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Duet With Me - a free play along duet series(three new videos uploaded)

I just uploaded three more play along videos for my Duet With Me series to YouTube. And there are 10 sets of sheet music already on my site, all of it transposed for every instrument. (bradharrison.ca/duetwithme)
I really hope you find these useful for yourself or your students. Be sure to subscribe because there are more videos coming soon!
Don't Step In The Hole - grade 1, easy notes and rhythms but this was composed for counting practice for beginners. Two versions in Bb and C. https://youtu.be/DWsY-rXlWXw
Noble Flourish - grade 2, processional style with fanfare and lyrical elements. 3/4 in Eb major. https://youtu.be/mq1QHFm2gnI
Minor Thrill - grade 3, harmonic minor and slightly technical. https://youtu.be/MwyKgs61gAw
submitted by Brad_Harrison to Learnmusic

Trends in metal releases 1980-2017: formats, genre tags, countries

The Metal Archives' search function is a nifty tool that lets you search for bands and releases with lots of complex filtering options. Like a good search engine, it also tells you the number of hits your query returned... which means it can be abused to create time series of different queries' popularity over time. For example, you can say "give me all full-length releases from Sweden from 1980" and then "give me all full-length releases from Sweden from 1981", etc. and get a neat list of how many full albums were released in Sweden over the years.
I've been playing around with this a bit and have some (hopefully) interesting graphs to show you.

Total output over time

For starters, Figure 1 shows the number of full albums released each year (as far as the Metal Archives know). As you can see it has grown, and grown, and grown. From 63 albums in 1980, we are now seeing almost eight thousand metal albums a year. I don't know how SomethingOverThere manages to keep up with it all...
The fanbase has grown, of course, but the most important factor is probably the massively reduced threshold for recording and distributing an album, thanks to the internet and cheap digital recording tools.


Back when that threshold was still pretty high, some bands could maybe afford to have a few singles pressed but never made it to a full album. deathofthesun specifically mentioned this as a blind spot when focusing exclusively on full-lengths. So here's Figure 2 which shows other formats as well. Figure 3 shows them relative to the number of full albums, putting them into some more perspective.
Conclusion: DOTS was right, but only for the very early years (we were talking about the NWOBHM, so fair enough). Already by 1985, more albums than singles were coming out. Demos remained more populaaccessible than albums for a good long while, though.
Looking at Figure 2, demos show the most interesting curve by far. There's a curious little plateau in the 1990s (maybe something to do with the switch to CDs? But didn't demos usually come out on cassette tapes? Those were still pretty popular until the early 2000s as far as I remember...). Then the curve picks up again before peaking dramatically in 2005 and dropping off. At first I thought this was just a matter of semantics -- in the digital age, it's pretty much up to the band whether they call their first 3-track release a "demo" or an "EP" -- but the rise in EPs and singles doesn't balance out the sharp decline in demos at all.
Note #1: As you can see, Figure 3 starts in 1980, unlike 1 and 2 which started in 1970. This will be the case for all figures below as well -- there are so few releases from the 70s that going that far back means adding pointless white space at the left on absolute-numbers graphs, and basically plotting noise on relative-numbers graphs.
Note #2: Interesting as these different formats are, all figures below will plot exclusively full albums, because those can be compared one-on-one -- whereas "10 releases" can mean something very different if it's 9 albums and 1 single than if it's 8 singles, 1 album and 1 demo.


This is my favourite part. M-A allows you to enter genre search strings, and will then turn up releases from bands whose genre tags match that string. This allows us to visualise the rise and fall of different subgenres over the years.
Note #3: Many bands change their sound over the years, which M-A represents in their genre tags as "Black Metal (early), Dark Ambient Grindcore (later)". The database isn't quite so sophisticated yet that such bands' albums are tied to different tags depending on when they came out -- so their albums from their black metal period will show up in a search for "grindcore". This is why e.g. Anthrax or Overkill's '80s releases show up in the numbers for "groove" (shudder). However, this form of noise seems to be relatively rare.
That being said, here's Figure 4 which shows the full albums released per genre tag per year, as a percentage of all full-lengths released that year. Note that this tends to sum to more than 100% because of M-A's frequent use of overlapping genre tags, e.g. "Heavy/Speed/Power Metal". (You can also plot each tag's absolute album output per year -- Figure 5 -- but that's much more boring; any interesting effects tend to get buried in the all-encompassing upward slope.)
(The numbers for the "death" tag were generated with the search string "death -melodic", by the way, so excluding results that had "melodic" in the tag.)
So let's talk about Figure 4. Some interesting points:
  • The dominance of trad ("heavy") declined more slowly, and kept declining for longer, than I realised. By 1990 -- when the Standard Metal History Canon hasn't even mentioned trad in years -- a whopping 46% of all albums are still coming from bands with "heavy" in their genre tags. And the downward slope continues until the late '90s -- and even up to the present day, albeit much more slowly. Trad revival? What trad revival?
  • Speed and thrash are the only tags that truly show a rise and fall -- thrash most dramatically so. Speed peaked in 1986 when 17% of all albums come from bands with that tag, though it must be noted M-A curators are pretty generous with the "heavy/speed", "speed/power" and "speed/thrash" tags for bands from this era.
  • There's an interesting lag between a genre's creative heyday and its quantitative peak. Thrash peaks in 1989, when it was already past its creative prime according to most reviewers. Same for death in 1993 (except with death it's more of a plateau than a peak, as the percentage doesn't really drop afterwards). Black metal only hits its quantitative stride in the late '90s when its classic albums have been out for years. You really see the effect here that, when pioneering bands break new ground, the rest of the scene takes a while to catch on and jump on the bandwagon in large numbers.
  • Contrary to popular belief, groove did not "take over" in the 1990s. At its peak in the mid-'90s, it only accounted for 6% of all albums; since then it has remained mostly stable around 3-4%.


I was initally just going to plot the classic "big" metal countries: US, UK, Germany, Sweden. Then I added some others with more-or-less notable metal scenes to see how they compared: Norway, Finland, Brazil, Canada, the Netherlands, Switzerland, France, Italy, Greece, Australia, Poland and the Czech Republic. Then I added Denmark because I was curious how they compared to the other Nordics. The result is shown in Figure 6.
Some highlights:
  • The UK obviously starts out dominant, then falls and falls until it's just another one of the small players.
  • Germany is nice and consistent between 10-15% until the early 2000s when it gradually starts falling behind.
  • The US peaked hugely in 1986 (40%!), then dropped off sharply, but they're still the dominant force by far.
  • Sweden manages to shake off the pack during most of the 1990s (the heyday of Swedeath and the Gothenburg scene) and then drops back in the early 2000s.
  • Italy has become a more prominent contributor in recent years, now in third place behind the US and Germany.
What's also interesting is that the sum of all these countries' shares, which was fairly constant around 80% in the '80s and '90s, has dropped to 67% in 2017. This means that one-third of contemporary metal albums is not coming from anywhere that could be called a "classic metal country" by any stretch of the imagination. Probably this has to do with non-First World countries getting wealthier and more "connected", giving bands in those countries more access to resources and networks to play, record and distribute their music; this would be an interesting thing to investigate in a follow-up post (to what extent does this opening-up of new fertile ground drive the steady growth in Figure 1?) but I don't really know where to start. Indonesia? Mexico? Colombia?
Anyway, I went one step further with the countries I had in Figure 6, and compared the number of releases per country per year to population statistics. There was already a map showing the number of bands on M-A per 100,000 inhabitants but I was interested to see how those different degrees of "metalness" developed over time. So I grabbed some historical population data from the World Bank and got cracking. This produced Figure 7.
The most obvious point here is that Norway, Sweden and especially Finland take a crazy lead over everyone else, starting in the early '90s. Finland, with just five million inhabitants, is now putting out a whopping two hundred metal full-lengths a year! Denmark, meanwhile, is nowhere near its Nordic brethern.
For the rest there's not much that jumps out about Figure 7, except the Czech Republic and Greece trading places as "best of the rest".

Closing remarks

This was lots of fun to do. Questions, feedback, and suggestions for follow-up analyses are welcome!
The data is here. I'm thinking about the best way to share the code so more people can play around it and create time series for their own custom filters -- will try to get the hang of Github or something similar.
submitted by midnightrambulador to Metal

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