orphy wrote:
Haha yeah I know it's the same chord progression, but I never really thought of it as chromatic, although I suppose it does feature two parts where three of the four chords have one note that goes up each time.
Technically speaking it's not actually a chromatic progression because that term is usually used when the bottom note/root of the chord moves up or down by half steps, the Ktulu/Hanger 18 progression has a 4 note set in the middle of the chord voice that moves up by half step, but the root isn't always the note that's moving up in that fashion. The Phantom Lord/This Was My Life/Use The Man progression is a bit closer to this concept, but even that one doesn't consistently move in a chromatic fashion (the root jumps up from the first to second chord then descends chromatically back down). Truth be told, the only Mustaine progression that really fits the term he used in the review is the verse riff of Devil's Island.
Ilwhyan wrote:
If I remember the intro correctly, the chord progression isn't simply chromatic. There's a lot of minor sixth feel between the first two chords - you know, that typical metal chord progression that Iron Maiden has based entire songs on.
Yeah, it's not technically a chromatic progression in the proper sense, the chromatic element comes into play more when you jump from the 2nd chord to the 3rd and then the 4th chord, and it has to do with the 3rd interval rather than the root of the chord. This part of the progression is not as common in older heavy metal, though interesting it was used during Iron Maiden's mid-80s era extensively from Powerslave through Seventh Son. If you actually break down the total structure of Hanger 18, it could be seen as a thrash metal tribute to the Seventh Son title song, especially that dueling guitar solo battle during the 2nd half.
Okay, that's enough geeking out on music theory for this week. lol
Although I am very happy at least SOMEBODY reviewed it AND Living Mask FINALLY.
