "shine" at 9.57 that’s bothering you? ;-) he he he

Incredible but true: I agree with you! :-D I also only like the Strokes from the first two albums, especially the first one to be honest.. goodbye!

Hi! I'm waiting for your more complete response. Oh, by the way, I haven't noted any further attempt at "correction" on the solo of "spirit.." what’s up with that? :-D Just in case someone missed the post above (just to have a laugh eh): spirit at 4:11, Shine at 9:57 he he he ;-))

well, it’s not like I exactly spoke well of them either, as you can see ;-)

Well? The point is, the final point of the "demonstration," is that what is lacking to truly make this fusion organic is the END. What is the point of playing a prog phrasing with palm muting? I don't see it, apart from obviously proving you can do it. This is in contrast to the RHCP, who blended rock and funk with the precise intent of playing "physical" music that explored the erotic side of their life experience. Or Korn, intrinsically postmodern, musically outlining the existential chaos of American metropolises, with their music so visceral and at the same time so alienated. My Bloody Valentine, who transcend the listener deep into their own self, to get lost in the unconscious, to rediscover dreams. What do DT express? What vision do they have? What nightmares do they externalize? What worlds do they build? But none, how could they? They are so overwhelmingly scattered and lost in their references that they completely and constantly lose sight of the most important factor, expression; they conform to genres, they don’t utilize them.