I searched for this topic but I didn't find anything so I guess I'll just make a post.

When re-watching EoE and Death/Rebirth for the umpteenth time I noticed something.Both of the songs in this posts title match up perfectly.

Now take a look at the songs themselves:

Pachabel's Canon in D major: Commonly played in weddings. Is happy and brings thoughts of a new life together.

Komm Susser Tod(Come Sweet Death): Is about death and suffering.


Now if memory serves me right, Canon in D is played during the beginning of Death. And Komm Susser Todd is played during 3I.
I just thought that it was an interesting that these two almost identical songs were able to express so well what was happening in the movie at that time.

Here's a like to the two mashed up, it actually sounds really good. http://www.youtube.com/watch?v=eV6xOnYgz6I

This seems to be more of a chit-chat topic.

I will note that Pachabel's Canon was originally a much faster tune meant to be uplifting. The "modern" version is far slower and almost melancholy.

I sorta thought it would this topic would be alright in Discussion but oh well, no biggie.

Yes the original is much faster, about twice as fast what is played in EoE. However I believe the change of tempo suits the movie better.

LOL Mandatory linkage: Pachelbel Rant

But the guy in the video’s got a relevant point: that chord progression (I V vi iii IV I IV V) is just about everywhere, since it can be implied by the rather standard I-IV-V blues standard that rock grew out of (easy example “Kick Out the Jams”, MC5), as well as the I-V-vi-IV “doo-op” progression that was popular in the fifties (easy tho-more-contemporary example “Go Cry On Somebody Else's Shoulder”, Frank Zappa, itself a parody of doo-op), not to mention other songs that simply lift the chord progression in its entirety.
I’m biased anyway, since I, like the man in the video, am also a cello player, and am also vehemently hateful of Pachelbel’s complete dick-move of assigning the cello with nothing better than a cheesy & mind-numbing bass line.

But it’s important to note that Komm Susser Tod’s progression changes ~2:10 and never really returns to the Pachelbel thing. No doubt its included in the film due to its ‘cover’ of Canon (not to mention the lyrical subject matter), and it certainly refers to Canon’s earlier usage in Death (particularly the inferences to Instrumentality during the rehearsal parts).

I've actually mashed the two tunes up on the piano a couple of times. Kanon in D leads quite nicely into Come Sweet Death.

The two songs are nearly similar. If they were any differences, I don't remember them right now. I'd have to go back and re-mash them. They almost create a nice musical bookend effect to the two movies when you watch them back to back, but since the scenes are about contrasting ideas, so are the songs. The way Bach's music is used is very calming in D&R, whereas the opposing moods in the music of Komm, Susser Tod alone create a somewhat uneasy feeling. Say nothing about the images combined!

come sweet death may be based tune wise on cannon D. we doo this all the time in the catholic church, one of our hymns goes too the tune of ode to joy from the symphony #9.

The bass line of the start of Come Sweet Death is very similar to Canon in D with a slightly different rhythm. After that it just turns into 'Hey Jude' by The Beatles.

Lui wrote:The bass line of the start of Come Sweet Death is very similar to Canon in D with a slightly different rhythm. After that it just turns into 'Hey Jude' by The Beatles.

Holy necromancy batman.