This article: Starting with the album Blood Fire Death, one of the first definitive Viking metal releases, Bathory incorporated a diverse range of musical elements. While retaining the noise and chaos of previous recordings, the band took a more sorrowful and melodic approach, working in ballads based on Germanic and Norse folklore, shanty-like melodies and folk music elements such as bourdon sounds, Jew's harps, and fifes. Bathory added natural found sounds, such as ocean waves, thunder, and wild animal noises, in a style similar to that of musique concrète. Instruments were sometimes used to create onomatopoeic effects such as drum sounds imitating thunder or a sledgehammer. The songs typically featured multi-sectional formal structures, following a pattern of three instrumental sections – introduction, bridge, and finale – and two vocal sections – stanza and refrain.Enslaved, a formative band in Viking metal, performs primarily a black metal style, but has over time become more progressive. Eduardo Rivadavia described the hallmarks of Enslaved as "Viking themes, razor sharp guitars, blastbeat drums, and an ear for orchestration resulting in complex structures, bountiful harmonies and time changes." However, the band has evolved significantly with every album since Mardraum – Beyond the Within (2000) onward.The Faroese band Týr has a standard rock band lineup with electric instruments, but makes extensive use of traditional Faroese music in its songs. Faroese ballads typically involve unusual time signatures, most commonly 74 or the alternative rhythms 128 or 98. In an attempt to replicate these uneven signatures, Týr often places the accent on the weak beat of the bar. In songs based on old Faroese ballads, Týr usually play in harmonic or melodic minor scale or else in mixolydian mode. contains an answer for the question: What was the pattern of the three instrumental sections the songs followed?, what is it ?


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