I always liked the music of Haydn, Mozart, and in general, the Vienna Violin School. I remember it was 1984,when we began to be assigned to study short pieces by Haydn, it was in music school,Then later, I bought a tape with Haydn's symphonies, there was the 26th symphony, which I liked right away...The way it was structured, or constructed, if I may say so...Finale became my great helper, when working with midi and all that... This is how Neptunus symphony appeared,which is presented on this site in a shortened version without Octavian (part 3) Once I found myself in a Moscow studio. WHERE I BROUGHT THE GREAT KORG N5 SYNTHESIZER. I still use it as an external sound module, there is a very beautiful organ and harpsichord here ... I also had a book of Das Wohltemperierte Klavier I (J.S.BACH) BWV 846-869,Urtext der Neuen Bach-Ausgabe ... (Interludus) I wasn't very good at string skipping, and playing some exercises was boring and uninteresting... That's why I had to compose a certain etude, where this element was practiced, 1-3,2-4,3-5, as well as what John Petrucci talks about in his instructional video - interstring trap ... (Octavian) ... I've always liked the neoclassical style in which Swedish guitarists work. On the one side. On the other side, I've always been inspired by Mozart's music... Having worked at the intersection of these two directions, I quickly sketched out sketches for a new improvisational composition, and in 20 minutes everything was already recorded in my home studio... Improvisata A few words about Jacob Kjaer's rhythm guitar parts Jacob Kjaer uses quite original rhythmic figures and strokes on the album "Moving target". Here we can see an interesting picture - individual rhythm figures are combined into chains, and then it all begins to resemble a certain melodic rhythm contour ... In general, if we imagine for a minute that instead of a rhythm guitar, for example, a string quintet would sound here, then we get that Jacob Kjaer plays the part of at least a small symphony orchestra... This is somewhat different from what the Swedish guitar school shows us, it is enough to get acquainted with the transcriptions of Wolf Marsha And a couple more phrases about the album "Trilogy" (Y.Malmsteen) I can't ignore such a fundamental album as "Trilogy", for all neoclassical metal ... One day I went to the editorial office of the music magazine IN / OUT and bought a printed edition of the album "Trilogy" there, the transcriptions were made by Wolf Marshall. Here, for some reason, we are offered some extreme fingering for performing a two-string arpeggio, yes, it was fun) But let's skip this misunderstanding, yes. The album is replete with a large number of unique and very beautiful neoclassical phrases, which have already become a basis for everyone who studies sympho-metal. Throughout the album, the tension builds, and in the end, a worthy finale awaits us - the suite "Trilogy", many people broke their "swords" on this composition ... After listening, many have many questions - how is it played, what techniques, and so on. As it turned out later, a lot is played with the so-called hybrid picking, you don't have to play every note with a pick.) The guitar sound on the album deserves a separate discussion, but Fender here sounds very close to the "violin sound", the same we find on the album fire and ice... A very correct sound! It really is worth a lot...But all questions are easily clarified in the Powerhouse project P.S.Such albums as "Trilogy" are not released for no reason) With such a huge number of ideas, great pressure and embedded meaning.That's why the album "Trilogy" is super motivated,Yngwie raised the "bar" very high with this composition... In his performance it even reminds me of some of Paganini's caprices,And here, as they say in Russia, "You can't ride up on a lame mare")The text stopped loading for me, so I'll continue https://nc-strings.blogspot.com