This is a 'phenomenon' whereby melodies and riffs from one song are repeated in another. Due to the heavily thematic story-telling nature of DT songs, this is quite a common occurence.
"Pull Me Under" and "Take The Time" share a melody, which is not quite a riff, but they are identical if juxtaposed on a corresponding major/minor scale. "Wait For Sleep" and "Learning to Live" also share a main riff. Thematically, none of the songs interconnect.
Mike Portnoy has said that the music is written out before the lyrics are written and set to melody. It is possible that they were intended to be counterparts and that the relation was either scrapped or made more subtle.
The PMU-TTT connection is not as direct as the WFS-LTL connection. The melody from PMU's "This World is spinning around me, this world is spinning without me" in a minor scale sung by LaBrie is reproduced at 4:18 of the TTT instrumental section in a major scale played by Petrucci. So, the question remains, "are the 16-note melodies reproduced completely by coincidence on the same album by the same band?"
Also, all throughout Awake, there is a lot of intentional riff sharing. Without referring to the obvious "Erotomania", which is MADE UP OF riffs from other songs, the "Space Dye Vest" piano melody was added to "The Mirror," "LSOAD," and "Scarred".
Another obvious one is MP's Alcoholics Anonymous suite: The Glass Prison, This Dying Soul and The Root of All Evil share some musical themes and melodies.
What is the 're-usable riff' phenomenon?
I have the same question. The only song that I can think of reused in Erotomania is the obvious Silent Man.
There is a riff used in A Change of Seasons (02:50) that sounds just like Erotomania's main riff
the middle section of "erotomania" was originally a part of "Pull Me Under"
In addition to The Silent Man connection, the main riff in Erotomania (the chromatic run) is taken from a keyboard riff WAY back in the mix of Voices - thus the three songs being linked as a suite. The new album, Octavarium, includes the first references to a song off Falling Into Infinity since the album. The intro to The Root of All Evil includes a reference to Just Let Me Breath, as well as a small, oft-missed reference to Burning My Soul (listen carefully right after the first low piano note, and you'll hear two, delay drenched harmonics on the bass). The Root of All Evil is also a continuation of the Mike Portnoy's AA saga. The saga offically begins with The Glass Prison, is continued in This Dying Soul, and the newest installment is The Root of All Evil. There are also references throughout the saga to The Mirror, which is also based on the same subject. Metropolis, Part 2 contains several licks and themes from Metropolis, Part 1.
While unconfirmed, I have noticed striking similarities to About To Crash and A Change of Seasons in the instrumental section of the title track to Octavarium. It has also been speculated on the message board at Dreamtheater.net that These Walls contains lyrical references to Voices. There are also aparently lyrical connections between Panic Attack, Another Day and Take Away My Pain.
The reusable riff "phenomenon" is not a sign that DT is running out of ideas - but an attempt to create a sense of continuality. John Petrucci goes further in depth into this in his Guitar World articles in reference to Scenes from a Memory (specifically, the chord progression in Regression that reappeares in The Spirit Carries On and Finally Free).
While unconfirmed, I have noticed striking similarities to About To Crash and A Change of Seasons in the instrumental section of the title track to Octavarium. It has also been speculated on the message board at Dreamtheater.net that These Walls contains lyrical references to Voices. There are also aparently lyrical connections between Panic Attack, Another Day and Take Away My Pain.
The reusable riff "phenomenon" is not a sign that DT is running out of ideas - but an attempt to create a sense of continuality. John Petrucci goes further in depth into this in his Guitar World articles in reference to Scenes from a Memory (specifically, the chord progression in Regression that reappeares in The Spirit Carries On and Finally Free).
I believe that Erotomania was originally just something John Petrucci was playing around with in studio as a joke; perhaps it developed in a similar way to Vacant.
I never realized the connection between Pull Me Under and Take The Time, and I just want to point out why; the rhythms are actually very slightly different - if the band did it on purpose, the only reason why would be because there were more syllables to pronounce when it came to singing the vocals.
I never realized the connection between Pull Me Under and Take The Time, and I just want to point out why; the rhythms are actually very slightly different - if the band did it on purpose, the only reason why would be because there were more syllables to pronounce when it came to singing the vocals.
Satch22
I don't see what Scheater5's Two bass harmonics drentched in delay on The Root of All Evil have to do whatsoever with Just Let Me Breathe, perhaps he could elaborate a little on that...
However, the double snare drum beat in Just let me breathe that starts 40 seconds in matches Never Enough's Drum beat starting circa 14 seconds. Not to mention Just Let Me Breathe is about DT's frustrations with the record industry telling them how to write music for their fans, and Never Enough is about being consistantly loved, adored and then criticized by their fans who are also kind of telling them how to write music. Not to mention the sacrifices they make for their fans who in turn act as though it's not enough.
However, the double snare drum beat in Just let me breathe that starts 40 seconds in matches Never Enough's Drum beat starting circa 14 seconds. Not to mention Just Let Me Breathe is about DT's frustrations with the record industry telling them how to write music for their fans, and Never Enough is about being consistantly loved, adored and then criticized by their fans who are also kind of telling them how to write music. Not to mention the sacrifices they make for their fans who in turn act as though it's not enough.
In Erotomania the part starting at about 4:33 is also featured on Images & Words demos in the song Oliver's twist.
There is a few points throughout tracks 1 to 7 in Octovarium which appear in the 8th and final track (Octovarium).
An example is the violins in The Answer Lies Within uses the same vocal melody for the 'Medicate' section of Octovarium.
An example is the violins in The Answer Lies Within uses the same vocal melody for the 'Medicate' section of Octovarium.
Ole Grarup
First:
"Also, all throughout Awake, there is a lot of intentional riff sharing. Without referring to the obvious "Erotomania", which is MADE UP OF riffs from other songs, the "Space Dye Vest" piano melody was added to "The Mirror," "LSOAD," and "Scarred"."
- as far as I can tell, neither "LSOAD" nor "Scarred" contains the "Space Dye Vest" piano melodi - "The Mirror" obviously does (starting at 5:15).
Second:
Few people seem to notice that "The Mirror" and "Lie" share a rythm guitar riff: The riff heard in "The Mirror" at 3:15 ("..make your amends. Look in the mirror my..."
and again at 5:09 ("...make my amends. I'll never hurt you a-..." is identical to the one heard in "Lie" at 1:21 ("I won't, I swear I won't.", at 1:31 ("I'll try, I swear I'll try.", and at the corrensponding places in the 2nd and 3rd choruses.
"Also, all throughout Awake, there is a lot of intentional riff sharing. Without referring to the obvious "Erotomania", which is MADE UP OF riffs from other songs, the "Space Dye Vest" piano melody was added to "The Mirror," "LSOAD," and "Scarred"."
- as far as I can tell, neither "LSOAD" nor "Scarred" contains the "Space Dye Vest" piano melodi - "The Mirror" obviously does (starting at 5:15).
Second:
Few people seem to notice that "The Mirror" and "Lie" share a rythm guitar riff: The riff heard in "The Mirror" at 3:15 ("..make your amends. Look in the mirror my..."
and again at 5:09 ("...make my amends. I'll never hurt you a-..." is identical to the one heard in "Lie" at 1:21 ("I won't, I swear I won't.", at 1:31 ("I'll try, I swear I'll try.", and at the corrensponding places in the 2nd and 3rd choruses. 
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not confusing this with overture 1928? or overture?