The evolution of harmonic and modal approaches in the music of death within the context of heavy metal

The music of the band Death, led by Chuck Schuldiner, diverges from classical heavy metal not only in terms of stylistic elements but also through the discipline of music theory. The primary aim of this study is to reveal how Death's music differs harmonically and modally from traditional/classical heavy metal by referencing highly representative examples of riffs, melodies, and solos that constitute the narrative elements of the genre, and to demonstrate how this differentiation is structured at the level of music theory. In this research, qualitative methods were employed in harmony analyses conducted through descriptive explanations based on score analysis. The analysis process was structured around the identification of harmonic structure, modal diversity, compositional techniques, scalar expansions and deviations, as well as the use of advanced scalar constructions. The analytical universe of the study encompasses seven albums released by the band Death, from Scream Bloody Gore (1987) to The Sound of Perseverance (1998). For Death, two highly representative excerpts were selected from each album, except for the final album from which four excerpts were selected. In order to better assess the elements that distinguish Death's musical language from classical heavy metal conventions, the research also included examples from significant representatives of the history of heavy metal prior to and during Death's period, which also reflect the technical and material aspects of heavy metal. Accordingly, a total of 78 pieces—16 from Death and 62 from other bands—were included in the study and analyzed. These pieces were selected considering harmonic, scalar, and historical contexts and were evaluated as reference points forming the basis for comparative analysis. The findings demonstrate that heavy metal music is largely based on traditional modal structures such as Aeolian, Phrygian, and Dorian modes, and also contains harmonic influences from blues and jazz, such as the blues minor and bebop scales. The power chord, based on the perfect fifth interval, is shown to function both as a unison and as a harmonic element. With the fragmentation of the genre into subcategories, it has been observed that detailed theoretical elements such as modal expansions and chromatic alterations are used more distinctly and functionally, depending on aesthetic preferences. It has been identified that Chuck Schuldiner worked not only with traditional modes such as Phrygian and Aeolian, but also with detailed and diverse modes/scales that can be explained through structures such as octatonic, Phrygian dominant, and Messiaen's modes of limited transposition. In Death's music, the perfect fifth interval provides melodic direction and, unlike the power chord, has become a structural element that defines the character of riffs. Schuldiner made limited use of classical Western harmony based on triads and tertian structures; instead, he developed a multi-layered harmonic construction based on polymodal and modal structures, which became a defining element of the band's aesthetic. From the Human (1991) album onward, a notable deepening in Schuldiner's harmonic language has been observed. Chuck Schuldiner's compositional approach goes beyond the instrumentally technical methods commonly found in classical heavy metal music. By combining virtuosity with stylistic depth, he expanded the harmonic and scalar capacity of the genre and exhibited a distinctive compositional identity. The contributions he made through his compositional techniques can be considered concrete indicators of compositional understanding in heavy metal music.