Very mixed.

Loved the idea, but the production in this vid didn't do it justice.

Couldn't stand the on-screen comments, but then they come out with "FRICK YEAH 3RD MOVEMENTTTTTTTTT" and "THOSE ARPEGGIOS".

Overall, though, I just appreciate someone doing something a little different.

Playing Glass on the piano is the closest I get to meditation. I haven't mastered this piece yet - I suspect my touch just isn't light enough for the rapid arpeggios of the second second - but playing the first section is beautifully zen.

This video is an arpeggio of awesome!

Easiest song to learn I think.

Frijid Pink version
http://www.ultimate-guitar.com/tabs/f/frijid_pink/house_of_the_rising_sun_tab.htm
------------------------------------------------------------------------------------------
Guitar noise lesson on House of the Rising Sun by The Animals
http://www.guitarnoise.com/lesson/house-of-the-rising-sun/

The Frijid Pink version is intermediate due to the lead breaks, and the intro.

The Animals version is pretty straight forward. For timing listen to the original version. Then figure out what 6/8 timing really means; each 8th note gets a beat. So that means 6 beets per measure and each one is an 8th note. To see this watch the original version and count each time the lead guitar hits a note.

Below is an explanation of The Animals version.

The guitar part is a Arpeggio. The wiki describes a Bach arpeggio to be in 6/8 timing with 6 8th notes in a measure. Which is exactly the way The Animals have the lead guitar on this song.

You can think of this count as 1,2,3,4,5,6 and then 6,5,4,3,2,1 repeat.

These are the first 4 bars of the song as tabbed by an Unregistered user at www.ultimate-guitar.com

As you can see there is an extra note in this tabulation, and it is in 7/8 timing. Which is incorrect.
INTRO
Am C
E---------------0------------------------------------0-----------
B-----------1--------1-------------------------1--------1--------
G--------2----------------2--------------0-----------------0-----
D-----2-------------------------------2--------------------------
A--0------------------------------3------------------------------
E----------------------------------------------------------------

E------------2---2--------------------------------1---1----------
B---------3----------3-----------------------1------------1------
G-----2------------------2---------------2--------------------2--
D--0---------------------------------3---------------------------
A----------------------------------------------------------------
E----------------------------------------------------------------
http://www.ultimate-guitar.com/tabs/a/animals/house_of_the_rising_sun_tab.htm

This version can be found in the link to Guitar Noise, and is the most correct. Written By: David Hodge.
http://www.guitarnoise.com/lesson/house-of-the-rising-sun/
Am C
E---------------0------------------------------------0-----------
B--------------------1----------------------------------1--------
G--------2----------------2--------------0-----------------0-----
D-----2-------------------------------2--------------------------
A--0------------------------------3------------------------------
E----------------------------------------------------------------

E----------------0------------------------------------0----------
B--------0-----------1-----------------------0------------1------
G-----2------------------2---------------2--------------------2--
D--3---------------------------------3---------------------------
A----------------------------------------------------------------
E----------------------------------------------------------------

http://www.ultimate-guitar.com/tabs/a/animals/house_of_the_rising_sun_tab.htm

what ...the....FUCK did i just watch?
this video had me mouthing off like don rickles on a crystal meth bender but i'll curb my urge to eviscerate this....*cough*.....music?
talent aside...and lets be up front..these guys have some talent but the whole "arpeggio/melodic/overload with lyrical operatic overtones" was already done by jason becker and marty friedman in the 80's.if you like these guys you will most likely enjoy CACOPHONY.
i'll upvote on the bizzar factor but not on content.this song is...yeesh.../cringes.
meh../shrugs..maybe its just me but it seems they should be played at 33 RPM's and not 44 RPM's.
and i am by no means a purists,my music tastes are extremely eclectic but i'll listen to death metal before being subjected to this.
sorry guitarwolf but i cant join ya in appreciating this band.
seems you really like them.

>> ^codenazi:
the voices and instrumentation sounding in Mozart's head are communicated by some strange sort of psychic transfer to Salieri
I know they are (trying?) to be poetic here, but this is one of my favorite scenes ever put to film because of how not "psychic" it is. It's the best example I know of as to why studying music theory is important.
For one that has studied the theory and (spoken) language of music, saying lines like "violins, arpeggios, a descending scale in 8th notes, and then back to the ostinato again" is a highly accurate description of the violin piece for Voca Mei. He had said that it started in C with the vocal part earlier, so no more really needed to be said.
Such a well done movie, though...


I think what he's trying to say here is...Mediocrity, I absolve thee.

I think he accidentally set his autotune to "arpeggio"

Needs electric guitar. This song loses so much without that awesome arpeggio.

EDIT - Actually, instead of just listing it, I'll copy out my descriptions of them too since I already wrote this up for another forum:


1. The Flashbulb - Soundtrack to a Vacant Life | Instrumental | 4.5/5

Simply put, a seamless, sweeping epic of genres that dabbles in everything from sombre piano ballads, to upbeat flamenco, caustic electronica, serene ambience, rhythmic percussive tribal drum sections and haunting string sections, imposing every possible emotion on the listener. If anything, the sole weakness is that the rough 2-3 minute length of each of the 31 songs means they don't work so effectively as standalone compositions but as verses in a protracted poem, making the idea of listening to the entirety of it a tad daunting.


2. Protest The Hero - Fortress | Progressive Metal | 4.5/5

Metal that while relatively intricate yet melodic enough and hell, catchy enough to avoid divulging into incomprehensible technical wankery. Lyrics abound with references to goddesses and dethroned kings but it's decidedly tongue in cheek. Perhaps the biggest weaknesses resides in a lack of coherence, a tendency for the album to mesh together as a string of riffs, with little sense of a recurring chorus or verses within songs, but then you can take that as a plus depending on how you look at it. Besides that and a couple of immensely obnoxious vocal lines it's a pretty solid effort all around.


3. Blue Sky Black Death - Late Night Cinema | Instrumental Trip-hop | 4.5/5

One of the least expected surprises this year for me, partly because I generally despise anything that relates in any way to hip-hop or remixes yet I was sold on first listen. It’s just such a supremely chilled out but simultaneously melodically multilayered album which weaves hip-hop/trip-hop styling with a fairly significant utilisation of violins, trumpets, keyboards and an organ, capping it off with a distinct jazz tinge.


4. In Mourning - Shrowded Divine | Melodic Death Metal | 4/5

Genre-wise they’re probably best described as melodic death metal based but with progressive and doom influenced sections, reminiscent of Opeth, but not exactly the same. I initially junked this when I first picked it up but it’s grown on me immensely since then. There’s nothing immediately about them that sticks out as particularly impressive, the riffs aren’t all too complex, the melody isn’t overly diverse. If anything the drumming is quite good and both the harsh and clean vocals are solid. Nevertheless they clearly have a knack for creating memorable melody lines, and many minor touches such as the use juxtaposed clean and harsh vocals of essentially the same lines, coupled with a number of sexy breakdowns and a consistently bleak and permeating tone really make this album memorable in some indescribable way.


5. Transcending Bizarre? - The Serpent's Manifolds | Avant-Garde Black Metal | 4/5

Typical black metal brain mashing, but nicely broken up by violin sections to prevent migraines! Again it really feels like this band just clicks, but that not to say they can’t put out some impressively melodic riffs, and solos or bring it intensity-wise. In terms of criticism, there’s probably too much reliance on violin for a metal album, but that’s a very subjective disparagement, also a select few sections drag a bit ... oh and the intro is obnoxious and highly skipable. Oh and keyboards, oh the humanity! Run for the hills!


6. Thrice - The Alchemy Index - Vol.3 & 4 Air & Earth | Experimental Rock | 4/5

Partially successful but suffers from issues strangely distinct from the first two volumes. Whereas the first two could perhaps be argued to have taken the element concepts too literally both melodically and lyric-wise, this time around there are fairly tentative connections to the elements. With Air there’s simply a heavy use of reverb and echo to create the impression of an expansive soundscape, among a number of other tricks; whereas Earth is merely embodied by heavy use of stripped back and stark acoustic guitar with an American folk grounding. In all, neither really captures the concept as effectively as the haphazard, chaotic, distorting Fire; and if anything the biggest weakness of Air is it doesn’t distance it enough from the seeping smoothness that characterised Water to offer anything particularly distinctive. All in all it still remains an intriguing unconventional attempt with a number of standout songs, particularly the sonnets that outro each of the volumes oddly enough, led by consistently strong vocals.


7. Bar Kokhba Sextet - Lucifer The Book of Angels - Vol. 10 | Jazz | 4/5

I'm not really qualified to comment on or critique jazz as I'm very much a neophyte to it, but this is some excellent stuff.


8. Lights Out Asia - Eyes Like Brontide | Post Rock | 4/5

To me the main element any post rock effort needs to really be effective is a pervasive, consistent atmosphere, which this album abounds with. It doesn't fall into clichés such as blasting you into submission by badgering you with volume changes, or an over reliance on monotonous arpeggios, but builds upon subtle layers of sound to create a vast, rich soundscape of echoing guitars, staccato electronica beats and fleeting vocals.


9. Opeth - Watershed | Progressive Death Metal | 4/5

Disappointingly inconsistent by their standards, but still a pretty solid album all around. Some songs definitely drag massively, and certain parts sound technically overindulging and tiresome particularly the outro to Burden. On the other hand in my humble opinion it also has some of the best songs they have written, the way the progressive acoustic guitar section fades in and out in Porcelain Heart for example is seamlessly mesmerising, Hessian Peel is almost equally memorable. Regardless this is no Blackwater Park unfortunately.


10. Mutyumu - Ilya | Post Rock | 4/5

Post rock doesn't really give this band justice. It's like an odd mix of opera and hardcore Japanese vocals, with heavily piano reliant post rock grounding. Awesome? Somewhat. Half the time its carried by stirring complex but seemingly effortless piano and string sections unfolding at a blistering pace coupled with occasional strangely effective hushed murmurs, yet the other half of the time it cascades into almost unbearable droning repetition. Now given that, Prayer is damn well one of the best post rock songs I have ever heard and it really is a pity that the rest of the album wasn’t equally brilliant. I probably overrate this a tad too but well ... goshdarnit it’s all gotta be about job creation and shoring up our economy.

The key of Am.

Played with arpeggio and strong mid treble balance.

Very simple but excellent arrangement.

Power over 9000

he was a bit sharp on the 57th note of the 13th arpeggio

Very entertaining, thanks for the post. Although a riff can be any repeating motif, rock guitarists tend to think of them more in terms of repeating single note phrases. (Don't you hate know-it-alls.) Stairway to Heaven we would consider more arpeggios than a riff. Still, there's no doubt it's the most instantly recognizable set of arpeggios in rock music history, (although don't play it in a music store....that could get you shot, or, at least, dirty looks and a possible toss out the door.)
I'd like to add a couple more classic riffs,
(1) Sunshine of your Love - Cream
(2) Heartbreaker- Led Zeppelin
(3) Aqualung- Jethro Tull

and a few more obscure
(1) Blood of the Sun - Mountain
(2) Nantucket Sleigh Ride (the bridge riff) - Mountain
(3) Siberian Khatru - Yes

Thanks again for a great post! Classic stuff.

Very awesome idea. At the risk of sounding callous though, I think he needs to work on it a bit more. The arpeggios from around -0:35 on are not precise. If you want to know what I mean, check http://www.videosift.com/video/Paganinis-Caprice-24-by-Heifetz

ok, so check this one actually: http://www.videosift.com/video/Some-insane-violin-skillz-part-slo-mo

AAAAAAAAACK!

Screw buckehead! I can beat every other freaking song in both GH and GH2, but that one is just rude with those extended solos of solid arpeggios and scales.

Even with full star-power going in, I still can't get past 57% - half way through the 2nd part of the big solo in the middle.

Grrrr....

/the song is cool, though, so I really want to be able to play it...
//runs and hides now

the voices and instrumentation sounding in Mozart's head are communicated by some strange sort of psychic transfer to Salieri

I know they are (trying?) to be poetic here, but this is one of my favorite scenes ever put to film because of how not "psychic" it is. It's the best example I know of as to why studying music theory is important.

For one that has studied the theory and (spoken) language of music, saying lines like "violins, arpeggios, a descending scale in 8th notes, and then back to the ostinato again" is a highly accurate description of the violin piece for Voca Mei. He had said that it started in C with the vocal part earlier, so no more really needed to be said.

Such a well done movie, though...