Metallica
Band Bio
The band, Metallica, is currently made of four
musicians; James Hetfield (lead vocals and guitar, born
August 3rd of ‘63), Lars Ulrich (drums, born December 26th
of ‘63), Kirk Hammett (lead guitar, born November 18th of
‘62), and Robert Trujillo (bass guitar, born October 23rd of
‘64).
Albums
> Kill ‘em All
> Ride The Lightening
> Master Of Puppets
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
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> … And Justice For All
>Black
> Load
> Reload
> Garage Inc.
> S&M
> St. Anger
Band Bio cont.
 Originally, the band was made up of James
Hetfield, Lars Ulrich, Ron Mcgovney and Dave
Mustaine. The demo “No Life ‘Til Leather” was
made and circulated.
 Cliff Burton was added in ‘82 to play bass after
McGovney’s left the band.
Kirk Hammett joined the group in ‘83 after
Mustaine left and now plays lead guitar. They then
release “Kill ‘em All”
 Picked up by Elektra and Qprime in ‘84.
September ‘86, Cliff Burton is tragically killed in
tour bass accident. Metallica plays ‘Orion’ at his
funeral. Jason Newsted is new bass player.
 ‘One’ becomes first music video for the band,
using footage from the movie, Johnny Got His Gun.
Band Bio Cont.
 In 1999, Metallica collaborates with
composer/conductor Michael Kamen and the San
Francisco Symphony and they “bring new dimension to
classic material” (www.metallica.com).
 ‘No Leaf Clover’ comes from this collaboration and is
released on S&M.
Composition History
‘Orion’
• Written by Hetfield, Ulrich and Burton.
• Released on “Master of Puppets” album, 1986,
by Elektra Records.
‘One’
• Written by Hetfield and Ulrich.
• Released on “…And Justice for All” in 1988.
• Inspired by the movie, Johnny Got His Gun.
‘No Leaf Clover’
• Written by Hetfield and Ulrich with collaboration
from Michael Kamen.
•Released in 1999 on the album, “S&M”.
Listening Guide
Orion (8:28)
(0:00) Introduction starts with bass playing alone in quadruple meter with a simple division. It starts as a whole note, another whole note then two tied-whole notes
completing 4 measures and then repeats as the volume slowly increases for a total of 16 measures. The opening contour has an arch where it ascends the first measure
into the 2nd then descends into the 3rd measure. The contour repeats itself every 3rd measure. The texture has a monophonic melody with no accompanying harmony.
(0:25) Drums start to fade in with an ascending volume playing eighth notes in each measure on the Hi-hat while the bass drum is playing the alternate ¼ note against the
tom-tom. This making in time with bass guitar’s half notes and whole notes in quadruple meter, steadily increasing in volume.
(0:55) Drums transition into next measure with a “pick up” with 16th notes to introduce the guitars. There are 2 guitars playing homorythmically with each other making it
sound as one guitar playing melody of Theme I, while bass maintains original steady notes.
(1:41) Bass guitar transitions into bridge with an irregular rhythm. Only the symbols of the drums played to emphasize the first beat of each note of the guitars.
(1:56) Drums pick back up into the song with a “pick up” and then continue to provide the rhythm while the bass drum and tom-toms are alternating.
(2:11) Bass guitar fades out then rejoins lead guitars in beginning of Theme II. This theme has a lot of dissonance in duple meter with every other beat being emphasized.
(2:42) Back to Theme I with the 2 guitars in unison and bass playing same notes as the introduction.
(2:57) First guitar solo.
(3:11) Lead guitar solo takes over with a climbing scale. This solo is in a major mode with it playing higher pitches and ends with trills before leading into next segment.
(3:44) Drums and guitars in unison. Slowing the beat down to end with the symbol and four-tied whole notes to finish the measure.
(3:59) Bass leads into Theme III (Constellation Theme). This theme giving Metallica the inspiration for the name of the song. This theme has a sound of looking up into the
sky at night. The altered guitar sounds are the shooting stars.
(4:16) Second guitar solo with both guitars in unison playing ascending up then staggering back down. Bass keeping Theme III going in the background. This segment is in
triple, compound meter. The drums keep the time with the tom-toms.
(5:12) Lead guitar and second guitar separate in pitch while playing same melody; switching from being unison to playing homorythmically. Lead taking the upper voice
and melody still in triple meter.
(5:39) Change into a variation of Theme III. Bass exhibiting the main idea of the theme being present. Drums keeping to the triple meter.
(6:17) Lead guitar taking another solo away from the main theme.
(6:35) Bass takes melody from lead guitar and moves into a solo. Still in triple meter with hi-hat keeping the beat. This solo is showing the musical capabilities of the
band’s original bass player, Cliff Burton, and his use of his knowledge in scales shines. The guitars are keeping beat with the drums playing whole notes without any
variation.
(6:54) Drums bring bass solo to abrupt stop and seg-way into a bridge that prepares for next segment.
(7:01) Meter changes back to a quadruple time with the drums alternating between the snare and bass drum, each playing 1/4 notes, off-beat of each other. Second guitar
is playing ½ notes for first two beats then nothing for next two beats while the bass is playing ¼ notes. Lead guitar moves into another solo that uses a wide range up and
down the scales bringing back the dissonance to the melody.
(7:31) Back to Theme II. This theme maintains as the volume slowly fades to the end of the song.
Listening Guide cont.
‘One’ (7:27)
(0:00) Introduction begins with the sounds of warfare. A machine gun starts firing and you can hear the yells of a commander giving orders to the soldiers and then bombs going off. This
introduction giving you the setting of their inspiration.
(0:19) Electric guitar begins the song in quadruple meter with a simple division. It begins playing a sustained whole with 2 ¼ notes and a ½ note played over it to make the measure. This melody
repeats for 4 measures then on the 4th measure, an extra ½ note.
(0:38) Lead guitar begins a solo piece in minor mode in the same meter. You can feel a sense of sadness as the guitar moves up and then down the scales. Second guitar continues original
melody creating harmony.
(0:55) Drums begin to play in time with the melody. The hi-hats are hitting the 1/8 notes over the bass drum kicking a note then holding for 2 beats then 2 rapid 1/16 notes.
(1:15) Theme I starts with lead guitar taking melody played over the second guitar’s original melody. The two separate melodies creating a harmony they then combine to play in unison to get
ready for the first verse. The drums have added in the tom-tom hitting every ½ note.
(1:46) Verse 1. The vocals are in the voice of the soldier in the 1st person. The guitars back to playing contrasting melodies.
(2:13) Chorus stating the main inspiration of the song with the voices exhibiting the anger and dissonance. Variation of Theme I plays at the end of chorus as bridge into next verse.
(2:35) Verse 2 begins. No variation from the instrumental theme.
(3:02) Chorus.
(3:09) Vocals fade out from chorus while instrumental bridge with lead guitar solo begins. Sounds like an extended variation of theme I. Drums are keeping to the same beat and rhythm.
(3:37) Chorus with extension and variation of original chorus that sets up transition into Theme II.
(3:54) Transition building up to Theme II creating anticipation and more dissonance. The bass guitar is heard in the low voice as it plays rapid irregular notes.
(4:37) Theme II. This theme is loaded with dissonance and anger in duple meter. The drums are hitting every beat with the hi-hat, bass guitar starts playing at this point with an irregular rhythm
adding to the dissonance of the changed melody. Both guitars in unison. It is meant to portray the soldier’s anger and suffering. It is mimicking the Morse code the soldier makes with his head
movements in the movie Johnny Got His Gun. Click to watch "One" music video.
(4:55) Verse 3 goes into some detail about the result of the soldier’s injuries. Response from the guitars (in unison) plays to the lyrics.
(5:12) Verse 4
(5:21) Vocals fade out into Theme III. This theme may even be considered to not be a new theme, but as a variation to Theme II. The notes for the guitars and bass guitar have broken up the sets
of notes into shorter segments, making the sound more irregular and angry. The drums are played quicker with a faster tempo. The pitch is within a narrow range. The drums signal a repeat with
rapid hits on the tom-toms.
(5:47) This lead guitar solo in more intense with descending arpeggios and a wider range than previous solos. The drums, second guitar and bass guitar keeping to the new theme.
(6:23) Song goes back to Theme III.
(6:36) Second guitar’s response to lead’s solo. This solo has a more narrow range than the lead’s solo. It’s brief but does use descending arpeggios toward its end.
(6:56) Back to Theme III.
Listening Guide cont.
‘No Leaf Clover’ (5:43)
(0:00) Opening statement made by all instruments of the band and symphony then into
introduction in quadruple meter to build up to main theme of song. It then repeats.
(0:22) Symbols transition song into Theme I quadruple meter in minor mode. In this theme, you
can hear the strings in the background with a clarinet playing a solo melody on top. The lead
guitar playing a simple beat allowing the strings and clarinet to come through.
(0:55) Theme II begins to change focus to the band and the symphony is now heard in the
background with contrasting melody.
(1:10) Verse 1
(1:29) Verse 2
(1:48) Chorus with clarinet solo and then guitar solo.
(2:16) Verse 3
(2:35) Chorus with extended variation to the lyrics. The clarinet and guitar solos more
pronounced.
(3:15) Lead guitar solo. The hi-hat is heard in the background keeping the rhythm to the
quadruple time.
(3:41) Theme II is repeated with the symphony in the background climbing a scale and then in
pizzicato.
(4:25) Chorus shortened to two lines then “then it comes to be“is repeated multiple times. The
two contrasting melodies between the band and the symphony are heard very well now that
the drama of the song is being built up to a climax.